Mirai (The Abyss) draws on the world of Ghost of Tsushima to shape a brief, concentrated meditation on conscience under pressure. Beginning with a textual intervention, the film turns toward habituation, moral fatigue, and the threshold where violence stops appearing as rupture and sinks into the texture of experience. De Simone counters the game’s dramatic momentum with a quieter dissonance, redirecting attention to ethical aftertone, the residue produced when repetition dulls the force of response. Its restraint is what gives the work its edge. Mirai (The Abyss) follows the normalisation of the intolerable, showing how exposure reorders feeling before crisis fully declares itself.