It has been 16 years since Attack on Titan began publication in Bessatsu Shonen Magazine, and 12 years since its anime adaptation had swept the world. Over time, the story has evolved into an iconic piece of 2010s pop culture phenomena. Needless to say, the ideas that series creator Hajime Isayama offered in such a grand epic from September of 2009 to April of 2021 left a strong impression in our cultural zeitgeist. Even people who do not watch anime, let alone share an interest, know what Attack on Titan is. A tale of mankind standing against monsters and forces beyond their comprehension, all for their survival.
But, as you may have figured, we are not talking about the anime or the manga here. Our subject is widely regarded as one of infamy– from Toho Studios, and directed by Shinji Higuchi (Shin Godzilla, Shin Ultraman), the 2015 live-action two-parter: Attack on Titan and Attack on Titan: End of the World.
While live-action anime and manga tend to get a bad rep, Attack on Titan is a different story. For a decade at this point, these films have been subjected to overtly negative criticisms which demand that they be damned to fade with the sands of time. For the longest time, they have been compared to the likes of Dragon Ball Evolution, and Devilman– even today, fans of Omniscient Reader’s Viewpoint are drawing (odd) comparisons between its live-action adaptation, The Prophet: Omniscient Reader, and Attack on Titan’s. Of course, online fandom and discourse changed dramatically in the past 10 years, so let us take a look at the Attack on Titan duology with a modern lens, and more context now that the source material is finished. Are these movies worthy of their vitriol? Do they deserve the fate that has been cemented for them?
To you, 10 years ago…
Before we begin, there is very important context that must be addressed. Amid their hatred, the Attack on Titan movies have been victims of misinformation that has been rooted in baseless speculation as a means to justify said hatred from even the most die-hard fans. As a quick recap of how they came to be, a live-action adaptation of Attack on Titan was planned as far back as October 2011– this would be a whole year before the anime was announced. After a series of leaves and rejections from various directors, either from creative differences or the sheer ambition of such a project, Shinji Higuchi stepped up to take the reins. Alongside him was film critic Tomohiro Machiyama, as the two would present a draft to Isayama that he would feel was uncreative and too faithful to his manga. Urging for a live-action Attack on Titan to be distinct with its own unique identity, Isayama was brought on for the creative process.
For more on this subject, we have a full breakdown of Attack on Titan’s production history here on Kaiju United!
Now, let us attack this titan of a film…s (and a miniseries)!
Attack on Titan Part 1
The first Attack on Titan movie, released on August 1st, 2015, is rather standard and straightforward in terms of plot. 100 years prior to the story, the Titans appeared and devoured humanity, leading the surviving population to live within 3 massive walls where they can live in peace. However, that peace comes to an end when a Colossal Titan appears and destroys the outer wall. Soon after, the destruction allows the Titans to enter and prey upon humanity once more. As a means to fight back, the Scout Regiment embarks on a mission to restore the outer wall, while fending off any danger that may come their way. The protagonist is Eren Yeager (Haruma Miura), a rebellious teen who struggles with his place in the world, and must face the reality of the world around him with his childhood friend Armin (Kanata Hongo), and girlfriend Mikasa (Kiko Mizuhara).
The first entry in this duology borrows plot beats from the Fall of Shigansha to the Battle for Trost arcs from the source material, such as when the Titans rampage through Eren’s hometown, and the emergence of the Attack Titan to name a few. While these story components are unmistakably ripped right from manga pages to the silver screen, the movies make a clear effort to put their own spin on them. How are they executed? For starters, the first appearance of the Colossal Titan is nothing short of terrifying, with its eerie roar and monstrous appearance that clouds any and all hope for our protagonists. Additionally, the aforementioned Titan invasion of Monzen amplifies the manga’s dark atmosphere, as it zeroes in on the horror these giants are capable of, which in itself is enhanced by iconography that proposes allusions to atrocities like the Nanking massacre, and the Allied firebombings of WWII. And, of course, the final scene when Eren emerges as the Attack Titan is a sight to behold, as it puts the impressive work of Katsuro Onoue and Keiya Tabuchi’s direction of special effects and fight choreography respectively on full display. It is purely adrenaline-inducing.
Another noteworthy element pertaining to this film is the world building. Many post-apocalyptic films tend to focus on the temporal distance of the setting, but in Attack on Titan, we bear witness to a future that feels strangely closer to our time. If human civilization were to collapse, it would certainly look like it does here. But in contrast to such a bleak aesthetic, the movie flaunts a fair share of beautiful set pieces. For every scenery of hopelessness, there is another that is beaming with warmth. It ties together the manga’s idea of “the world is cruel, but also beautiful.” Death can appear at any corner, yet the mission to preserve life and mankind stands. The dark, operatic score by Shiro Sagisu (Neon Genesis Evangelion, Bleach) makes these moments all the more alive and emotional.
