I should also note the film didn’t fare well in scenes where the camera panned back to reveal a character doing a particular pose, such as Undertaker pulling his hair back and whatnot, which I felt although it attempted to be detailed, was quite stiff. For example, with the Undertaker where we caught a glimpse of the characters’ locations in their encounter. However, they did well in the dramatic scenes. This is especially noticeable in the beginning of the film, where we see the view of the Campania, which is clearly rendered in CGI and contrasts with everything else that is hand-drawn yet digitally colored. The film abuses CGI a number of times and sticks out like a sore-thumb in scenes that are supposed to be regular. The CGI is indeed noticeable and off-putting sometimes. There was a funny original scene in which Sebastian and Charles Grey chat at the dinner-table, in which Sebastian remarks something along the lines of being “kicked multiple times to life”, referring to Grey’s actions in the Murders arc.
They appear at the dinner with the Midfords, during the bizzare doll’s onslaught (during the carriage scene), and again at the sea in the aftermath of passengers rushing to escape (in which a child was being quietly consoled by Charles Phipps). I was worried of Double Charles’ appearance being annoying and perhaps disrupting the Midford family’s performances, as they did not appear in the manga during this arc, but their scenes were also brief yet enjoyable. She definitely stole the scene in the film a couple of times and I’m fond of Grell now, as well I am of Ronald. Fortunately, the accuracy to the manga had Grell in the film, albeit indeed flirty and flamboyant, a skillful grim reaper. In the past, Kuroshitsuji shoehorned Grell too often unnecessarily, thus giving off an image of her being incompetent and purely Sebastian-obsessed. I have to say, I didn’t really understand the appeal of Grell or Ronald, but the script truly had them perform as charming individuals and as a funny team. The scenes with the grim reapers were energetic and fun. I should also remark they made her extra cute in the film. I’m glad the writers and animators didn’t rush it. Her movements were meticulously animated and I adored the attention to the way the camera constantly panned to her shoes. I read Yana’s tweet about Lizzie “moving like a ballerina” and had my doubts prior to watching it, but she was indeed right. I especially praise the storyboard artist(s) who worked on Lizzie’s scene. The animation staff who worked on Book of Atlantic gave it their all on the fighting scenes.
Lines weren't translated awkwardly and suited well to the western audience, translating Japanese words to British slang/vocabulary, for instance. Mistranslated, such as Frances’ gender-neutral comment about “that child protecting their beloved” or something to that nature. The Funimation team translated the film very well! A couple of mistranslated lines from the online scanlation that were for foreshadowing purposes weren’t For a film whose manga premise is about a boy who is in a contract with a demon, this film also possesses very heartwarming scenes between a typically sullen boy and his ever-cheerful adorable fiancée. It maintains the line between action and comedy well - the latter of which I should remark is above average, due to its fair balance of deadpan-like humor and gags.
]īook of Atlantic executes itself wonderfully.
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