The Infinite Zenith

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Category Archives: Anime: Reflections

1st Season: Spring – Yama no Susume: Next Summit First Episode Review and Reflections

“Remembering is painful, it’s difficult, but it can be inspiring and it can give wisdom.” –Paul Greengrass

After Aoi Yukimura graduated from middle school, she looked forward to a quiet life as a secondary student. However, her dreams are dashed when she reunites with her childhood friend, Hinata Kuraue, who’s determined to bring Aoi with her on her mountain-climbing adventures. Although Aoi is initially reluctant, after accompanying Hinata to the nearby Mount Tenran, she gradually comes to enjoy the hobby and, along the way, meets fellow climbers Kaede Saitō and Kokona Aoba. Besides exploring additional mountains in the Hanno area, Hinata and Aoi also enjoy a day with Kaede and Kokona at Hanno River. Aoi decides to continue climbing mountains after learning from Kaede that the night skies are even more stunning from the mountaintop. Yama no Susume‘s original run began in 2013, and episodes were merely three minutes in length. Despite its short runtime, Yama no Susume rapidly became well-received amongst viewers, who praised its positive portrayal of open-mindedness and encouraging people to venture into the great outdoors. Yama no Susume subsequently received a second and third season, seeing Aoi continue on with her experiences with Hinata: by 2018, a third season had aired, following Aoi’s becoming closer to Honoka and Hinata becoming jealous in the process. While portraying mountain-climbing and hiking faithfully, Yama no Susume also explores themes of friendship, showing how life has both its ups and downs, and how even best of friends can fail to get along, as well as how important it is to communicate and be open about one’s problems. Yama no Susume was an immensely satisfying series, showing a very natural progression in Hinata and Aoi’s friendship, but one lingering aspect the series had left open was the fact that, after Aoi’s failed attempt to scale Mount Fuji during the second season, Yama no Susume had not revisited Mount Fuji. Here in Yama no Susume: Next Summit, there is now an opportunity to conquer the last frontier and demonstrate, beyond any doubt, that Aoi has matured as a result of her willingness to share in adventures with Hinata, Kaede, Kokona and Honoka.

Upon returning to Yama no Susume, Next Summit‘s first episode opens with a reintroduction to the series, providing viewers with a refresher on where things began. However, in this revisit, Next Summit also subtly hints at where it’s intending to go. The opening shows Aoi shouting out at dawn to Mount Fuji while wearing a look of utmost determination on her face, and in a later sequence, Aoi, Hinata, Kaede, Kokona and Honoka scale Mount Fuji together. When Aoi and Hinata scale Mount Tenran for the first time, Mount Fuji is faintly visible, and after Aoi and Hinata scale Mount Takao, Mount Fuji seems a little closer, signifying how Aoi’s taken her first steps towards embracing her new hobby, towards a tangible and visceral representation of personal growth. As Japan’s tallest mountain, Mount Fuji represents the apex of achievement, and in the second season, Aoi had found herself developing altitude sickness. As a result, she was unable to reach Mount Fuji’s summit. Subsequently losing her motivation to enjoy the outdoors, it would take Aoi some time to rediscover her footing, and while Yama no Susume has done a fantastic job of restoring Aoi’s love of mountain climbing, as well as showing her increased confidence in befriending Honoka, Mount Fuji became an unanswered question. There is no stronger show of maturity and growth than to have Aoi properly conquer Mount Fuji under her own power, and here in Next Summit, the imagery shown insofar does seem to suggest that Aoi has her sights set on a rematch with Japan’s most iconic mountain. Aoi is someone who doesn’t like to lose, and coupled with the thematic elements in Yama no Susume, I am hopeful that Next Summit will build up towards Aoi and her friends taking on Mount Fuji anew: being able to complete a climb that she couldn’t previously would be immensely satisfying and definitively illustrate that Aoi’s journey has been a meaningful one. The Aoi that started out Yama no Susume had been concerned with a hike to Mount Tenran, and so showing her successfully complete Mount Fuji would demonstrate to viewers that every journey has a beginning, and that it is a combination of experience and support that allows one to accomplish the remarkable.

Screenshots and Commentary

  • Right out of the gates, I will state that I have plans to do episodic reviews for Next Summit – Yama no Susume has previously offered a great deal to discuss, and even the recap episodes are valuable in providing further context for the events that had taken place in the previous three seasons. In most posts, I tend to look at scenes in greater depth, but having as I’ve covered the first season in whole previously, I will be taking a looser approach with my discussions for the four recap episodes and return to my usual style once Next Summit begins its new content.

  • Next Summit offers more context to Aoi’s story – as a middle school student, she was known for preferring solo activities, similarly to Yuru Camp△‘s Rin Shima, and she developed acrophobia after falling from a jungle gym and injuring herself in the process. Aoi’s acrophobia is an important piece of Yama no Susume; it keeps her from climbing large mountains and riding gondolas, but with support from her friends, Aoi manages to pull through. As a result of her experiences, Aoi initially had imagined her high school life to be a peaceful experience, consisting solely of doing solo activities.

  • This setup was mirrored in 2020’s Houkago Teibou Nisshi – protagonist Hina Tsurugi is a splitting image of Aoi, and similarly, Natsumi Hodaka fills Hinata’s role. The premise of such anime leave little to the imagination; it is a foregone conclusion that the protagonists will be participating in the activity the show’s advertised. The joys of watching such shows, then, come from seeing the journey that follows. With this in mind, no two shows are alike despite their initial similarities, and variations among the shows ultimately modify their final message.

  • I had been sitting on Yama no Susume for some years, and finally got around to watching it three years ago. According to my blog archives, the last time I wrote about Yama no Susume was back on New Year’s Eve in 2019. In the three years that has passed, my world’s changed considerably, but I still vividly remember that, shortly after I caught up to Yama no Susume‘s third season, I stated that I would climb Ha Ling Peak before the fourth season came out. This, unfortunately, has not come to fruition: between the global health crisis and the fact that the Ha Ling Peak trail is undergoing maintenance.

  • That Next Summit came out before I could fulfil this particular promise is of no consequence – once the maintenance is completed, I can schedule a hike here. Unlike Hinata and Aoi, who have an expert in Kaede to guide them, I am a novice hiker and mountain climber – the only mountain I’ve climbed is Lake Louise’s Big Beehive, and on the typical hike, I don’t see an elevation gain of greater than 600 metres. In spite of this, the hikes I’ve gone on have been exhilarating and enjoyable: the last hike I did was Grotto Canyon, but prior to the global health crisis, I hiked the Windtower trail and even saw a Grizzly Bear along the way.

  • As I made my way through Yama no Susume‘s first three seasons, I subsequently became hooked, and last September, I ended up ordering Yama no Susume Official Setting Materials, the official guidebook, for 8600 Yen (about 80 CAD today, including shipping). Featuring concept art, detailed drawings of the locations visited in the series and even interior drawings of the characters’ homes and important locations, Yama no Susume Official Setting Materials offers unparalleled insight into the series. It is the essential companion for Yama no Susume fans, and through this compendium, I was able to really appreciate the design that went into the Kuraue residence.

  • The Kuraue residence is a cabin-like home, standing in stark contrast with the Yukimura residence’s modern, clean designs. The contrasts were meant to accentuate the differences between Aoi and Hinata’s starting mindsets (Aoi is more domestic, while Hinata is more outdoorsy), but as Yama no Susume wears on, the shifts in Aoi’s interests means that the architecture tells a new story: regardless of one’s disposition, outdoor activities like mountain climbing are accessible to everyone, and that such activities are such that there is always something that is appropriate for one’s skill level.

  • At the onset of their journey, Aoi’s desire to hike and climb mountains is nil, but after recalling that she and Hinata had ascending Mount Tanigawa as children, she decides to give things another go because it had been a promise that they’d made. This sets in motion the events of Yama no Susume, and for the remainder of the first season, Aoi’s first experiences are shown in conjunction with moments like meeting Kaede and Kokona. Yama no Susume‘s first season had episodes lasting three minutes apiece, and that means it is possible to go through this season in one sitting.

  • Indeed, when Next Summit‘s first episode aired, almost the whole of season one was fit into the episode’s twenty-four minute runtime. A few moments, such as Aoi having a cook-off with Hinata, and her eventually picking up a new backpack for her second hike, are skipped over – the first season is still the more comprehensive experience, but overall, Next Summit‘s first episode did a fantastic job of condensing the most important moments of the first season into a story that brings viewers up to speed with how things began. The return to Yama no Susume coincided with my first trip to Banff National Park in three years – in past years, I stopped going with my family because of the lengthy traffic jams that would arise whenever we returned to the city,

  • The last time I visited Banff was with my second start-up, during a company retreat we had after I brought the app across the finish line. In the past three years, Banff has changed considerably; Banff Avenue is now pedestrian only during the spring and summer months, and there’s a large parking lot by the train station. To ensure we landed a spot, I suggested that we arrive by no later than 0900. The drive in had been quite foggy, but beyond this, the weather was perfect, with blue skies and mirror-smooth waters. After securing a parking spot, we decided to walk over to an iconic attraction, the Cave and Basin historic site using a route we’d never taken before. After walking the Discovery Trail and the Marsh Loop boardwalk, we returned to the downtown and stopped for photos at the Banff National Park Administration building, which offers a picturesque view of Banff Avenue and Cascade Mountain.

  • The day was rounded off with a drive back to Calgary, where we stopped for dinner at Café 100% YYC, a Hong Kong style bistro. I ended up having their evening special (on Saturday, it’s a Korean-style kalbi short-rib with fresh Pacific Scallops on a bed of spaghetti). Being my first time returning to Banff in three years, I had an incredible time, and this marks the last time I’ll be using the iPhone Xʀ for photographs: earlier today, I received an email from Apple indicating they needed updated payment information for me. After I supplied this information, my iPhone 14 Pro preorder immediately went into “Preparing to Ship”.

  • The status has since been updated to “Shipped”, and my iPhone 14 Pro is projected to arrive next Tuesday. I had been eying the iPhone 14 because I didn’t think I would need the more powerful phone, but after speaking with a friend and fellow iOS developer, I was convinced that the extra features and performance would be helpful to me. This moment parallels Aoi’s suggestion to Kaede: the latter had been eying a more expensive, but lighter sleeping bag for her mountain-climbing travels, and Aoi reasons that it’s better to go with the more expensive option now and enjoy what it has to offer, versus regretting going for the more inexpensive route and wishing one had spent a little more. I immediately related to this scene, and now, I’m doubly glad to have selected the iPhone 14 Pro.

  • Yama no Susume‘s second major excursion saw Aoi and Hinata visit Mount Takao after Kaede suggests to Aoi that this would be a good hike for beginners. Along the way, Aoi and Hinata meet Kokona, a middle-school student who loves nature hikes and animal spotting. After Kokona is introduced, Yama no Susume‘s main cast is present, and while no more large hikes follow, the anime focuses on getting the characters to know one another better. At first glance, being a series of shorts, Yama no Susume doesn’t offer much to talk about.

  • However, looking more closely at things, Yama no Susume is incredibly detailed and meaningful. This is a recurring trend I find in slice-of-life anime – a lot of folks are content to write reaction posts that ultimately amounts to commenting on how adorable the characters are, but I find that such posts can misrepresent a given work, and the slice-of-life genre as a whole, especially if they form the majority of discussion on such anime. Such posts typically don’t yield much in the way of discussion, and if everyone writes about slice-of-life on these terms, one can get the impression that slice-of-life anime are superficial series that lack substance.

  • The reality is that slice-of-life anime often speak to different facets of life and its lessons, as well as accentuating the merits of putting an effort into learning something and appreciation of the ordinary. I’ve found that, while it is true that writing about slice-of-life anime can be tricky, if I have previous knowledge in the topic a given slice-of-life anime covers, or if I can relate to that topic through an equivalent experience, it becomes significantly easier to speak to why a work is successful. In Yama no Susume, for instance, I’ve been hiking since 2016 and have my own stories to tell, so I can relate to Hinata and Aoi to some level. In doing so, I can compare and contrast my own experiences with what’s seen in Yama no Susume, as well as see what messages the anime sought to convey.

  • Without this experience or an equivalent, Yama no Susume would be much trickier to write about – there is only so much one can share about interpersonal dynamics and the importance of friendship without a topic to solidify these experience and provide a tangible backdrop for how these things come together to positively impact and enrich one’s life. This is why I hope that more people would have a chance to read my thoughts on shows like Yama no Susume: while I’m not going to be experienced in everything anime of this genre cover (I’ve never fished before, for instance), I have enough experience in similar areas so that I can delve into the nitty-gritty details behind why such anime are deeper than they appear and therefore, are worth giving a chance.

  • As Aoi, Kaede and Hinata marvel at the deserts that Kokona’s made, I reflect on the Sunday dinner from this past weekend: my relatives had managed to snag a massive cut of prime rib and decided to have us over. Besides the Prime Rib au jus, the meal also consisted of Bacon Brussel Sprouts, Baby Potatoes and Garlic Prawns. Pumpkin bread and warm butter, plus two kinds of cake and chrysanthemum tea accompanied the after-dinner conversation. Like Aoi, I am especially fond of these conversations because they are immensely relaxing – in Yama no Susume, moments like these brought Aoi, Hinata, Kaede and Kokona together even before everyone does their first hike together, showing how whether it be on the trails or over a meal, there’s many ways of connecting with people.