It is also this uncertainty that is complimented by having a large cast of characters who are stuck in a scenario where they have no choice but to fight in order to make things right for themselves and the people they fight for, which harkens back to how the ruling class of the Japanese Empire treated its civilians. You can fill in the rest, as everyone’s expendability emphasizes the cruelty of this elaborate system formed by their superiors. But more on that later.
Just above the subtext is a whole series of practical effects that are simply astonishing, both for the time and even today, considering the limitations of Japanese special effects productions. Having mentioned the Colossal Titan, its unnerving presentation very much has to do with how complex the animatronic was designed, while also having a mixture of minor CGI to make such a creature all the more imposing. As for the Titans themselves, it is commendable how each and every one is unique– no two Titans ever share the same build or appearance. Their makeup adds a deeper level of fear, dread, and scale that is, ironically, sorely absent in the earlier parts of the anime. What the filmmakers had done was take the goofy and basic designs of the Titans, and elevated them to sheer horror, even to where even the sillier ones provoke a sense of anxiety. The only complaint present is how the day-for-night that takes up a decent portion of the film washes out so much of that impressive effects work.
One of the biggest points of contention regarding Attack on Titan was that the acting was said to be too melodramatic. However, given the nature of the story and its source material, it is only fitting that the performances would assume such a demeanor. Everyone conveys just the right emotions, and with how animated the characters are written and directed, it only sells the drama and tension even more. Attack on Titan has always been a melodrama at its core.
However, if the characters are to be discussed, it would be a disservice to never mention the late and great Haruma Miura, who unfortunately took his own life on July 18th, 2020. Beginning his career as a child star, Miura left his mark in films and J-dramas like Sky of Love, Kimi no Todoke, and The Eternal Zero. Obviously, this is an oversimplification of his acting career, because he really proved himself to be one of the best performers Japan has ever had. His career is one of great admiration.
Miura’s take on Eren is a young man who feels powerless in the very world that surrounds him, whose dreams are shattered by giant creatures who rule before him. Despite this, he charges and takes on the world. As for his opposite, Mizuhara’s Mikasa is a victim of the all-consuming nature of war, as her humanity is stripped away, leaving her to struggle between being a hardened soldier and a compassionate ally to mankind. While some may insist that these takes on such iconic characters dampen their appeal, this adaptation goes to great lengths to justify these changes, as they are woven into the emotional core of the source material that is brought here.
Meanwhile, characters like Armin, Jean (Takahiro Miura), Sasha (Hitomi Miyauchi), and Hans/Hange (Satomi Ishihara) are all largely intact when translated from their manga counterparts. They all provide a supporting cast that is not only diverse, but also adds more layers of humanity to a story of this magnitude. The same can be said for the film’s original characters, like Souda (Pierre Taki), Sannagi (Satoru Matsuo), Hiana (Ayame Misaki), Lil (Rina Takeda), Fukushi (Shu Watanabe), Kubal (Jun Kunimura), and of course, perhaps the most controversial character of them all, Shikishima (Hiroki Hasegawa), who ironically shines as one of the best aspects about these films, delivering a performance that’s mysterious, sinister, and very charismatic.
Overall, Attack on Titan Part 1 is a fairly solid interpretation of the source material. The acting is enjoyable and energetic, the cinematography is superb, the music is incredible, the characters are all memorable, and the special effects are simply outstanding. It is not without its flaws, but never are they enough to ruin its strengths. What you have here is an impressive, if not a serviceable at worst reimagining of the earlier sections of Isayama’s original story.
Attack on Titan: Hangeki no Noroshi
In April 2015, when marketing for Attack on Titan was in full swing, a 3-episode mini web series titled Attack on Titan: Hangeki no Noroshi (or Counter Rockets) was announced. This project would be in collaboration with BeeTV (now known as dTV), and would release each episode throughout August. Hangeki no Noroshi served as supplementary material for the movies, taking place during a two-year time skip in the first film. Each episode focused on select supporting characters to further establish their dynamics and development, as well as provide more context on plot elements such as the creation of the ODM Gear, and how the weaknesses of Titans were exploited. Creatives behind the series included the assistant director Kimiyoshi Adachi directing episode 1, special effects director Katsuro Onoue directing episode 2, and modeling director Yoshihiro Nishimura directing episode 3, with Yusuke Watanabe writing each episode, as well as Shinji Higuchi as general manager.
Episode 1, “The Counterattack Begins,” focuses on Hans, as well as Izuru (Yuta Hiraoka). The episode borrows heavily from episode 15 of the anime, featuring Sonny and Bean, and makes for a pretty neat episode, as both Ishihara and Hiraoka have wonderful chemistry, which then results in the comedy and suspense being executed very well. The Titan makeup doesn’t look the best here, but the composting is done nicely. The episode takes very good advantage of how self-contained it is. If you think Satomi Ishihara nails it as Hans in the movies, she’s full-on Hans in this.
