Review of No Guns Life Season 2

I was able to notice a very visible improvement in the approach as director Naoyuki Itou (also director of the first season of No Guns Life) seeks to relate in a decentralized way with space, characters and also with machines in a harmful and almost sad universe. Not that I need to approach the first season to develop an idea of ​​the second, but if I correlate them visually, it would be possible to say that the two parts are exactly the same. My biggest problem with the first part was how the director used some inventive ideas in a way that sounded formalistic and manneristwith no relation to the rest of the artistic unit, however in this continuation he did not bring great news that differentiate both in aspects, but in his approach with some artificialities.

There is a search in No Guns Life that always tries to find ways to humanize our relationship with machines in a very personal way. Again, they have feelings, obligations, traumas, fears and also relationships. The protagonist Juuzou goes through a dramatic arc again involving his relationship of being a separate individual or a tool, and the same is done with other Extended ones that appear during the series. The objective is to link both qualities and defects in this relationship, while at the same time, it also dehumanizes that same relationship with other supporting actors in the plot. The funniest thing is how the direction really frames the faces of these machines, which even without any kind of human expression, still manage through simple gestures and sometimes exaggerated (exaggerated in a good sense) to attribute to the viewer a discernment for each of these characters.

Through CGI, which is used organically and is somewhat immersive at various times, as if those spaces had a life of their own. The scenarios and the palette of colors darker and more dirty represent very well a harmfulness of the reality of this universe. The anime uses cinematography that literally puts us in the perspective of the characters, it is an inventive form of the director again, but that works better in this continuation. I could even say it was perfect, but the management still has some free technical virtuosity. I see no need for the anime to use lighting filters or a more elegant landscape in some specific moments, since in most of the work it tries to show a more harmful side of this universe, so this spontaneity actually ends up going against unity the rest of the work.

The director has what he needs, he managed to improve in all points the way he related to his stylistic elements in this continuation, but it is still not perfect.