  • With this first episode of Next Summit in the books, this series is off to a strong start – there’s three more episodes before we start Next Summit proper, but I will continue to share my thoughts on these recap episodes: because three years have passed since I first watched Yama no Susume, it is worthwhile exercise for me to see how my thoughts surrounding this series may have changed over time. This season is going to be a busy one: besides Next Summit, I’m also going to write about Kantai Collection: Itsuka no Umi de. Further to this, I am actively watching Spy × Family 2, Mobile Suit Gundam: The Witch From MercuryBocchi the Rock!, and Uzaki-chan Wants to Hang Out! 2. At this point in time, I’m not sure which series I’ll be writing about, or what format I’ll take, but what is known is that we have a fantastic autumn season ahead for anime.

While Mount Fuji remains a lofty goal, Next Summit stands apart from its predecessors in that episodes are full-length now. Previously, Yama no Susume‘s short episodes allowed the series to convey especially memorable moments for Aoi. By showing only the most pivotal moments in Aoi’s life, Yama no Susume was able to present a very concise and focused story. However, here in Next Summit, full-length episodes have two benefits for Yama no Susume: if the series decides to portray other moments, it would be a reminder to viewers that seemingly-inconsequential moments may still have merit. Alternatively, Next Summit may instead continue on in the style of its predecessors and utilise its runtime to show more. The extended runtime would allow this season to show more moments in Aoi and Hinata’s lives as they continue to explore and appreciate the great outdoors. Regardless of which approach Next Summit takes, it should be clear that this long-awaited fourth season, which was announced back three Septembers ago, stands to cover a great deal of new ground and extend an already-excellent series further. Next Summit begins with four recap episodes, which serve to catch new viewers up with the story so far, and to jog the memories of veterans (even I don’t remember every last detail of Yama no Susume despite my counting the series as a masterpiece), and while recaps are typically reviled, Yama no Susume has done an excellent job of using the extended runtime to provide more context behind Aoi’s journey and decisions. By the time the fourth episode has concluded, viewers (old and new alike) will be fully caught up with the story, allowing Aoi and Hinata’s journey to continue on forward: of note is one Koharu Senjuin, the president of the Mountaineering Club at Aoi and Hinata’s secondary school. Although Hinata and Aoi have done their own adventures insofar, formally joining a club has, historically, given characters a chance to learn more about their hobby and some of the accompanying best practises. Having additional knowledge would provide Aoi with one more asset in her conquest of Mount Fuji.

Spy × Family: Remarks on An Excellent Portrayal of Fieldcraft, and A Review and Full Recommendation At The First Intermission

“You start pretending to have fun, you might have a little by accident.” –Alfred Pennyworth, Batman Begins

An uneasy peace exists between the divided nation of Westalis and Ostania – the Westalis organisation WISE deploys their top operator, Twilight, to get close to the Ostanian political leader of the National Unity Party, Donovan Desmond, with the aim of averting open conflict between the two nations. To this end, Twilight assumes the false identity of Loid Forger and is tasked with starting a family with the aim of enrolling a child at the prestigious Eden Academy. Although the task is daunting, Loid ends up adopting Anya from the local orphanage and encounters Yor Briar, a young woman who’s been looking for a partner to allay any suspicions of being a foreign actor. After their meeting, Loid agrees to marry Yor. This family might be a sham, and blissfully unaware of one another’s true identities (Yor is an assassin with the secretive Garden organisation, and Anya is a former child test subject with telepathic powers), but over time, they slowly manage to advance Loid’s plans of enrolling Anya at Eden Academy and have her become a capable student who can befriend Donovan’s son, Damien. Despite the various setbacks in Loid’s assignment, he comes to care for both Yor and Anya, finding himself surprised at Yor’s physical prowess and Anya’s gradual integration into the student body at Eden despite her disinterest in academics. Proving to be an unexpected surprise, Spy × Family very rapidly became a favourite among viewers for its unique combination of spy thriller, slice-of-life and comedy elements in conjunction with an engaging story and well-choreographed fight scenes – the series’ appeal lies in its ability to employ elements from a variety of genres and successfully incorporate these together into a cohesive, gripping adventure that simultaneously shows the significance of Loid’s actions from a big-picture perspective and presents more touching moments from the day-by-day misadventures that result from Loid and Yor still being new to the idea of parenthood as they try to raise Anya. The myriad of elements here in Spy × Family means that the series is able to touch on a wide range of messages and themes. Loid comments that a lot of families must also be faking it, trying hard to appear their best to others while at the same time, genuinely working hard to be the best for their children, speaking to the idea that appearances are deceiving. Similarly, Loid also thinks to himself that the assignment is structured in this fashion because taking direct action against Donovan wouldn’t stop the war: soft measures are needed, and this is why he’s been given such a task. In reality, use of lethal force against a high-ranking target is typically not even considered as an option because of the potential for creating unintended side effects, and as a result, nations will employ diplomatic and social means as a first line of defense against perceived hostilities. On top of these topics, the innocence of childhood is also utilised to juxtapose the uncommon nature of Yor and Loid’s work with a child’s imagination and open-mindedness: while most adults would lose composure at the thought of a top-tier operator and crack assassin, Anya finds her adoptive parents’ occupations extremely novel, even though she sometimes becomes worried about what Yor and Loid might do.

There’s a plethora of conversation topics in Spy × Family worth praising, but at the end of the first half, the most standout message arises from the fact that, in spite of himself, Loid shows concern for Anya and Yor beyond the demands of his assignment. He is legitimately worried about Anya’s gaining admittance into Eden Academy, and when she makes it, he collapses into the lawn in relief. Loid has been trained to compartmentalise his emotions and focus on the task at hand, and initially, he rationalises his concerns as being worried about putting the outcomes of his assignment in someone else’s hands, whereas previously, he’d been accustomed to doing everything himself. However, it soon becomes clear that taking on a phoney family has not stopped Loid’s emotions from manifesting: whenever Anya’s hurt or sad, Loid does his best to console and comfort her: he even comes close to punching one of Eden’s interviewers out after he makes Anya cry. On the surface, he’s doing this to keep his fake family together so he can complete his mission. However, a part of Loid also acts this way because it is intuitive to do so: Anya and Yor might be tools to an end, but the hesitation and contemplation he shows as Spy × Family wears on shows that he’s beginning to see them as proper human begins, more than instruments in his mission. In this way, Spy × Family shows how spending time with people will accelerate the bonds that form between them, and this is perhaps an inevitable part of being human, no matter how well-trained one is in separating their duties from personal lives. However, from the approach Spy × Family has taken, this is clearly not a bad thing, and it is especially fitting that Loid be tasked with raising a family with the aim of eventually befriending Donovan and learning more about his goals – despite Loid’s exceptional social engineering skills, one can surmise that shrewd politicians like Donovan have their bullshit meters turned up to eleven and can trivially spot deception from a mile away. To become a convincing friend and eliminate any doubts, Loid must act more human: being together with Anya and Yor provides the perfect opportunity for him to integrate this into a part of his routine. Spy × Family shows that Loid’s talents are sufficient for the task (as seen when he is able to play the role of a loving husband perfectly in front of Yor’s younger brother, Yuri), but there are moments where spending time with Anya and Yor also shows viewers a side of Loid that is decidedly human. Where these moments come through, to even the most effective counter-surveillance measures, Loid’s merely an uncommonly talented husband and loving father to Anya, leaving viewers with no doubt that his mission will be successful and allowing one’s mind to focus on the host of other things that Spy × Family does well.

Screenshots and Commentary

  • There are a lot of moments in Spy × Family worth commenting on, and while a handful of readers might be interested in a five-part series on everything Spy × Family does well, for the purpose of this talk, I’m going to focus on the family and fieldcraft pieces, which, in a standout series that already does everything right, are especially well done. The contrast between Loid’s life as an intelligence operative and the situations he finds himself being thrown into creates comedy, lightening the mood up considerably in a setting that would otherwise be all-serious.

  • When Loid adopts Anya as his child, her application suggests that she’s six, but her mannerisms and speech patterns are consistent with someone who’s four. Despite possessing telepathic abilities and giving her previous foster parents no shortage of trouble, Loid decides to stick things out – he’s unaware of her powers and chalks it up to uncommonly good intuition. For her part, Anya uses her powers in a way that a child might and gives even the well-trained Loid some trouble, but despite her carefree manner and a propensity to cause trouble in the way children might, Anya is very aware of those around her and does her best to keep the peace, even if she doesn’t fully understand what the adults mean when she glimpses into their thoughts.

  • Atsumi Tanezaki voices Anya – I know her best as Harukana Receive‘s Claire Thomas, but Tanezaki’s also played Aobuta‘s Rio Futaba, Miu Amano of Blend S and My Dress-Up Darling‘s Sajuna Inui. Seeing Tanezaki’s performance here in Spy × Family is exceptional – as Claire, Tanezaki is bold and confident, but her delivery of Anya’s lines is spot on and matches the precise intonations a child would make. Voicing children is a challenge, and the last time I was this impressed with a voice actress playing a child was Satomi Kōrogi’s performance as CLANNAD‘s very own Ushio Okazaki.

  • Yor Briar is the next part of Loid’s plan to build a family – he’s already gone ahead and looked into suitable single women for his ruse and, when a chance encounter brings the two together, both agree to build a relationship for their own ends after Anya expresses a wish for Yor to join their family. Yor appears perfect for the role of a wife with a government job, which will allay suspicion, while on her end, Yor worries that remaining single at her age will lead her to being suspected as a foreign actor and feels that being with Loid will give her the illusion of normalcy, getting her coworkers and brother off her back and allowing her to continue her secret occupation as an assassin.

  • Ironically, Loid ends up proposing to Yor as a part of their ruse to those around them, and things happen in a manner that is befitting of a spy and assassin couple. The dynamic here in Spy × Family is reminiscent of Mr. & Mrs. Smith, as well as 1977’s The Spy Who Loved Me: I’ve always liked stories where the male and female leads are able to compliment one another – competent characters eliminate any doubt in the viewer’s minds that the overall story will be jeopardised, and this provides viewers with the reassurance that the series can portray a different side of things. Spy × Family chooses to employ comedy, and it does so in an effective manner.

  • Once Yor moves in and takes the surname Forger, she becomes a part of the family. On her first day with Anya and Loid, Anya decides to give her a grand tour of the place, and Loid decides to set in motion his plans for Operation Strix, the name of his assignment to close the social gap between himself and Donovan so he can work out a way to avert war without use of force. The Strix is a mythological bird associated with death and misfortune, but it can also refer to malevolent forces like Witches, but for me, when I hear the word “Strix”, my mind immediately goes towards ASUS’ Strix line of GPUs. On their product page, they state that the GPUs are named after the owls, being the high-end products that offer players with the sharpest experience.

  • Ahead of the applications to Eden Academy, Loid takes Anya and Yor on some high culture experiences around town, including an opera showing and a museum of fine art. While this is a part of his plan to ensure Anya has familiarity with culture and the performing arts to strengthen her application, one unintended side effect is that in the process, Loid also learns to relax just a little. This is the reason why I ended up choosing the page quote: in Batman Begins, Alfred suggests to Bruce that he act a little more like a billionaire playboy philanthropist after Bruce unveils his plans to become Batman. What Alfred means is that, for folks who are dedicated to their work, it’s still important to maintain that balance.

  • By forcing one to take some downtime, one might find the merits of doing so. In Spy × Family, Loid begins to appreciate these moments of normalcy in spite of himself and occasionally catches himself wondering if this is the life of an ordinary person. In Tom Clancy’s novels, John Clark’s work was especially taxing Sandy, as she worried every time he set off on a mission. When Clark contemplates retirement, his wife cannot help but be relieved. While Loid and Yor are both extremely competent, unlikely to be killed in the line of duty, their work is also quite tiring.

  • Anya immediately takes a liking to Yor since she acts as a mother figure, although when Anya delves into Yor’s mind, she finds the latter’s thoughts to be quite scary. In spite of this, she loves Yor very much and is sufficiently comfortable around Yor to make offhand remarks that can be quite hurtful: despite her considerable skillset, Yor is a poor cook and unfamiliar with the things that wives are expected to do. Saori Hayami voices Yor: of her extensive and impressive resume, I know Hayami best as GochiUsa‘s Aoyama Blue Mountain, Sawa Okita of Tari Tari and Yuzuki Shiraishi from A Place Further Than The Universe.

  • The Forgers have done their best to prepare for a pivotal moment in Operation Strix – the admissions interview to Eden Academy. Anya had barely passed her exams, and the interviews are to gauge both the student’s temperament and the parents’ amplitude in raising their children. En route to the interview, the Forgers are subject to a variety of surprises: as a family that came out of the blue, Henry Henderson is surprised by their presence and seeks to test them. On each and every occasion, he ends up impressed at how well-prepared they are, and how elegantly everything is handled.

  • The part that Loid had dreaded most was the interview: although Henry and Walter Evans are amicable and fair, the other interviewer, Murdoch Swan, is unfriendly and arrogant, deliberately seeking out any reason to reject the Forgers owing to his bitter stance on marriage. In the end, after Murdoch asks a question that brings Anya to tears, Yor and Loid both find themselves exercising all of their self-control to keep from physically beating up Murdoch, only for Henry to do so on their behalf. Henry has no qualms about accepting Anya as a student, and after an excruciating day where they wait for the results, the Forgers learn Anya’s been waitlisted.

  • Soon after, Anya is admitted to Eden, and both as a part of his guise, and in part as a consequence of his own relief, Loid consents to do something special for Anya. When Anya asks for a Bondman like experience, Loid decides to go with it. This exercise may seem overkill, but WISE is more than happy to comply, knowing Loid’s keeping Anya happy and maintaining a good relationship with Yor is essential for Operation Strix, as well as owing to everyone’s open admiration for the legends surrounding Loid. In this way, Loid and his informant, Franky, arrange for a castle to be rented out so Loid can act out a scene from Bondman, a spy cartoon Anya’s grown very fond of.