Afterwards, in Episode 2, “Bow and Arrow of Hope,” the series focuses on Sasha, as they reveal her backstory, showing that she was a hunter who helped support a loving family, until the Titans ran everyone out of her home village. We also see more of Chief Yunohira (Yu Kamio) from the first movie, an outlier with a stoic, no-nonsense demeanor– here, we see a side of him that’s almost akin to Keith Shadis, as he truly wants the best for his comrades. Viewers are even treated with the addition of how the bond between Armin and Sasha in these movies began to form.
Lastly, Episode 3, “Departure for Freedom.” This one is interesting, to say the least. The focus of the episode is to further develop Fukushi and Lil, as well as establish how their relationship began. In the midst of all this, a group of officers crash the training camp, only to be followed by a bunch of tonally inconsistent shenanigans. It is wacky, goofy, and while one can appreciate it for what it is, the quality is unfortunately nowhere near as tight as its predecessors, despite playing up Attack on Titan’s inherent ridiculousness for the sake of it. A shame, too, as something like this had great potential to expand the overall lore.
While Hangeki no Noroshi is mostly enjoyable for its interesting stories and fun character dynamics, overall making it a worthy enough side piece for the duology, there was plenty of room for opportunities that will unfortunately be unfulfilled. A decent show with all things considered, but given its wider universe that has been established by the movies it got sandwiched in between, it left more to be desired.
Attack on Titan Part 2: End of the World
The second Attack on Titan film, released on September 19th, 2015, appears to be the more divisive of the two. This is the point where the story really starts to go in its own direction. At the time, it felt very distant from the manga; however, this would be the moment where Isayama’s creative input became more prevalent in retrospect. The film contains several plot elements that would make their way into the source material in some form, such as the opening scene being a near-exact outline of Eren Kruger’s backstory towards the end of season 3 of the anime.
End of the World picks up right where its predecessor left off, as Eren faces trial for his Titan transformation, which brings about mistrust amongst his comrades. Suddenly, he is captured by the Armored Titan, and before he knows it, Eren’s entire viewpoint of the world is about to change. This includes discovering the origins of the Titans, and the real reason behind the walls and their creation.
This is also where the film starts to feel familiar. What we have is an Attack on Titan story that is set 100 years into the future, set in a post-apocalyptic Japan, where the Titans are the result of a military experiment gone wrong. As separated from the manga as this may sound, this is the exact premise of the original Attack on Titan one-shot from 2006.
The film has a much greater emphasis on the tension between Eren and Shikishima, as their partnership and feud take up a large bulk of its runtime. As their story progresses, Shikishima’s character and his goals become more nefarious than initially thought. Like Eren, he wishes to achieve peace by overthrowing the corrupt government that keeps them in check, all by the intent of force through the means of terrorism and genocide. Eren strongly opposes Shikishima’s perspective in that any victims are just as guilty as those in power, feeling they have only allowed themselves to be exploited.
From here on, Eren’s quest for vengeance becomes a fight for the future of mankind. It is at this point that it becomes clear that Shikishima is way more than just a stand-in for fan favorite Levi Ackerman. Shikishima is a dark reflection of Eren– someone who strives for freedom, but through destruction, possessing a warped perception of reality that is rooted in whatever trauma he faced in his youth. By contrast, Eren has faced cruel treatment by his superiors, and had his home taken from him. Despite this, he still believes mankind is worth fighting for, because there are truly good people in this world who do not deserve to have their lives taken from them. Their treatment of Mikasa also happens to be a reflection of their character– Shikishima’s feelings for Mikasa are selfish and one-sided, whereas Eren treats her like an actual person, rather than a mere tool or soldier.
The nuances that this rivalry proposes would not only find themselves in the manga (with Shikishima being the prototype for Zeke), but the fact that there is a real-world connection to such matters makes the conflict feel all the more tangible and real, as it asks how one can achieve true peace. Is there such a thing to begin with? This commentary is given more weight when it becomes apparent that the villainous Colossal Titan from the beginning of our story is a symbol of systemic corruption and fascism that our heroes cannot escape from, for they must face and overcome this threat for the good of humanity, as it always lurks from the shadows, ready to destroy any sense of hope and freedom for its own gain.
Much of the praises that are given to the first movie are sung here, such as the stellar performances. While the first Attack on Titan was more fixated on the horror of the Titans breaking down the remnants of civilization, End of the World is more drama and action-focused, correlating with the rise of humanity. The Titan battles are crafted to near perfection thanks to Keiya Tabuchi’s expertise, and the incorporation of mixed martial arts, making for guaranteed intense thrills. Even more fitting, as Isayama had always envisioned Attack on Titan as Ultraman with MMA. And through the talents of Kiyotaka Taguchi’s compositing and Keiichi Sakurai’s VFX cinematography, these Titans are undoubtedly special effects come to life, especially during a high-octane climax, where all of these components are at their peak in a grand finale.
