« Last post by bwbScram on 2017-06-27 23:42:56 »
Cut to Misaki on the street after a rainstorm, and note how even when looking down on her, the animators have managed to use the reflection in the puddles to frame her against the heavens. In fact, whenever Misaki is looking at the camera, and thus, knows that Satoâ€™s and our eyes are on her, she contrives to put the sky behind her. She goes out of her way to sell this image of salvation, but when the veil drops and we get a glimpse into her mind, we see that itâ€™s just a faÃ§ade. Misakiâ€™s own expressionist framework is a closed of box of a room with nothing but stairs and a shelf to define it. The pink gradient in the background hints at innate compassion, but itâ€™s walled in my dark, angry red, hardly surprising when you consider Misakiâ€™s abusive life at home. Itâ€™s clear that she feels trapped and isolated and even though she has nowhere to go, she makes a run to break free right before being pulled back to some semblance of reality.