  • Although the expense involved in this “operation” is so immense that Loid’s superior immediately asks him about it, Anya is thoroughly impressed that her father is able to pull everything off as effectively as he did. A large part of Spy × Family that I haven’t been able to showcase in this discussion are the action scenes: they’re very dynamic and difficult to capture in screenshots. Spy × Family was jointly produced by Wit Studios (The Rolling Girls) and CloverWorks (Akebi’s Sailor Uniform, My Dress-Up Darling and Aobuta): the artwork and animation are both of exceptional quality. The townscapes and details in the environment are intricate, while movements during fight scenes are fluid and smooth.

  • Loid’s handler, Sylvia Sherwood, assigns him with his assignments. Although she normally works a desk job at the embassy, she was the one who trained Loid and is a superb operator in her own right, although performing the same sorts of stunts that Loid performs is quite taxing for her. Sylvia and Loid share the same business relationship as M and James Bond do, although unlike Judi Dench’s M, Sylvia lacks M’s sense of dry humour and matronly dignity. However, were Sylvia to resemble M, Spy × Family would be seen as being too close to James Bond. Creativity in the setting, characters and goals mean that Spy × Family is quite distinct, although Bond fans will doubtlessly have picked up on some commonalities.

  • Anya’s name and background both are references to James Bond: as a test subject, she was referred to as 007, which is James Bond’s double-O number when he’s in active service, but her name is also a callback to The Spy Who Loved Me‘s Major Anya Amasova, a Soviet agent working for the KGB. In The Spy Who Loved Me, Amasova is presented as Bond’s equal, with the intellect and physical prowess to match Bond and even outwit him at times. This was a first in James Bond: previous Bond Girls were very much the stereotypical damsel-in-distress archetype, so it was refreshing to see someone who was a competent and skilled operator in her own right. I was actually a bit surprised that people didn’t catch this reference: while The Spy Who Loved Me dates back to 1977, it is Roger Moore’s best Bond movie and quite worth watching.

  • In Spy × Family, Yor is to Loid the same way that Amasova is to Bond: possessing extraordinary strength, Loid is surprised that he’s only just able to keep up with her, but she’s also determined to play the part of a good wife. Yor’s background means that she often imparts on Anya some unusual lessons, and this is not without consequence. On orientation day, after being bullied by Damian and his friends, Anya recalls a conversation with Yor and decides to punch Damian’s lights out. This results in Anya being branded as being violent, and Anya expresses remorse at the incident: although her new best friend, Becky, thinks Damian got what he deserved, Anya recalls that the whole point of her being here is so she can befriend Damian and get Loid closer to Donovan. For her troubles, Anya has a Tonitrus Bolt placed on her record.

  • Exceptional students, whether by merit of academic excellence, athletic prowess or community service, earn Stella. Students who accrue eight Stella join the Imperial Scholars, students with more privileges, while those with eight Tonitrus bolts are expelled. As far as academics go, Anya has a natural affinity for languages and struggles with mathematics. While she occasionally considers using her ability to peer into the thoughts of those around her to stay afloat, she decides to put in a more concerted effort to do her best for Loid’s sake. Because Loid’s plan had been to either have Anya become an Imperial Scholar and then attend a social event for the parents of these top students, or otherwise see Anya befriend Damien, Anya does her best with both endeavours.

  • She ends up spending a whole day trying to find Damien so she can apologise to him, and while his friends doubt Anya is being sincere, a series of misunderstandings causes Damien to develop a crush on her, even though he’s too proud to admit it. Damien and his friends, Emile and Ewen, initially resemble Draco Malfoy, Vincent Crabbe and Gregory Goyle, but in Spy × Family, Damien is shown to be a hard worker, and his friends actually regard one another as peers. Seeing the dynamics that form among the children in Spy × Family speaks volumes to the idea that despite outward appearances, people are more than what they seem. On this basis, I would feel that even Donovan is probably someone who can be talked to: he shares some design characteristics with Henry, and while Henry outwardly looks strict, he’s actually caring and observant. As such, there is a possibility that despite his reputation, Donovan might be someone who could be reasoned with.

  • Appearances being deceiving forms a bulk of Spy × Family‘s comedy: Yor’s younger brother, Yuri, is suspicious of Yor’s marriage and apparently having forgotten to tell him. To assage Yuri’s doubts about Loid’s being an excellent husband, Yor and Loid decide to have him over. While Yuri is outwardly a civil servant, he’s actually a highly effective member of the secret police and is, in fact, tasked with the hunt for Twilight. His reasoning goes out the window where Yor is involved, and he admires Yor a little more than is healthy; this aspect of him is employed for comedy, preventing him from suspecting that Loid is actually his target.

  • It does appear that everyone of note in Spy × Family is either uncommonly strong or uncommonly durable. During their evening, while Loid and Yor do their best to present a loving couple to Yuri, he adamantly rejects Loid and demands the pair show their commitment to one another by kissing. Loid’s trade craft means he has no qualms with this, but Yor’s assassin training doesn’t have a social piece to it, so she struggles. Embarrassment builds, and she ends up making to slap Loid, only for Loid’s swift reflexes to kick in: he dodges Yor, and she ends up putting Yuri on the floor, instead. Such moments are intentionally comedic, and this does much to remind viewers that, espionage setting notwithstanding, the characters are very much human.

  • Terrifying assassin she may be, Yor has adorable moments of her own, and of everyone in Spy × Family, Anya has the most “funny face” moments. The visual expressiveness accentuates the idea that at the end of the day, everyone in Spy × Family is human. This aspect of Spy × Family is what makes the show so relatable for viewers, but the story’s actual success comes from the fact that there’s something for everyone. Folks with an interest in politics will enjoy Spy × Family‘s portrayal of foreign affairs and the significance of intelligence as a component of political decision-making. Viewers with families of their own will relate to Loid’s thoughts about how sometimes, it can feel as though one’s ad-libbing things to keep things going, and that other families are also trying to look like they’ve made it, but at the end of the day, what matters most is ensuring one’s children are happy and disciplined.

  • Fans of espionage fiction, like myself, will get a kick out of the sorts of things that Loid can do and have access to, while viewers who appreciate sakuga will certainly enjoy the fight scenes, fantastically-rendered opening sequence and visual fidelity. Viewers who prominently watch comedies will laugh heartily at the moments of dramatic irony, and slice-of-life fans will have their hearts captured by Anya’s naïveté. In this way, Spy × Family is actually quite similar to The Melancholy of Haruhi Suzumiya and Yuru Camp△, both of which excelled precisely because they could appeal to such a wide range of viewers and combine everything together seamlessly.

  • Not every anime that attempts to weave so many elements together is successful: when done improperly, such anime come across as being excessively busy. Extreme Hearts and Kanojo, Okarishimasu are recent examples of anime that do too much. At its heart, Spy × Family succeeds because after the core premise is established, the story doesn’t stray from this path, and everything that occurs is tied to this goal. Loid is laser-focused on Operation Strix, but everything that follows, whether it be Loid and Yor’s fake marriage, or Anya’s initial troubles at school, all relate to Operation Strix. This simply shows how misadventures can follow even when one is following a plan, as well as how one might pull out of a difficult situation and turn things around with a bit of grit and creativity.

  • When rumours abound of a dodgeball tournament potentially leading to students earning Stella, Anya decides to train with Yor. On the day of the game, her class squares off against Bill Watkins, an unusually fit and perceptive student who takes pride in doing his best for his father. While Bill handily trashes Anya’s class single-handedly, his mature demeanour evaporates when Anya evades all of his shots. In the end, it turns out that Stella aren’t awarded for common activities and are only given for exceptional acts of excellence.

  • When Loid’s superiors worry about Anya’s progress, he decides to take her to the local health centre so that Anya can participate in some community service. Although Anya’s lack of coordination means that even the simplest tasks are difficult to her (unsurprising for someone who’s only four), her telepathy allows her to pick up on the fact that someone’s fallen into the pool and is drowning. She hesitates to tell this directly to Loid, worried he might send her back to the orphanage should words of her powers get out, and to this end, fabricates a fib that lets her to rescue the boy, even though she’s unable to swim well.

  • Anya’s act of singular daring and valuing of a human life earns her a Stella. Seeing the values at Eden Academy suggest to viewers that, despite Ostania being a parallel of East Germany, the people here have good values, and citizens are shown to have comfortable lives. Provided they don’t run afoul of the government or secret police, it does feel as though life in Ostania is quite normal, and that children are raised into being proper citizens who have a sense of discipline, responsibility and loyalty. Ostania appears to stand in contrast with East Germany, where life was described as being monotonous and dull. While the essentials were never in short supply, citizens’ lives were decidedly more dreary than their West German counterparts.

  • This doesn’t seem to be the case in Ostania: throughout Spy × Family, the characters are shown to have access to a decent variety of meals. When Loid takes his family to restaurants, said restaurants serve steaks. Loid and Yor end up buying an ornate cake from a local bakery to cheer Anya up and show her that, even if there’d been some awkwardness between the two earlier, they’ve managed to talk things out. At the Eden Academy’s canteen, Anya enjoys omurice, a dish of Japanese origin. After being awarded her first Stella, Anya’s classmates wonder if she’d cheated, but Damien openly states that Eden Academy is a place of integrity, and the instructors are above corruption.

  • In the finale to the first season, Loid ends up taking Anya and Yor to an aquarium to show the neighbours that he’s maintaining a work-life balance and keeping everyone in the household happy. Although the neighbours are initially skeptical after Loid disappears to locate a penguin carrying microfilm for a chemical weapon, he manages to pass off his disappearance as trying to win a prize for Anya. Loid’s ability to get things done border on the supernatural, and his ability to memorise penguin names and act as a proper penguin attendant would put The Aquatope on White Sand‘s Fūka and Kukuru to shame.

  • Besides a pleasant trip to the aquarium, the finale also gives viewers a glimpse of how Loid and Yor are beginning to act as parents would: when Anya attempts to sneak into Loid’s room while playing pretend, Loid reprimands her, only to realise he’s overstepped. While he’s acting in the mission’s interest, his response is consistent with how a parent would act: he and Yor end up playing along with Anya to take her mind off things, leading to smiles from those in the neighbourhood. I realise that in this post, I’ve only covered a fraction of what makes Spy × Family so enjoyable for so many.

  • The first season had ended quite abruptly, with the finale concluding back in June, but with the second season kicking off tomorrow, fans of Spy × Family will be able to get right back into the party very soon. The praise for this series is well-deserved, and in fact, I am of the mind that this is an anime that is universally enjoyable regardless of one’s preferences for genres. I will be following Spy × Family‘s second season with enthusiasm. The first season has sold me on the story and characters, so I look forwards to seeing what awaits Anya at Eden, along with surprises that lie in store for Loid and Yor.

Aside from providing viewers with a wonderful combination of thriller and comedy elements, Spy × Family nails the portrayal of the nature of intelligence, as well. While Spy × Family does present some elements of espionage that belong more in an Ian Fleming novel, such as the quintessential spy who is a sauve sharpshooter able to extricate himself from remarkably perilous scenarios, Spy × Family also takes the time of showing fieldcraft as Tom Clancy presents it: in his novels, Clancy writes that the best intelligence operators blend into their environment by hiding in plain sight. This is best exemplified in Adam Yao, whom Clancy introduces in Threat Vector as a NOC who runs an intellectual property firm as his white-side job. Yao is presented as being an expert of “selling it”: this is to embrace whatever role the situation demands and act with confidence that one belongs. In this way, Yao succeeds in striking up conversation with people and learning more about his objectives than he would by digging through their trash. That Spy × Family chooses this approach over the traditional James Bond way of blowing up a super-villain’s secret lair is welcoming because it shows the social aspects of espionage: while films tend to dramatise the martinis, girls and guns, real intelligence and fieldwork is a matter of persistence and patience: more often than not, intelligence is conducting surveillance on people to see what they know, and if they might be an asset, talking to people and gaining their trust. Spy × Family‘s portrayal of espionage incorporates James Bond, but the main mission Loid undertakes here is a textbook example of “selling it”: in order to get close to Donovan, Loid must sell being a loving father and husband from a cultured background worthy of Eden. While he, Anya and Yor experience some growing pains, it is clear that by the end of the first season, the three do appear to be a picture-perfect family beginning their own journey together. In portraying Loid and Yor as being competent, there is little doubt that Loid will succeed in his mission: the excitement in Spy × Family therefore comes from seeing what lies ahead, whether it be Anya’s efforts to befriend Damien, Loid’s trying to balance his other responsibilities with keeping up the façade of being a good father and husband, or Yor’s assassination work and the potential for her to clash with Loid should either learn of the other’s actual identity (á la the 2005 film Mr. & Mrs. Smith). There’s a great deal to look forwards to in Spy × Family, and with the first episode coming out tomorrow, I’m excited to see this story pick up where it left off – Bond Forger, a Great Pyrenees briefly seen during the penultimate episode after Anya desires to look after a dog, has yet to be formally introduced to the family, and this will doubtlessly add to the dynamics in a series whose characters, settings and overarching story have already been exceptionally fun.