Shoji Ehara’s colorful and creative cinematography, complimented by special effects cinematographers Keizo Suzuki and Keiichi Sakurai, does a superb job with dynamic framing, angles, and camera movement when it comes to capturing the tension, emotion, and scale of a scene. This being thrown in with Higuchi’s experience as a storyboarder truly makes it feel like manga. One can only appreciate how wonderful it is to see these methods translate beautifully in live-action filmmaking.
While Attack on Titan: End of the World may stray further from its source material, it is a film with a lot of layers that makes it much more in line with what Attack on Titan would eventually become as we know it today. The scope feels greater, offering a greater spectacle, and with it, plenty of food for thought, with more than a handful of wartime parallels of both the past and present. These are concepts that Shinji Higuchi, Tomohiro Machiyama, and Hajime Isayama want us to think about in how they are applied to our modern world, and what can be done about it.
With this in mind, it should be noted that Attack on Titan is, ultimately, a story about freedom. In the face of darkness, confusion, and turmoil, we are left with a hopeful message that is expressed through Eren’s arc, as the development he experiences across this duology is inspiring. Growing up, we all have a desire for freedom, to get away from whatever brings us down, and we decide to blame the world for it. As the story progresses, Eren goes from being an emotional and impulsive delinquent to becoming someone who is more than willing to take matters into his own hands. Someone that people can look up to– a symbol of youthful optimism. Eren learns to place the people he loves and cherishes before himself, all with the notion that if we set aside our differences, and come together with a common goal, we can accomplish anything. You can accomplish anything. No matter what state the world is in right now, we have the power, the courage, and the strength to overcome any obstacle that comes our way, as we can do everything in our power to make a difference. To create a brighter future, and a better tomorrow.
“It’s not about what you do for yourself, but what you do for others. By taking action for others, your spirit will grow many times more.”
– Haruma Miura
Conclusion
As we know, the live-action Attack on Titan duology has a less-than-favorable reputation. While they have earned ¥5B JPY on a budget of ¥3B JPY, over the years, these movies have been ridiculed for their differences from the source material, and a failure to capture the spirit of Hajime Isayama’s manga. But looking back, we can see that is not exactly the case– if anything, the live-action Attack on Titan embodies the source material. They embody the uncanny horrors of its monsters, the bleak uncertainty of its universe, the overtly animated drama of the characters, the intensity of the action, and go above and beyond in capturing the manga’s spirit, and its ideas on autonomy, war, hatred, and prejudice. This is as Attack on Titan as Attack on Titan can get in such a distilled form.
We are challenged and asked to find the deeper meanings in these nuances by taking issues such as political corruption and social prejudice in a way that reflects our own reality. Though, perhaps this is where much of the disconnect with these movies comes from. Not just the deviations from the source material (which were made per Isayama’s request and involvement), or a lack of understanding of Japanese film productions and tokusatsu filmmaking. What these movies do is essentially elevate the ideas of the manga into something more raw and refined, thus making them feel more real. Hence, this is why some view them as uncanny. What they do is lean further into the manga’s ideas and stances on war and imperialism, and offer a commentary that feels believable. And because Attack on Titan has a rather young fanbase, a majority of this fandom is not exactly mature enough to grapple with such complex ideas, unless they are grey and more abstract– the preference for uncertainty because the viewers in question are uncertain.
But that said, the legacy which these movies have left behind is not one of total neglect. In these past 10 years, the Attack on Titan duology has managed to accumulate a cult status in Japan, has received a nomination for a visual effects award at the 2016 Asian Film Awards, receive occasional revival screenings through DreamPass, and has an attraction at the Gunkanjima Digital Museum in Nagasaki. Kurumu Okamiya, who plays Eren in the Attack on Titan: The Musical, even paid his respects to Haruma Miura. Yuki Kaji, Eren’s voice actor in the anime and a close friend of Miura, has done the same.
As minor as it may seem, Attack on Titan, with all intents and purposes, ended up leaving behind an important footnote when it comes to the history of tokusatsu filmmaking, as for the last 10 years, there has yet to be another film done in its style or scale. In that sense, Attack on Titan is the last of its kind, bookmarking a transitional era, which had led to films such as Shin Godzilla, Shin Ultraman, and recently, the Academy Award-winning Godzilla Minus One.
And at that, thank you, Higuchi, Machiyama, and Isayama. Thank you for delivering what is honestly one of the greatest and most underappreciated epics of the modern era.
