If you don’t recall the first half of The Seven Deadly Sins: Grudge of Edinburgh from months ago, you might want to watch it again before starting part two. This is a single picture divided into two equal (length) sections, so there’s no time to waste before getting into the action. It is rather straightforward to piece things together, such as Tristan’s angst and Elizabeth’s curse, although it does help to have seen the previous picture.
Having said that, the big revelation of the first half – that Tristan’s fairy companion is Lancelot in fairy form (taking after his uncle King) – remains the most important component of the plot. Tristan’s fear of his powers stems from his fight with Lancelot when they were younger, and Lancelot seemed to be carrying some baggage from the episode as well. Those familiar with shnen action series cliches will understand why Lancelot holds a grudge. Still, Tristan isn’t as astute, and understanding why Lancelot’s feelings were injured far more than his forehead is something he’ll have to work on. It’s a piece of character development that actually emphasizes the contrast between the two boys: Tristan is ultimately a kind person who cares profoundly about others around him. Lancelot, on the other hand, is more stoic, a warrior through and through, even at his young age.
While this does influence who their parents are – and it’s worth noting that Tristan resembles his mother while Lancelot resembles his father – it also links into the Arthurian tale upon which The Seven Deadly Sins franchise is based. Tristan is a love hero (Tristan and Isolde), whereas Lancelot’s story is considerably more varied, portraying him as romantic, chivalric, and anguished at times. (Or, in Alfred’s instance, Lord Tennyson’s The Lady of Shalot, as an assassin.) Tristan’s theme here is self-confidence and recognizing his own and his family’s natures, and when his parents arrive there to check on him, he’s relieved to see them, and not just since the entire voyage began due of his mother’s curse. Lancelot, on the other hand, resembles a post-Grail legend version of the character, keeping himself apart and adhering to his code but finally retreating from others for his own reasons. Interestingly, the film alludes to a battle with King Arthur, drawing on the more romantic (or “romantic”) plotlines of the Lancelot legend. Nonetheless, he comes across as a driven, bitter character.
This works great for the manner the fighting takes place. Tristan is all emotions and need tactical advice from Lancelot, while Lancelot requires Tristan’s openness to confront some of what he’s carrying inside. Although the fights aren’t amazing, they’re entertaining, and some more disturbing character designs assist; Deathpierce’s ultimate chimeric change is like the world’s creepiest emojis all smushed together. Both boys have room to shine, but the spotlight is on Tristan, with Lancelot’s help. As we see them labor together, we get the impression that Lancelot is fighting very hard to keep his animosity at bay, and this carries over to the conclusion, when he makes a totally different option than Tristan when the Sins arrive. All of this contributes to the notion that these films are grooming the next generation of protagonists, and it does so.
Again, the film is animated in 3D, and while it isn’t the worst out there, it does have flaws, particularly with hair, cloth, and head movements; when your theatrical presentation doesn’t compare well to a Nintendo Switch game, you may have a problem. It’s still better than the sound effects, which sound like they came straight from a fighting game. The music is adequate but unremarkable, neither adding to nor detracting from the story. And that story is the most substantial section of the picture; even though it was split into two films (maybe unnecessary), it tells a good story of what it would be like to be the child of a king and queen who are both legendary heroes. Tristan is concerned not only with his power, but also with living up to his parents’ reputations. Taking on Deathpierce to save his mother is a two-pronged goal for Tristan: he passionately wants to save Elizabeth, but he also wants to prove that he, Tristan, is sufficient. While it isn’t completely addressed (and it shouldn’t be because he’s a young teen with room to grow), it has progressed in a very favorable direction.
There are numerous signs pointing to a more spectacular scenario unfolding around this film. Lancelot appears to be on a mission, God knows what Arthur is up to (it doesn’t look good), and Tristan has merely begun his journey. However, the tale feels solid enough, and this is a good follow-up to the original picture, with some Arthurian goodies thrown in for good measure.