Luminous Witches Finale Impressions, Whole-Series Review and Recommendation

“Music is powerful. As people listen to it, they can be affected. They respond.” –Ray Charles

Following the LNAF Band’s arrival in Britannia, they are whisked away to a variety of public relations events that leave them without a moment’s rest. Éléonore is invited to fly over to Gallia and help with the effort needed to raise morale withi the rebuilding effort. While she initially struggles with the decision, worried about what she will find back home, after a conversation with Virginia, Éléonore ends up taking the assignment, along with a feather from Moffy. On her first day, she visits Paris, and ends up making a request to Grace – Éléonore’s been curious to revisit her old home. Grace accepts this request, and the pair end up encountering a flock of black swans. Éléonore gives Moffy’s feather to the swans, who then fly off for Britannia, before running into the kitten she had as a child. Glad to see her doing well (the kitten’s grown up and has a family of her own now), Éléonore flies back to Britannia, where Virginia returns Moffy to the swans. Her Witch powers vanish, and she decides it’s time to return to her family, to the LNAF Band’s great disappointment. Grace reveals that command had intended Virginia to be transferred into a combat unit after she demonstrated the ability to communicate with other Night Witches, but with the loss of Witch powers, Grace approves for Virginia to be discharged. The impact on the LNAF Band is immense – everyone struggles with preparations for the Gallian concert and only find the strength to continue after imagining that Virginia is still with them. On the day Virginia prepares to board a train back to her parents, she overhears some passengers singing LNAF Band songs, and decides that Witch or not, she wants to be with Inori, Lyudmila, Maria, Manaia, Silvie, Joanna, Aira and Éléonore; Virginia manages to catch up to them just before they take off for Gallia. Upon arrival, the LNAF Band immediately begin preparations for their finale concert. Following a speech from Gallian Commander-in-Chief Cyrille de Gaulle, the LNAF Band take the stage and perform. During the concert, Moffy returns to Virginia and contracts with her, restoring her Witch powers. Following a successful performance, the LNAF Band return to Britannia and prepare to continue singing, starting with a one-year anniversary performance in the town near their headquarters. With this, Luminous Witches draws to a close, and with it, this marks the end of the latest Strike Witches spinoff, one which goes in a different direction than its predecessors.

Throughout its run, Luminous Witches hasn’t been subtle with its themes – this series reiterates the fact that all roles are of importance and that, just because someone is not on the frontlines actively contributing to the war effort, does not mean they can’t do what they can in a different capacity. Moreover, Luminous Witches illustrates how when people support one another, they are capable of excellence. Each member of the LNAF Band begin their journey as a misfit unsuited for combat operations, but together, everyone lifts one another upwards. This is demonstrated time and time again in Luminous Witches; Maria and the other Witches initially struggle to even fly, but they get around this by holding hands in the air. Over the course of Luminous Witches, the LNAF Band become more comfortable with one another and their duties, eventually becoming able to carry out the complex choreography that Maria’s envisioned in her mind and flying on their own. However, just because the Witches can fly on their own now doesn’t lead them to separate – instead, their bonds further strengthen. The sort of unity and spirit amongst members of the LNAF Band become critical because, once the Witches figure out how important they are to one another, these feelings become easier to convey in song. When Lyudmila and Inori struggle with the song-writing, advice to write the song to someone dear to them allows the pair to create the beginnings of music that connects hearts and minds together. The experiences the LNAF Band Witches have together come through in their music, and this allows the Music Squadron to reach people in ways they never imagined to be possible, showing how teamwork and putting forth one’s best can create things that far exceed expectations. In this way, Luminous Witches also exceeds expectations; although it’d been a spinoff of Strike Witches, the series has come to show another side to the Strike Witches universe, one that gives further insight into how large of an impact that the Human-Neuroi War is having on the world, but also how resilient humanity has been in this ongoing conflict, and how the resolve to keep fighting can come from the most unlikely of sources.

Luminous Witches also acts as an innovator in the Strike Witches franchise, marking the first time that Familiars are introduced into the series. Previously, the emphasis on the weekly battles against the Neuroi has meant that Witches are rushed into battle, and every available moment is shown of the Witches living and training together before taking into the skies to repel the Neuroi. The slower pacing in Luminous Witches has allowed for the series to finally depict the Familiars, spirit beings that are contractually bound to the Witches and provide their power. While the Familiars initially appeared to be an awkward addition that contradicted existing knowledge of how Witches operate, after Luminous Witches, it becomes clear that Familiars are an integral part of the series, being animal spirits that provide support and encouragement to Witches. However, despite their presence, Familiars never interfere with the LNAF Band’s ability to deliver hope; they are seamlessly woven into the story and are shown to have agency, accompanying worthy Witches on their experiences. Seeing Familiars in Luminous Witches leads to the question of whether or not they might become a more common aspect of future Strike Witches series: Luminous Witches has demonstrated how it is possible to introduce an element later into a series without breaking consistency established by previous works, and having now seen the Familiars, an additional side of the Strike Witches universe is finally shown to viewers. The strength of the bonds between a Witch and her Familiar is shown in Luminous Witches: although Virginia had thought she was doing the right thing by returning Moffy to her kin, it turns out Moffy’s come to enjoy her time with Virginia and sees her as a worthy Witch. Seeing this bond accounts for why Yoshika and Hikari never worry about their Familiars: they’ve likely already earned their Familiars’ trust and can therefore focus on doing what they can for those around them, too. At the end of Luminous Witches, it is firmly established that once Familiars see their Witch as worthy, they will stick around for the long haul, and this suggests that Virginia and Moffy will definitely be able to bring joy to the world alongside the other members of the LNAF Band.

Screenshots and Commentary

  • The LNAF Band’s world tour drew to a close right after Yoshika and the 501st toppled the Gallia Hive; immediately after returning to Britannia, the LNAF Band is sent out on a public relations campaign to promote the Witches and their achievements. Although it’s exciting, the daily photography sessions and speeches leave the Witches exhausted. With the 501st’s victory, this marks the first time the events immediately following Strike Witches are animated, and from what Luminous Witches shows, the LNAF Band are even busier than their combat counterparts in the aftermath.

  • In between speeches, the Witches have a chance to unwind briefly: they enjoy a meal here, and Lyudmila wonders why Éléonore’s been in the spotlight the whole time even though Aira technically leads the LNAF Band. Unsurprisingly, since Éléonore is from Gallia, she’s got a bit more pressure on her, since her homeland has now been liberated. On the wall in this room, a world map can be seen. The oldest iterations of Strike Witches show China as being completely annihilated and replaced by an ocean, but later maps show China, with the in-world lore suggesting that the region is under complete Neuroi control and is depopulated.

  • This is a bit of a convenient way of avoiding the portrayal of Chinese Witches, which are noticeably absent in the whole of Strike Witches: it’s always struck me as odd that Fumikane Shimada declined to include Chinese Witches in Strike Witches, especially when considering how rich and storied Chinese culture is, but that’s a discussion for another time. Back in Luminous Witches, for Éléonore, the biggest conflict she experiences here is that while she yearns to return to Gallia, she also worries about seeing how damaged the country is following years of Neuroi occupation.

  • Seeing the scope of the destruction must’ve been sobering to Éléonore: she spends her first day touring Paris, which has been levelled. The Eiffel Tower lies in ruins, and while she’s asked to pose for photographers, her mind returns to a time when she’d been a child and had met a stray cat. Having taken this cat in shortly before the Neuroi arrived, Éléonore was dismayed to separate with this cat during the evacuation. That evening, Éléonore reflects on how she became a Witch, and asks Grace for a small request. Éléonore’s story also shines a bit more light on how Witches work here: it turns out that young women can become Witches after meeting a Familiar.

  • When Éléonore’s familiar ends up spotting some black swans, she pulls out the feather she’d brought with her. The swans appear to recognise it and fly off, seemingly in search of their companion. They leave behind a single black feather that Éléonore hangs on to. Throughout Luminous Witches, Virginia’s determination to bring Moffy back to her family has never wavered, no matter how many tours she’d gone on with the LNAF Band, and this side of Virginia shows that while she’s still young and starry-eyed, there’s a side of her that’s not dissimilar to Strike Witches‘ Yoshika, and Brave Witches‘ Hikari.

  • Although Éléonore’s family safely evacuated, the cat she’d left behind would continue to weigh on her conscience. However, this uncertainty is resolved when Éléonore finds the exact same cat, who’s now started a family of her own. To her, seeing this signifies how people can find ways to endure and survive even during the toughest of times; if her cat could make it, then there is hope that some day, human resilience and resolve means that life will return to Gallia.

  • Éléonore thanks Virginia for having encouraged her to participate in the tour of Gallia and gives her the feather she’d picked up from the swans. Earlier, Virginia spoke to how mysterious her meeting with Moffy was, citing it unusual that Moffy chose to remain with her after all this time. Virginia felt that Moffy has longed to soar and believes that as thanks for having been with her until now, it’s her duty to help Moffy find her kin. This pep talk motivated Éléonore to summon the courage needed to fly over to Gallia. Virginia might not have any combat experienced and is comparatively young, but her naïveté allows her to be very forward about how she feels, similarly to Yoshika.

  • Moffy responds to the feather, and moments later, the black swans arrive to take her home. It is here that Moffy and Virginia part ways: Virginia is sad to see Moffy go but appears to have no regrets, having finally achieved what she’d set out to do. Shortly after, her powers as a Witch vanish, and this left me to wonder how Luminous Witches‘ mechanics fit in with what previous instalments had established: Familiars were completely absent in Strike Witches‘ three seasons and Brave Witches, with magic being treated as one’s ability to draw power from another dimension.

  • However, here in Luminous Witches, it appears that being a Witch is directly related to one’s Familiar, and accessing magic is done by forming a contract with a Familiar. If a Witch releases a Familiar from their contract, they subsequently lose their power. Admittedly, this was a bit surprising to see, since it does go against what earlier works had suggested. Inconsistency is something that can arise in long-running works, no matter how much attention is paid to details. Even Girls und Panzer makes gaffes from time to time: in the third OVA, Miho and her friends visit a desert on the Ooarai School Ship even though previous footage of the ship shows no such terrain.

  • As the evening sets in, Virginia’s fellow LNAF members look on in silence as she contemplates what’s happened. On one hand, Virginia is happy that Moffy has reunited with her kin, but without any magic, she’s no longer a Witch. The lighting in this scene is vivid: it marks the end of one milestone in Luminous Witches, and there’s a bit of tension as the other Witches wonder what will happen next. Although no dialogue is present after Virginia gives up her Witch powers, the lighting speaks volumes to how uncertain everyone is feeling about things. This left the anticipation for the penultimate episode quite high.

  • In retrospect, Virginia giving up her Witch powers is not the unexpected twist that it had been in the moment: prior to the climax of Strike Witches, the protagonist would always be put in a position where they would leave, only for circumstance and fate to push them back towards their companions. Strike Witches is a series defined by its propensity to stick with a known approach, and while this leaves both the main series and spin-offs predictable, the variations in how similar circumstances come about show how all of the Witches share a common mindset, whether they’re fighting to take a hive down or sing together for a nation’s morale.

  • Virginia’s circumstances shift wildly: command had been eyeing her for a combat role now that they know she’s capable of transmitting (during the Orussian leg of their tour, Virginia managed to send the Neuroi’s location to nearby Witches), but with her Witch powers gone, she decides to transfer out of the armed forces and return home now that she can no longer use her magic to be useful to her fellow LNAF Band members. Virginia was therefore set to leave the Music Squadron one way or another, although since losing her magic precludes her transfer into a combat unit, this outcome actually becomes a little more favourable for the LNAF Band.

  • While I’ve been around Strike Witches long enough to know that things will always unfold in a way to build up tension before the big finale, the series’ sequels and spinoffs have always found a way to create emotional investment; here in Luminous Witches, Virginia’s departure has a nontrivial impact on the group. Viewers have seen for themselves the sort of encouragement and energy Virgina bought to the table, and her sudden decision to leave the band surprises everyone. I would imagine that Virginia chose this route because she didn’t want to drag out any goodbyes.

  • After Virginia leaves her post, the other Witches begin preparations for their concert in Paris. However, without Virginia, everyone’s feeling a little off. Of everyone, Inori seems to be hit hardest: Luminous Witches has her in the role of “protagonist’s best friend”, and while it’s plain the pair are quite close, it suddenly hits me that Virginia doesn’t have quite as much on-screen time spent with Inori as Yoshika and Lynette did. Luminous Witches was written to be a 1-cour anime, and its story is sufficiently simple such that it would fit into this timeframe, but a part of me feels that, had this series been given a more unconventional fifteen episodes, it would’ve offered the space to flesh out characters and show off the concerts further.

  • While Inori and Lyudmilla talk about Virginia’s influence on their music, Maria and Manaia struggle with adapting their choreography to a team of eight, and Joanna and Silvie decide to make a ninth costume for Virginia anyways, even though she’s gone. While perhaps unremarkable compared to the other LNAF Band members, all of whom have their own unique quirks, Virginia’s biggest asset is that she comes from an everyman’s background. The tabula rasa archetype is a common one in anime and acts as a stand-in for viewers, who would similarly have no a priori knowledge of a world. A character’s growth from interacting with the fictional world, then, is a parallel for the viewer’s own increasing immersion into the world.

  • This is why military moé anime tend to feature similar protagonists: viewers share the same perspective as the protagonist and feel like they’re learning about the world alongside the lead character. Back in Luminous Witches, the LNAF Band go ahead with their latest speech prior to their departure for Gallia. In the end, everyone’s decided to prepare as though Virginia were still among their number. Although they continue to do what they can, Virginia’s absence is noticeable, and Inori breaks down in tears in between events.

  • Virginia boards a train and prepares to make her way back home: she hears the LNAF Band performing on the radio and wishes she were still a part of them. However, having resigned herself to her old life, Virginia boards the train. Here, I remark that Luminous Witches, befitting of a music-themed Strike Witches, has an excellent soundtrack, but at the time of writing, I’ve not heard anything about the series’ incidental music being available for purchase anywhere. Some of the songs that were performed during Luminous Witches will be released as a part of the character albums, but I would’ve liked to have seen the incidental music be released, too: Strike Witches‘ soundtracks, while perhaps not the most remarkable or innovative, do successfully capture the emotional tenour in this universe.

  • On board the train, after Virginia hears some of the other passengers singing a LNAF Band song, she thanks everyone for their support, and some of the children immediately recognise her. After spotting this, Virginia realises that Witch or not, she’s become an integral member of the LNAF Band. The children encourage her to return to her friends, and on the spur of the moment, Virginia asks her uncle to take her back to the airfield. The others are preparing for takeoff, but after Inori spots Virginia returning, she and the Witches implore Grace to cancel takeoff.

  • One supposes that the Lancaster has not hit V1 yet (the speed at which takeoff should not be aborted): takeoff is halted, giving Virginia a chance to catch up with her fellow LNAF Band members and join them on their finale tour in Gallia. Inori, Lyudmilla, Manaia, Maria, Silvie, Joanna, Éléonore and Aira rush out to greet her, tearfully welcoming Virginia back. For Virginia, the realisation she’s had here is that magical powers or not, her experience with everyone meant that at the very least, she should follow her heart and do what she can for those around her.

  • Luminous Witches proved to be an unexpectedly moving series: it’s a ways more tearful than its combat-oriented counterparts, but I was surprised that the series was able to focus on the emotional aspects of music so effectively. Strike Witches has long been known for its fanservice, so seeing the series dialling this back in favour of character growth and world-building has been especially enjoyable. With Virginia on board, it’s now onto Gallia for one final performance: having Virginia back lifts the LNAF Band’s spirits considerably, allowing Luminous Witches to enter its final episode on a high note.

  • In this way, Virginia returns to join her companions for one final performance at Gallia: the new LNAF Band uniforms look amazing, befitting of a celebration of humanity’s first major triumph over the Neuroi. While Virginia might lack any magic, her singing and dancing remain in good shape: shortly after arrival, the group practises for the show. On the day of the event, Éléonore and Aira watch as Gallian Commander-in-Chief Cyrille de Gaulle gives a speech. de Gaulle is modelled Charles de Gaulle, who led the Free France movement against Nazi Germany and ran the provisional government after France’s liberation.

  • de Gaulle would later become the President of France and retain his post until he resigned in 1969. Although there were some controversies in his time, de Gaulle is widely regarded as having a positive impact on France. During Luminous Witches‘ finale, several other Allied commanders can be seen, including General Patton and General Bradley. I had been hoping that the 501st would make an appearance during Luminous Witches‘ grand performance, but in retrospect, their absence is a consequence of the 501st being disbanded immediately after they destroyed the Gallian hive.

  • Virginia watches with joy as her friends soar into the skies for the first song of their performance. The Witches are performing on the Arc de Triomphe, an iconic Paris landmark that was finished in 1836 to honour those who fought for France in the French Revolution and Napoleonic Wars. In Strike Witches, the presence of the Arc de Triomphe suggests that there was equivalent events in Gallian history, and from the top of the monument, the Witches notice that Paris had been rendered quite dark following the Neuroi occupation. When their performance begins, however, the LNAF Band’s music and spirits light up the night skies.

  • As Virginia continues to sing her part on the ground, her feather begins glowing. Inori had added the feather to her uniform so she could perform with a part of Moffy, and while Virginia cannot see the feather, the gesture is appreciated all the same. An elegant black shape appears in the night skies mid-performance, and it’s Moffy, who’s returned to Virginia. One can imagine that after meeting her kin, Moffy decided that her future also lay with Virginia, and this time, it appears that Moffy’s agreed to contract with Virginia. In a heartwarming moment, Virginia and Moffy reunite.

  • The resulting union creates a burst of magical signals that spreads across the world. From this moment, I gathered that it is probable that in her juvenile form, Moffy’s own abilities had not fully manifested yet, which would be why Virginia could only receive and not transmit. However, by maturing, Moffy gains the ability to transmit, as well. Mirroring this, Virginia’s magic antennae change shape and assumes the form of a parabolic dish. The LNAF Band’s music is transmitted across the world to all Night Witches, who are able to hear the LNAF Band’s performance.

  • Two familiar Witches, Heidemarie and Sanya, are given a cameo appearance as some of the Witches who receive the LNAF Band’s music. I’ve not seen Heidemarie since the events of Strike Witches: The Movie some six years ago, as well as the manga, The Sky That Connects Us. It is a little surprising as to how long Strike Witches has been around for: I found the series back in 2011 purely by chance, and while the Strike Witches back then had been a monster-of-the-week deal, the series has matured considerably over the years to the point where it plainly stands on the merits of its character growth and world building.

  • Gratuitous pantsu and crotch shots are totally absent in Luminous Witches, a first for Strike Witches and its spinoffs, but this never detracts from the show itself. Having said this, I feel that it was through the original fanservice that gave Strike Witches its recognition, and this is what created enough interest to allow the series to continue exploring the world that was introduced. Back in Luminous Witches, with her magic now back in full, Maria and Manaia immediately hand Virginia her Striker Unit. Having not flown for a while, Virginia’s flight is unsteady, but Inori and Lyudmilla help her into the skies.

  • By this point in time, the LNAF Band have become sufficiently comfortable with flying such that they no longer hold hands when taking to the skies, allowing Maria and Manaia to choreograph increasingly sophisticated routines for their performances. I’ve always felt the hand-holding was an excellent visual metaphor for reflecting on how these non-combat Witches supported one another, and over the course of the series, it appears that by supporting one another, everyone’s also lifted themselves up.

  • After performing their flight, the LNAF Band return to the Arc de Triomphe, which is now surrounded by thousands of spectators. Seeing such a number of people here speaks volumes to how much of an impact the group has had on morale around the world. In the finale, it did feel a little jarring to see SHAFT simplify the crowd animation: in most idol anime, audiences are rendered using a sea of glowsticks, but glowsticks are a post World War Two invention – Michael M. Rauhut invented the precusor to modern glowsticks in 1971. In the absence of the usual audience, crowds in Luminous Witches‘ finale do seem a little unusual.

  • Miracles are a common part of Strike Witches, allowing characters to overcome their internal struggles and achieve the impossible at the last possible hour. Luminous Witches joins its predecessors in suggesting that such miracles are not deus ex machina, but rather, the culmination of bonds of trust and respect cultivated over many trials and tribulations. While following the same approach, Strike Witches and its spin-offs remain worth watching because of how different the bonds among the characters are.

  • After the whole of Luminous Witches, Grace has become my favourite of the characters. Although she’s not a performer herself, Grace is talented and motivated, working from behind the scenes to ensure that the LNAF Band can be successful. Grace is voiced by Mikako Komatsu, and a quick search of this blog’s archives finds that Komatsu is Pride of Orange‘s Yōko, the Dream Monkey’s coach. Unlike Yōko, however, Grace is realistic about what she does, and a part of the joy of watching Luminous Witches is seeing her efforts come to fruition.

  • Because Grace had been responsible for the LNAF Band’s successes to the same extent that each of Virginia, Inori, Lyudmila, Maria, Manaia, Silvie, Joanna, Éléonore and Aira had, Aira and Éléonore decide it’s time to give Grace some shine time while everyone else prepares for the next act. While she’s at a loss for words, professionalism kicks in, and Grace begins with a speech thanking everyone. However, the size of the crowd soon fills her with a desire to sing.

  • Grace thus performs Amazing Grace for the thousands gathered – it is probably the most iconic of English hymns, and from a secular standpoint, symbolises the delivery of hope. Seeing Grace perform was quite unexpected: she had spent the whole of Luminous Witches putting the LNAF Band together and encouraging everyone to do their best, as well as arranging for their tours, accommodations and other supporting elements. However, when the chips are down, Grace has a wonderful singing voice too: unlike the other managers in idol series, Grace is also a capable singer in her own right and never missteps.

  • With the concert drawing to a close, the LNAF Band prepare for their last song, and thanks to Virginia’s awakened Witch powers, the entire concert is broadcast around the world, speaking to the strength of everyone’s feelings. As a bit of a parallel, the fact that the world has rallied around the LNAF Band and their music also speaks to humanity’s determination to live on. It is going to be a little sad to see Luminous Witches go: having accompanied me for the past three months, I looked forwards to watching episodes every week. While Luminous Witches‘ Sunday release meant I often missed episodes on Sunday itself, since I was out and about capitalising on the summer weather.

  • With autumn now here, the trees have finally begun to turn yellow, and I capitalised on the weather to go for a walk around Weaselhead Flats, a park in another part of town I rarely visit. If memory serves, the last time I visited Weaselhead Flats, I was finishing up primary school. It was a balmy 22ºC today, and as such, the walk was especially enjoyable. Yesterday, I walked the inner city and hit a viewpoint offering a stunning view of the city centre. I understand that this past weekend, the Call of Duty: Modern Warfare II open beta was running, but when the weather’s this nice, the games can wait.

  • Thanks to Virginia’s magic, the Gallian performance reaches a worldwide audience, filling the skies with a display far surpassing even today’s 8K screens. While technology has advanced considerably since the Second World War, to the point where we’re able to stream UHD in real time to people around the world, the constraints of an older era meant that reaching so many people would definitely have a romantic appeal to it. In this way, people around the world are able to celebrate the destruction of the Gallian hive and have hope that there is a chance of winning the Human-Neuroi War.

  • Following the Gallian concert, Moffy reverts to her old form, and the LNAF Band prepare to practise again: a year has passed since Grace gathered everyone and formed the LNAF Band, and everyone’s been allowed to stay together. Demand for morale-lifting music is at an all-time high, and the Music Squadron must keep training to stay at the top of their game. However, despite the hard work involved, everyone’s all smiles now that they’re allowed to stick together.

  • When I wrote about the Luminous Witches preview video back in February 2021, I had been hoping that the series would come out soon, but various circumstances led to Luminous Witches‘ being delayed. The series soon fell from my mind, but when it was finally given a release date, I’d been quite excited to watch it. The end result exceeded my expectations – I had already known that I would enjoy anything set in the Strike Witches universe, but how Luminous Witches unfolded proved to be captivating. Despite there being no combat to speak of, and correspondingly, no military hardware to discuss, watching everyone slowly becoming closer over the the course of the season proved very rewarding.

  • While Grace acts embarrassed at the thought of performing alongside the others, I imagine that she’s also a little pleased that the others suggest she’s still youthful enough to sing. I certainly wouldn’t mind seeing Grace with Virginia and the others, and here, I will note that both interest in and discussions surrounding Luminous Witches have been quite limited – my posts on Luminous Witches have been quiet, and other discussions (excluding episodic reactions) on the series are hard to come by. However, I would still like to thank those for sticking this journey out, and I hope that my approach towards Luminous Witches have been helpful to some capacity.

  • Overall, Luminous Witches earns an A+ (4.0 of 4.0, or 9.5 of 10) – this series exemplifies how far the Strike Witches franchise has come in presenting a touching series with lovable characters, and, even without the aspects that are central to Strike Witches, can remain faithful to the originals while at the same time, continuing to build out the world further. After twelve episodes, I’m familiar with the Music Squadron the same way I’m familiar with the 501st and 502nd. While the series may not have changed my world views to any significant extent, I exit Luminous Witches fully satisfied and grateful to have followed this series every week.

As SHAFT’s first Strike Witches, Luminous Witches was of a technically excellent quality in its hand-animated scenes, voice acting, music and audio engineering. The main shortcoming in the series is how blocky the dance sequences look – this is traditionally the weakest aspect of any idol anime, where computer animations are used to render multiple characters dancing simultaneously. While Luminous Witches makes an effort in trying to clean these scenes up, their usage remains quite evident. On the other hand, every other aspect of Luminous Witches is of a consistently good quality, allowing Virginia and the LNAF Band’s experiences to remain immersive and convincing. Altogether, while Luminous Witches is not particularly innovative or novel from a storytelling perspective, and the technical aspects aren’t groundbreaking, the series’ sincerity and genuine characters make this a worthy addition to the Strike Witches universe, showing how it’s possible to support people in ways beyond picking up a weapon and eliminating the Neuroi one at a time. By being able to reach the hearts and minds of the civilian populations in a given nation, the LNAF Band give the people a reason to hold onto hope, and to keep backing the Witches as everyone works together to repel the Neuroi and restore peace to a war-ravaged world. Luminous Witches therefore ends up being a touching series, one which both expands on the Strike Witches universe and demonstrates how much of the world still remains to be explored. With this being said, because Luminous Witches is dependent on a priori knowledge of the other Witches and the gravity of the Human-Neuroi War, Luminous Witches cannot be considered to be an ordinary idol anime. One will have the most enjoyment of this series if they’ve seen at least the original 2008 Strike Witches series; while this one’s a little dated, it provides enough insight into the Human-Neuroi War such that the events of Luminous Witches have more context. On the other hand, Luminous Witches is a fantastic series for existing fans of the series, adding a new dimension to a universe that has been steadily maturing and improving since it began its run.

Growing Sunny, Crying and Sometimes Singing: Revisiting the Conclusion of Tari Tari a Decade Later and The Legacy A Celebration of Multidisciplinary Approaches Imparted on P.A. Works

“That’s the key to new and good ideas; they come from having a very broad and multidisciplinary range of interests.” –Robin Chase

While Tari Tari had opened with uncertain aims, by its finale, this series had delivered a moving story of how a disparate group would come together and, using their unique backgrounds and experiences, help one another out of their problems before rallying their entire school together to perform one final swan song, in the form of a play with live music from the choir, before it closes down ahead of a plan to redevelop the area. Although Tari Tari had seemingly been about everything and nothing, this aspect of it proved to be the anime’s greatest asset – each of Wakana, Konatsu, Sawa, Taichi and Atsuhiro came in with different skills and perspectives, but despite seemingly lacking a shared set of interests, they come to realise the worth of their time spent together and cherish the memories they make, using these experiences to forge onwards into an uncertain future. In this way, Tari Tari was a celebration of being multidisciplinary; the final performance comes about precisely because everyone was able to bring something distinct to the table. Wakana’s background in music and a desire to bring her mother’s old song to life allows her to write the play’s music. Konatsu’s optimism and enthusiasm keeps her friends moving forward even when everyone seems mired in their own problems. Atsuhiro similarly desires to do something grand for a friend back home and ends up contributing the props with Taichi, while Sawa uses her connections to bring as many people as possible to make the show one to remember. None of this would’ve been possible had the characters not opened up to one another – when Tari Tari concluded, the series’ emphasis on music had spoken to the idea that music transcends background, belief, intents and desires to unify people. The series showed how people who are outwardly different can share more in common than they had imagined, and that by opening people up to this fact, music can set people down a rewarding path they’d never experienced. Seeing Wakana come to terms with her mother’s death, and Sawa fighting her hardest to again admittance to an equestrian school reminds viewers that everyone has their own struggles, but when they open up and help one another out, seemingly insurmountable problems are overcome. However, Tari Tari also marked the first time P.A. Works explored the multidisciplinary mindset. Rather than have each of Wakana, Konatsu, Sawa, Taichi and Atsuhiro be members of the choral club, Tari Tari gave everyone a unique background and has them come together in the unusually-named Choir-and-Sometimes-Badminton Club. Such a setup would, on paper, seem conducive towards lack of a cohesive direction, but the club ends up exceeding expectations in its achievements precisely because, given that Wakana, Konatsu, Sawa, Taichi and Atsuhiro all contribute different things to the swan song that leaves their entire graduating class with life-long memories.

In its execution, Tari Tari would ultimately set the precedence for P.A. Works’ future anime to a nontrivial extent. Despite possessing a less focused story than its predecessor, Hanasaku Iroha, and having a shorter runtime, Tari Tari had demonstrated that even with the short format and a narrative that progressed much more quickly, it remained possible to tell a highly compelling story with engaging, relatable characters. This approach would return in Sakura Quest, which similarly had a group of individuals with distinct skillsets and backgrounds unite in a quest to bolster tourism in a remote rural town, and again in The World in Colours, where magic and photography combine together to allow Hitomi and her grandmother, Kohaku, to connect more closely and help Hitomi to regain the colours in her world. Similarly, in The Aquatope on White Sand, Kukuru and Fūka both end their stories quite far from their first steps. Fūka began her journey as a failed idol who sought refuge by working in an aquarium, but her experience in entertainment allows her to bring a very unique skillset to become a talented attendant. Kukuru had spent her entire life enraptured by marine life and longed to be an attendant, but at Tingarla, she discovers that her attempts to keep Gama Gama open means, when she puts her mind to it, she is able to excel in marketing, as well. Tari Tari established that stories celebrating the multidisciplinary approach can be exceptionally moving regardless of the context – in time, viewers will come to root for the characters because seeing their stories and grit proves inspiring, regardless of whether the characters’ goals are to embrace magic, bring tourism and life back to a small town or promote a newly-opened aquarium. In promoting the multidisciplinary approach to life, P.A. Works is seeking to remind viewers of its increasing relevance in all facets of life – combining seemingly unrelated fields confers numerous advantages in both academia and industry because it provides a more holistic view of a problem, and this in turn allows one to draw upon knowledge from different areas to identify and implement effective, innovative solutions. Through their stories, P.A. Works celebrates methods that encourage people to adopt a broader mindset towards the challenges in their lives, and from a storytelling perspective, it creates for plots in which one is always kept on the edge of the seat by what’s about to happen next.

Screenshots and Commentary

  • By Tari Tari‘s end, everyone’s undergone a considerable amount of growth. Konatsu is more mindful of those around her, while Wakana has rediscovered music, and Sawa similarly realises that she can count on people in her corner to help out. It was a rewarding journey to follow, and thirteen episodes later, Tari Tari shows that even with the shorter format, P.A. Works could still deliver a fantastic story by ensuring that no moment is wasted. In this way, Tari Tari is all steak on top of its sizzle. Towards the series’ end, the land the students’ school stands on us purchased by a land developer, forcing term to close early.

  • Although the developers had tried to buy the principal out, in the end, the principal decides his students’ memories are worth more than whatever bonus they’re prepared to offer him. Forgoing the bonus, he authorises the final performance to proceed even as a heavy rainfall hammers Enoshima. One detail in Tari Tari I’ve always found especially impressive was the use of reflections to convey the idea of wetness on the ground whenever it rains, and here the characters’ reflections can plainly be seen. Tari Tari aired during a time when NVIDIA’s Kepler series first hit the market: this was well before real-time ray-tracing became mainstream, and a part of me does wonder if real-time ray-tracing could be applied towards anime.

  • Instructor Naoko had been a minor antagonist of sorts early in Tari Tari: she was strongly opposed to Konatsu starting her own choral club and seemed quite intent on ensuring that Konatsu would not sing, but as Tari Tari wore on, it became clear that Naoko saw a bit of Wakana’s mother, Mahiru, in Konatsu: when she was still alive, Mahiru had been a free spirit who was both knowledgeable about musical theory and saw music as an avenue for having fun. Over time, seeing Wakana come around helps Naoko to accept her best friend’s passing.

  • Thus, on the day of the performance, Naoko has no qualms in backing the principal’s decision to allow the performance to continue, and she even helps organise the choral club and band’s participation. The rainy weather on this morning had acted as something of a dampener, accentuating the feeling of unease, but once everyone gathers, even rain cannot douse their spirits. The Choir-and-Sometimes-Badminton Club thus initiate preparations ahead of their presentation while other students and parents begin assembling to watch the show.

  • Although Konatsu had initially appeared to be a Ohana Matsumae knockoff, over the course of Tari Tari, she would come to gain development of her own. Like Ohana, Konatsu is optimistic to a fault and is very forceful about what she wants, but this initially gets her in trouble with those around her. Konatsu gradually learns to dial it back and think before jumping into a situation, but is also given a chance to be her usual self upon learning the school is closing; her blunt and direct approach is needed in a time where speed is essential in ensuring everything is ready, inspiring even her former choral club classmates to contribute.

  • As the morning transitions into the afternoon, the rain begins letting up, and some of the students start showing up to check out the performance. Enoshima Sea Candle can be seen in the background: the events of Tari Tari are set in Fujisawa, and the area’s picturesque landscape has made it a popular choice for being the setting in a given anime. However, of all the incarnations I’ve seen so far, Tari Tari‘s portrayal of Fujisawa and Enoshima remains the best: even though this is one of P.A. Works’ earlier titles, Tari Tari‘s visuals are gorgeous.

  • The musical finally begins: this had originally been Konatsu’s idea as their school geared up for their annual culture festival, but when the developers purchased the land and accelerated their plans to begin construction, all school events were cancelled. Refusing to give up, Konatsu and her friends ended up pushing ahead even without permission; help from Wakana is ultimately what gives everyone the resolve to continue. Wakana had begun her journey in Tari Tari with the intent of quitting music and leaving her regrets behind: shortly before her mother had passed away, Wakana had been short with her, and since then, she’d felt guilty about not spending more time with her. Abandoning music was her original way of leaving the pain behind, but through Konatsu and Sawa, Wakana realises the way forward is to embrace what her mother had loved.

  • The energy and determination in the Choir-and-Sometimes-Badmonton Club exude eventually convinces their classmates to help out; because their school was slated to close so suddenly, the students realise that this represents a final chance of sorts to participate in a swan song to their high school memories. In this way, the club is able persuade both their fellow students and neighbourhood to show up. The sort of outcome in Tari Tari brought to mind memories of my first-ever journal publication: it had been abandoned when term picked up, but after the MCAT, I found myself with more time than I’d known what to do with.

  • Working on the paper with my colleagues was my way of filling that time and doing something with the remainder of my summer. In the end, we were able to complete the paper ahead of the deadline, and when I asked my colleagues if they wanted to be first author, both agreed that since I ended up spearheading the project and bringing it back to life, I had earned that particular honour. Like the musical Konatsu had wanted to perform, publishing this paper was a bit of a last minute thing, and while it did mean I spent three weeks not working on starting my thesis project, the paper actually would accelerate my thesis work by giving me the inspiration I needed to design the project.

  • Hikari no Senritsu is a recurring theme in Tari Tari: the song was originally written by Mahiru, and Wakana later adapts it into a version that the Choir-and-Sometimes-Badminton Club perform for their finale. As the group breaks into song, the clouds begin dispersing, with shafts of light illuminating the performers right as they hit their stride. While short, Tari Tari‘s journey and its parallels with my undergraduate paper led me to count this as a masterpiece, showing what’s possible when hearts and minds align.

  • During the finale, scenes cut to the audience enjoying the show immensely: Sawa’s father is especially enthusiastic, having brought both a video camera and DSLR camera to capture his daughter’s accomplishments. For Sawa, Tari Tari saw her as a friendly girl who generally gets along with people, but struggled with her rejected equestrian school application because she’d been too tall to qualify. Although Sawa’s father had considered her aspirations as being a game rather than a legitimate occupation, he would come around and see how serious Sawa had been. Despite his gruff nature, Sawa’s father genuinely cares for her.

  • Taichi and Atsuhiro ended up receiving some development: although failing to perform well at a tournament, Taichi resolves to give it everything he’s got, while Atsuhiro’s preoccupation with a friend back in Austria leads him to double down and do what he can here in Japan for his friend’s sake. Everyone’s stories converge on this one moment, and seeing everyone singing so gracefully together, one would be forgiven if they imagined Konatsu, Sawa, Wakana, Taichi and Atsuhiro to be members of their school’s choral club.

  • Tari Tari‘s final performance was so moving that amongst the anime community, the series was universally acclaimed. Random Curiosity wrote that it was almost criminal as to how the expectations for this series was so low early on, especially when Tari Tari went out of its way to make itself stand out from its predecessor, and other fans felt that the series had been so decisive and satisfying that it exceeded expectations. Despite being a little-known series, Tari Tari‘s sincerity and focus impressed most viewers. In fact, to the best of my recollections, only THEM Anime Reviews had anything negative to say about Tari Tari, calling it a series ” full of platitudes and melodrama but lacking in most other respects”, and that “music anime out there in which the actual music is much, much better, and dramas in which the trials and tribulations the characters face are far less contrived-seeming”. I strongly disagree with this assessment because it is superficial and fails to understand why drama is present in Tari Tari.

  • THEM Anime Reviews’ writer missed the point of the series (namely, that music transcends certain barriers, that one needs to allow themselves to open up in order to get past problems they can’t individually handle, and that sometimes, situations arise that require people possessing skills from a range of backgrounds). The series isn’t “a lot of artificial drama being thrown in to make the journey to that performance seem significant”, and instead, Tari Tari sought to show how being multidisciplinary is the key to overcoming life’s problems. In this area, Tari Tari is successful, and I’ve found that, especially where P.A. Works’ anime are concerned, the most critical views often come from those who have not experienced the sorts of messages a given anime sought to convey.

  • As the performance draws to a close, the camera pulls out, showing the number of people that have shown up to see the show, as well as the size of the choral club. By this point in time, the clouds have begun giving way to a clear day, acting as a metaphor for how times of difficulty will always pass. It is evident that this final show was a resounding success, and with this particular goal satisfied, Wakana, Sawa, Konatsu, Taichi and Atsuhiro turn their attention towards their future aspirations. I still vividly recall entering my thesis year as Tari Tari geared up for its finale.

  • A week after term started, I got my MCAT results back, and with a great weight lifted off my chest, I focused my entire effort towards the thesis project. After sitting down with my supervisor and asking about whether or not it would be feasible to extend my old renal model from two summers earlier, we hashed out a project that could show off the lab’s in-house game engine. I’d worked with this game engine for two years at that point and was quite familiar with its strengths and limitations, so when it came time to present my project proposal, I was completely confident that I could answer any question about the system, its implications and constraints.

  • The thesis project took up two of the five slots in each semester, so I had three remaining courses to fill. I decided to take easier options so I could focus on the project: in science fiction literature and genomics, I excelled. These courses were largely based on reading and writing papers, something I’d been reasonably confident in doing at that point. The other course I had begun taking was iOS programming. I would end up working on a game, and while that project was unimpressive, it did kick-start my interest in mobile development. Until graduate school, this was the easiest term I’d taken, allowing me plenty of time to work on my thesis project.

  • Looking back, my undergraduate thesis was also quite unremarkable: I’d already had an impressive model of agent-based flow by then, so the project itself entailed writing a mathematical modelling layer over top and then synchronising a visual representation of several nephrons working together in parallel to the model’s outputs, before making use of the game engine’s world space to illustrate the different scales. I would’ve liked to have explored more complex processes, such as self-assembly. However, my supervisor and invigilators were satisfied with the level of complexity in my project.

  • In the end, I had a great time with my project, and while things do seem unsophisticated a decade later, I nonetheless found a fantastic experience in going through the thesis project. A decade after starting this project, I’m now a half-year into living at the new place, and I feel quite settled in now. Looking back at some of the posts I wrote shortly after the move, I did end up capitalising on the amenities: over the summer, I’ve had a chance to enjoy sushi twice from the nearby Japanese restaurant, spent an afternoon working out of a Starbucks with a fruit juice in hand, and even was able to pick up an RTX 3060 Ti during a flash sale after work.

  • Summer had been a fantastic time this year, and while I’m a little sad to see my favourite times of year draw to a close, the Autumnal Equinox was two days ago, bringing with it comfortably brisk days that are still pleasant. The leaves have taken a little longer to yellow this year than they have in previous years, but I welcome the fact that we’re no longer getting heat warnings. In fact, for the first time in a while, I’m rather looking forwards to the winter, as well. In previous years, winters meant negotiating icy roads and shovelling out after a snowfall while wind-chill drops the thermometer down to -40°C for up to two weeks at a time, but it also blankets the landscape in white and invites the sipping of a hot chocolate while curled up in one’s favourite easy chair with a book and blanket in hand.

  • Tari Tari‘s epilogue was satisfying, but also left quite a bit ambiguous: in particular, the outcome of Taichi’s kokuhaku to Sawa is left unknown. This question has lingered on my mind for the past decade, and while Tari Tari ~Mebaitari Terashitari Yappari Tokidoki Utattari~ (Tari Tari ~Budding, Shining, and Sometimes Singing~), a sequel novel set a decade after the original’s events, was released back in July 2018, interest in this has been sufficiently low so that even a synopsis for the novel’s premise doesn’t exist. I can say that in ten years, a lot can change: ten years after I graduate high school, I fulfilled a lifelong dream of visiting Japan, finished my graduate degree and was working with my first start-up.

  • This year marks the ten year anniversary to Tari Tari: I’d been a student a decade earlier, gearing up for my undergraduate thesis defense. A full ten years later, I’ve become a senior iOS developer and homeowner. In spite of everything that has happened, the fact that I still remember Tari Tari as fondly now as I did when the series finished airing back in 2012 speaks volumes to how much this anime got right. The amount of stuff that can happen in a decade is staggering, and this is one of the biggest reasons why being unable to read Tari Tari ~Mebaitari Terashitari Yappari Tokidoki Utattari~ is so excruciatingly painful: I’ve been longing to see how Wakana, Konatsu, Sawa, Taichi and Atsuhiro are doing.

  • However, because most people in reality tend to be honest, hard-working and sincere, most people tend to find a path for themselves over time. Applying this to Tari Tari would suggest that everyone must be well, having had ten years to broaden their horizons, grow their skillsets and improve their ability to empathise with one another. Because of how much can happen in ten years, a part of me also feels that Taichi’s feelings for Sawa could wane over time as he pursues his own passions. As romantic and touching as it would be for the pair to retain their feelings after all this time, people do drift apart over time, especially since Sawa had been heading overseas to follow her dreams of becoming a jockey.

  • Regardless of what actually happens in the sequel novel, I would be more than happy to read it. At the time of writing, I don’t believe the novel’s even available for purchase at my usual avenues: if it were, I’d have no qualms in picking it up because in this day and age, ML and computer vision is sufficiently advanced so that I could simply take my phone, image the text and get a real-time translation. With iOS 16, I can then extract the text from my image and then convert it into strings that I can open in a text editor, where I could edit and improve passages. In this way, I feel that I could translate the novel for myself without much difficulty.

  • I’ve always wanted to feature the moment where Sawa begins singing alongside her friends and opens the window in her dormitory: I’ve written about Tari Tari quite extensively over the years, but never was able to feature this moment previously. There’s a sort of joy about Sawa doing this that captures the sort of excitement that accompanies the uncertainty of stepping into the future. I believe it is this scene of Sawa opening the window with a smile on her face that I would later comment on in RPG Real Estate, when Kotone does the same while checking out a prospective property.

  • I imagine that seeing Wakana take up music again encourages Naoko to spend more time mentoring her. Naoko had always found Mahiru’s approach to music admirable, but one she could never take up, and when she died, it was probably the case that Naoko handled her grief by distancing herself from music as a source of joy. However, when Wakana comes to terms with her mother’s death and approaches to music, to Naoko, Wakana has inherited her mother’s joyful spirit, as well. Mahiru might no longer be around, but mentoring Wakana allows Naoko to keep supporting her best friend.

  • Meanwhile, Tari Tari‘s epilogue shows Konatsu as meeting two other girls that seem quite friendly: although Konatsu has known Taichi and Sawa for a long time, such a moment shows that Konatsu can find her own path forward, as well. Small details like these can speak volumes about how characters are doing, and I’ve noticed that since Tari Tari, P.A. Works is a studio that has excelled in finding a way of saying goodbye to its series. Although making up only a short amount of the finale’s runtime, these short scenes provide a satisfactory amount of insight into how everyone’s doing.

  • On account of yesterday marking the half-year anniversary since moving day, we treated the family to the famous fried chicken from the Japanese restaurant across the way; they’ve been running a promotion on their in-house ginger-garlic karaage, which is going for a dollar a piece. In this way, we were able to have a wonderful dinner commemorating six months at the new place for fifteen dollars, a fantastic deal: the chicken is expertly fried, being crunchy outside but retaining succulent and tender meat. The Japanese restaurant is suggesting they’ll be introducing new flavours in the future, which is exciting: I’m curious to see what other flavours the chefs have coming.

  • With this, my reminiscence of Tari Tari comes to a close. I’ve written about the series with some frequency over the past decade, speaking to the strengths of this series: despite the time that has passed, the fact that Tari Tari‘s lessons now remain as applicable as they did back in 2012 is a key indicator to how well everything here was thought out. After Tari Tari ended, P.A. Works would swing between creating smash-hits like Shirobako and Nagi no Asukara, alongside failures like RDG Red Data Girl and Glasslip. Over the years, however, learnings from Tari Tari have meant that P.A. Works’ coming-of-age and workplace anime tend to be quite consistent: Sakura QuestThe World in Colours and The Aquatope on White Sand all carry over the multidisciplinary approach that Tari Tari pioneered.

When Tari Tari concluded, I was three weeks into my thesis year. Impressed with how well Tari Tari had presented its messages, I entered my thesis project with enthusiasm – this year marked the first time since secondary school that I was confident in my ability to perform. In the Health Sciences programme, students complete a thesis project to round out their degree, and three weeks into term, our goal had been to present a project proposal in front of the course coordinator and classmates. Unlike my classmates, who had a four month head start on their projects, I entered September with only a rough idea of what my thesis would entail. However, in the time between the start of term and the proposal presentation date, I had managed to draw on my previous experiences in my lab to design a novel project of my own – having just published my first paper about our lab’s in-house game engine and its flexibility, I decided to extend the work I’d began two years earlier on agent-based renal flow and build it into a multi-scale system that combined mathematical modelling with agent-based approaches. Much as how Tari Tari and its successors encouraged combining approaches from a variety of disciplines to build a magnum opus, I drew on my knowledge of biology and software to suggest how component-based modelling would confer enough flexibility to build anything, with a renal system being an example of a complex system worth visualising. On the day of the presentation, I remember delivering my proposal and smoothly answered questions: in that moment, it felt as though I were selling a start-up’s groundbreaking new idea to VCs rather than outlining a health sciences project to professors. Speaking in front of experts is an intimidating experience, but for me, it dawned on me that where software and simulations were concerned, the cards were in my hand. It was here that I began seeing Tari Tari in a new light – Tari Tari isn’t merely a series about music’s ability to convey messages that transcend linguistic and cultural borders, and the importance of opening oneself up to others around them, but also how important it is to be able to bring in knowledge from other areas in order to improve one’s own problem-solving ability and resilience. P.A. Works has certainly taken this message to heart: following Tari Tari, anime like Sakura Quest, The World in Colours and The Aquatope on White Sand all integrate multidisciplinary approaches elegantly into their stories to create a compelling anime, and the fact that even a decade later, workplace and coming-of-age stories from P.A. Works that employ this style have continued to impress.

Misaki no Mayoiga: An Anime Film Review, Reflection and Full Recommendation

“All we have to decide is what to do with the time that is given us.” –Gandalf, Lord of The Rings: The Fellowship of the Ring

An elderly lady named Kiwa takes Yui and Hiyori to her home, located on the edge of a cliff facing the ocean. Both Hiyori and Yui were affected by the Tōhoku Earthquake, hence Kiwa’s offer to take both in. Upon arrival, Kiwa tasks the pair with cleaning up the place and making it more inviting, while she sets about preparing dinner. Yui is impressed with dinner but has her doubts about Kiwa, who shares with the pair a story about Mayoiga, a palatial home that appears to those in need, and how they’re currently living in a Mayoiga. The next morning, Yui asks for a glass of water with ice in it and is shocked the home is able to fulfil her request. She recalls a past fight with her father and grows uneasy, running out into the forest. Hiyori manages to convince Yui to stick around; Yui consents to accompany Kiwa and Hiyori on a shopping trip. The next day, Kiwa brings kappa as guests; it turns out that an ancient entity appears to have escaped. Meanwhile, Yui gives Hiyori a notepad so she can communicate with her classmates, and sets off for town, where she ends up taking up a job with the local convenience store. At school, Hiyori befriends some of her classmates and agrees the join the Fox Dance in the local festival, but becomes traumatised upon hearing the drumbeat. Yui later reassures her and learns of Hiyori’s background: Kiwa explains that Hiyori is mute from the trauma of having lost her parents in a car accident, and was subsequently devastated by the earthquake. Hearing this prompts Yui to keep a closer eye on Hiyori, especially since unusual snakes have been spotted in the area. Kiwa fills in some of the details for Hiyori and Yui. Long ago, a serpent named Agame had come to the area and drove the residents off by projecting horrific visions on those who met its gaze, but a hero took up an enchanted blade and cut Agame down. As Agame’s power grows, Yui herself spots her father in the area and panics. Meanwhile, more supernatural beings meet with Kiwa, promising to provide assistance when the time is right. Kiwa ends up taking Yui and Hiyori to a larger Mayoiga and met with a contingent of deities who are here to answer the threat of Agame. Kiwa sets off to fight Agame on her own, locking Yui and Hiyori in the Mayoiga, but Yui manages to convince Mayoiga to let her render whatever assistance she can. Although she faces down another vision of her father en route, Hiyori overcomes her mutism and shouts out to Yui, who forces away the vision. The pair join Kiwa on the beach, where she’s already duelling Agame, and while Hiyori plays the flute to distract the serpent, Yui uses a conjured arrow to strike down Agame for all time. In the aftermath, Yui promises to be Hiyori’s older sister, and Kiwa mentions that no one recalls the previous day’s events, allowing them to continue living out their days in peace while Yui works out what she’d like for her future.

In the aftermath of the Tōhoku Earthquake, hundreds of thousands of residents were displaced, and even in the present, the earthquake’s impacts are still felt. Misaki no Mayoiga (The House of the Lost on the Cape) speaks to the feelings of despair and uncertainty these people would have experienced; through Yui and Hiyori’s perspectives, the film voices something that everyone affected by the earthquake and tsunami would have likely asked themselves: “why me?”, “what did I do to deserve this?”. Hiyori lost her parents in an accident, and after she moved to live with other relatives, the earthquake struck. Yui ran away from an abusive home, and found herself in the Tōhoku region when the earthquake occurred. Misfortune has come to deeply impact their lives, but in response to the question they pose of the skies, the answer is “nothing”. Hardship and adversity can affect all individuals with equal probability, and while it can prove immensely challenging to extricate oneself and better their situation, Misaki no Mayoiga also suggests that community bonds and family provides the support one needs to begin taking those first steps forward. Hiyori, who’d become mute from the trauma following her parents’ deaths, finds it in her to speak again after forming a bond with Yui. Yui similarly overcomes her fears of her father and is able to find strength to protect Hiyori. All of this comes as a result of Yui and Hiyori spending time with Kiwa, a kindly, if mysterious, elderly lady with a profound knowledge of the local folklore and mythology. While Yui is initially mistrustful of Kiwa, seeing Kiwa’s generosity and patience, as well as a nascent connection with Hiyori leads her to slowly open up to the community, too. Similarly, Hiyori begins to integrate with the community; she’s a little quicker to trust Kiwa and accept things. The interplay between the central characters, when scaled up, shows how faith, trust and mutual respect for one another provides those critical first steps towards recovery. Much as how Hiyori and Yui both find a renewed reason to appreciate life and community thanks to Kiwa and their shared time together, Misaki no Mayoiga suggests that following the Tōhoku Earthquake, recovery efforts and the courage to move onwards stems from people’s shared wills to live, and a mutual desire to help one another out in a collective effort to get everyone back on their feet.

Misaki no Mayoiga introduces one additional element to accelerate Yui and Hiyori’s recovery through Mayoiga, mythological homes that provide for those in need. As Kiwa states, if one takes care of their home, their home will take care of them. Here in Misaki no Mayoiga, the home that Kiwa brings Hiyori and Yui to provides them with a dependable place to retreat to, and regroup. In Kiwa’s story, a woman finds the Mayoiga and, while intrigued by the luxary it provides, chooses to leave without taking anything. In return, the Mayoiga rewards her honesty. In Yui and Hiyori’s case, the Mayoiga provides them with a place to live and supports them in its own way. While a house that can provide meals on its own is something that remains relegated to the realm of fiction, homes do care for and support their inhabitants; in addition to keep out the elements, it also acts as a reliable, steadfast place one can return to at the end of the day. Having a home is what provides familiar comfort for Yui and Hiyori during the more turbulent moments of Misaki no Mayoiga, and when the family visit a larger, more stately Mayoiga later, Yui and Hiyori both agree that despite the large one’s grandeur, their smaller home feels more comforting. In this way, the sea serpent, Agame, becomes a metaphor for the uncertainty and fear resulting from not having a home to return to: in driving people out of its domain, Agame breeds enmity and discord by depriving people of their right to shelter. This aspect of Misaki no Mayoiga is addressed when Yui, Hiyori and Kiwa work together with the other deities to destroy Agame once and for all; the titanic clash becomes a visceral show of how important people’s homes are to them ― these are things that are worth standing up and fighting for. In the aftermath of this conflict, both Yui and Hiyori are grateful to have somewhere to return to at the end of each day. Kiwa promises that for as long as Yui needs to rediscover her own path, she is welcome to call Mayoiga home, and having this reassurance means that Yui is, at the film’s end, left in a position where she can move forward from the problems that had previously impacted her.

Screenshots and Commentary

  • I vividly remember the day the Tōhoku Earthquake occurred: I was reading about it right before my organic chemistry lecture began. Even though the news footage was showing the scope and scale of the destruction, I instinctively felt that the footage itself wouldn’t capture the tragedy. When Fukushima Daiichi began undergoing a meltdown and forced the creation of an exclusion zone, the threat of a nuclear disaster suddenly overtook the consequences of the earthquake and tsunami. It did feel as though other affected areas were suddenly forgotten.

  • As such, to see films like Misaki no Mayoiga being produced shows a respectful acknowledgement of those who were impacted by the disaster. Films that show the resilience of the human spirit is a reminder that, as devastating as things were in 2011, people have still found a way to recover. If memory serves, Misaki no Mayoiga was released last August in Japanese theatres, and the home release became available half a year later, in February of this year. I’d been looking forwards to watching this, but by February, it was all hands on deck as I geared up for a move of my own.

  • Yui and Hiyori are Misaki no Mayoiga‘s protagonists. In the beginning, viewers have almost no context as to what’s happening in the movie: Yui and Hiyori, for all intents and purposes, are accompanying someone who appears to their grandmother to her rural home on a remote cliff. Misaki no Mayoiga slowly rolls back its curtain to expose more of the story to viewers over time, and in using this approach, the film holds the viewer’s attention. Out of the gates, Yui reminds me of Her Blue Sky‘s Akane Aioi in manner and appearance. Both are sullen teenagers who appear reluctant to participate in what’s happening around them.

  • However, the similarities end here. Akane had opened up after learning of her older sister’s lingering feelings for Shinno, whereas here in Misaki no Mayoiga, Yui comes from a difficult background; her mother had left the family, and her father held her responsible. From what happened, I would hazard a guess that Yui’s father was abusive towards both herself and her mother, which left Yui with a deep-seated mistrust of others and an unwillingness to open up to those around her. Joining Kiwa and Hiyori to a quite house on the cape would be the starting point for a new chapter of her life.

  • Misaki no Mayoiga renders 迷い家 as マヨイガ, likely a deliberate way to indicate that in this case, Mayoiga is a proper noun referring to the mythical houses that provided for their occupants. Generally speaking, 迷い家 are well-kept and often, formerly-opulent homes that were abandoned in rural areas. In reality, abandoned houses aren’t always safe to inhabit or even explore: an unmaintained building exposed to the elements may not be structurally sound, and possess both pathogens, mould and pest infestations. In Jordy Meow’s Abandoned Japan, however, the abandoned homes Meow visits possess a melancholy about them, and when personal belongings are left behind, one cannot help but wonder what the inhabitant’s stories were.

  • Hiyori and Yui both feel uncomfortable in the beginning with their new surroundings, although Hiyori seems a little more receptive towards things. Upon entering the old house, the place immediately exudes a sense of warmth despite clearly having not been inhabited for some time. By the time the lights come on, it becomes clear that, save for a layer of dust covering things, the place is still in excellent condition, and moreover, the place is already furnished, possessing both couches, tables and chairs of a contemporary design, as well as a modern kitchen.

  • In a flashback, it turns out that Yui had been alone at one of the evacuation shelters, and met Hiyori while out and about. Hiyori had been trying to dislodge a branch that had fallen on the Komainu. She brings Hiyori back to the shelter and became enraged when another man knocks down Hiyori. Before things escalate, Kiwa shows up and covers for the two, saying that they’re her grandchildren. Although such a happenstance may come across as a bit suspect, and caution is a suitable response, for Misaki no Mayoiga, accepting the kindness of strangers is merely a part of the story.

  • It is instinctive to give a new home a good cleaning before moving in proper: from a hygienic point of view, this eliminates any dust and other things that may have accumulated while the building was vacant. After possession date, we made it a point to clean the place out, giving every square inch a thorough scrubbing and vacuuming. Of course, there are some Chinese traditions associated with moving in, and among these traditions, I’m familiar with carrying in a bag of rice over the threshold, opening all of the windows and putting on a kettle right away.

  • Having now moved in for almost a half year, I dust the place daily, vacuum and clean the bathrooms weekly, and mop the floors bi-weekly. The improved ventilation means it’s significantly less dusty than the old place, but a good amount of dust still accumulates. Back in Misaki no Mayogi, Yui’s reaction to a proper home-cooked meal hints at her own background: while surprised by Kiwa’s cooking, she finds dinner to be most enjoyable despite originally wondering why Kiwa was using what she’d considered to be weeds in her cooking. The Salisbury Steak turns her around, and as she sits down to eat, she finds everything delicious.

  • Normalcy is precisely how people can weather extraordinary circumstances, and Les Stroud has, in Survivorman, mentioned how important it is to keep doing what one can in their usual manner. For instance, when out in survival, being able to drink hot water can be enough to remind one of their humanity. Similarly, cooking the food he finds gives a sense of comfort. In the aftermath of the earthquake, Hiyori and Yui have not likely sat down to a proper meal for some time, so the opportunity to do so with Kiwa represents a welcome return of something familiar.

  • After dinner, Kiwa tells the tale of Mayoiga, and a farming lady who had stumbled upon an incredibly ornate home. Despite how opulent everything was, the lady simply decided to return home, and the Mayoiga would end up giving her an enchanted rice bowl that would keep her family well-fed for the remainder of their days. The moral of this story is that integrity will be rewarded, but the story also sets the groundwork for the mysteries surrounding Yui and Hiyori’s new home. The stories are animated in a completely different style than the main narrative in Misaki no Mayoiga and resemble a picture book brought to life.

  • The next morning, Yui wakes up and, when greeting Kiwa, remarks that ordinary water would be fine. A glass of water immediately appears, and out of curiosity, Yui comments that some ice would be nice. She hears the clink of ice, and Kiwa returns; she explains the house is doing this for Yui’s sake. This causes Yui to flash back to a fight she had with her father, and a fear overtakes her. While Misaki no Mayoiga doesn’t choose to go intro further details, one can immediately infer that aside from what was shown on screen, Yui’s father had been abusive and unkind to the point where Yui felt compelled to run away from home.

  • Fearing the same might happen here at Mayoiga, Yui runs off, but she eventually comes around thanks to Hiyori’s kindness. Although it is the case that Hiyori and Yui hadn’t met prior to the earthquake, the pair immediately develop a bond of sorts, and Hiyori’s actions show that she does care about Yui. After Yui gathers herself, she consents to go shopping with Kiwa and Hiyori: while Mayoiga is capable of answering things like water and patching itself up, there are some luxuries that even a mythical house cannot provide for its inhabitants.

  • In showing that the Mayoiga can only provide some things, Misaki no Mayoiga‘s interpretation of things is that that even small gestures matter. In exchange for being looked after and being lived in, the house gives Kiwa, Yui and Hiyori a few conveniences to show its appreciation of their presence. However, in limiting what it can do, Misaki no Mayoiga shows that for people, it ultimately is through their own initiative and resolve that their desires can be attained. The house is merely an aid in the process, but an important piece, giving people a place to regroup and rest up for their endeavours.

  • The shopping trip represents a chance for Hiyori and Yui to enjoy normalcy: they pick up clothing, household appliances and even swing by a bookstore. The day’s excursions would be counted as unremarkable under most circumstances, but both Yui and Hiyori have been through quite a bit, so going out to the local mall becomes a treat. While such a thought would seem quite difficult, the global health crisis and its impact on our everyday lives is nontrivial: at its height, shopping centres, theatres, restaurants and event venues emptied out as the pandemic ravaged the world.

  • As such, when I began returning to the mall and eating out again, things did feel a little unusual for the first little while and was worth writing about: I still vividly remember the first time I went back to a shopping mall before picking up burgers from A & W for our afternoon meal a year ago. While it was nice to begin returning to doing the things I’d been long accustomed to, the global health crisis was also a reminder for me to be more appreciative of the things I’d come to take for granted, too. Misaki no Mayoiga is conveying the same: going to the mall might feel ordinary, but under extraordinary circumstances, it’s a luxury people may not always have.

  • At the bookstore, Yui had also picked up a notebook for Hiyori: while Hiyori has become mute from her past experiences, she’s actively trying to speak and, even without words, she’s very expressive. A notebook allows Hiyori to communicate with everyone else, and en route to school, Hiyori befriends another classmate. That Yui had thought far enough ahead to get Hiyori a notebook shows how, despite her sullen appearance, she’s actually kind and compassionate. Kiwa had spotted this immediately in Yui, and while this isn’t initially apparent, gestures like these show that Kiwa’s observations are correct. Over time, Kiwa becomes a repository of wisdom and knowledge, someone viewers can trust to guide Yui and Hiyori as they navigate difficult times in their lives.

  • Meanwhile, Yui ends up picking up a moped and a part-time job at the local convenience store. While she’d dropped out of secondary school, the locals here are quite understanding, and in a fortuitous turn of events, it turns out Yui’s paperwork is accounted for, allowing her and Hiyori to both remain with Kiwa. Yui is reluctant to accept the moped and the job, but spotting that the townspeople are being genuinely thoughtful, she accepts things. This notion of community, and of the collective good, is something that Misaki no Mayoiga excels in conveying: here, collective good isn’t about sacrificing individual rights for the sake of others, but simply, being there for people in need.

  • One aspect of Misaki no Mayoiga I liked was watching Hiyori’s efforts to become a part of the community. Her classmate, Makio, manages to convince her to check out the Fox Dance they’re set to perform at a local festival – by actively participating in a community tradition, Hiyori is doing her best to make the most of things, and this also shows a willingness to learn the local traditions and customs. One of the adults running the show asks if Hiyori would like to play the flute for them, but upon hearing the flute and drums, Hoyori is gripped with an overwhelming sense of grief and loneliness as she recalls her parents’ funerals.

  • Hiyori subsequently runs off: she’s unable to express herself to the others at this point, and can only return home to Mayoiga. The idea that certain stimuli can evoke very specific memories has been one that’s challenged neuroscientists for some time: it is thought that stimuli like sounds or smells, which fired specific neurological pathways when a memory was made, would also fire those same pathways when experienced at a later date. This is why when I returned to campus and walked the ICT buildings, the smells there immediately reminded me of my graduate thesis. I imagine that for Hiyori, the instruments used for the Fox Dance might’ve been played at her parents’ funeral, and the rhythms would’ve led her to recall the loss that day.

  • When Hiyori isn’t able to elaborate on things initially, she does mention the Fox Dance, and Kiwa fills in the gaps. She explains that in the areas, foxes are sacred because fox spirits helped the locals in fending off Agame, a monstrous sea serpent that fed off despair and sought to claim human territory for its own. Per Kiwa’s story, foxes gave an elderly man the dagger Makiri to defeat Agame with, and since then, the Fox Dance was performed to honour this deed. With Kiwa’s story, Hiyori is able to share her past, and one of the townspeople subsequently arrive with a stray cat. Kiwa is okay with taking the cat in and naming him Kofuku. The presence of a cat lifts Hiyori’s spirits considerably, and as Kiwa notes, it’s the small blessings that make a difference.

  • The next day, Hiyori invites Makio over for a picnic overlooking the cape. While imagery of the Tōhoku Earthquake usually portrays Sendai and the Fukushima Daiichi Nuclear Power Plant, located on the coastal plains, the earthquake and tsunami also affected the mountainous areas east of Ishinomaki. Misaki no Mayoiga is set in the Tōhoku area, but the specific area is not shown to viewers to reinforce the idea that this is a film about Tōhoku in general, rather than any specific area. On their picnic, Makio enjoys Kiwa’s cooking and mentions how lucky Hiyori is to live with such a fantastic cook. Kiwa later shares a story about the underwater grottoes that were disrupted by the tsunami.

  • On the morning their special guests arrive, Hiyori meets kappa for the first time. Traditionally portrayed as being antagonistic towards people, kappa are also fiercely loyal, and when afforded with the proper respect, are helpful and friendly. The kappa that show up at Mayoiga know Kiwa as an old friend, and because kappa tend to stick with people they respect for a lifetime, it stands to reason that long ago, Kiwa must’ve done something to help them out before. The kappa are more than happy to help Kiwa check out the damaged grottoes and confirm that something is amiss.

  • As thanks to their guests, Kiwa’s prepared a feast of sorts for the kappa, including their favourite vegetable, cucumber. It turns out that, as a cook, Yui is no slouch, either – while her father never appreciated her cooking, it’s the case that while Yui might not have a head for numbers, she does seem to be deft hand in the culinary arts. The kappa have a great time at dinner, and one of the kappa even begins to sing a song. In this moment, although the kappa might be deities, they feel very human. Hiyori has no problems with them, and demonstrating the traits of an older sister, Yui accepts them quite readily, too, saying that Hiyori’s happiness is her own.

  • While delivering some sake to the locals, Yui’s route takes her right by the place where Hiyori’s been practising for the Fox Dance. Having encouragement means that Hiyori’s been able to pick herself up, and she’s now participating with her whole heart. Hiyori is all smiles, and one of the men decide to ask Yui to join the Fox Dance, as well. Although Yui is reluctant to participate, Hiyori persuades her to join in. In this way, an entire afternoon passes joyfully. However, as the afternoon grows late, clouds roll into the area.

  • Some of the townsfolk discuss unusual occurrences that have been observed around the area: dogs have been barking at an unseen entity, and some people have had terrifying visions, similar to what Kiwa had described in her story about Agame. This is tied to the mysterious snake-like creature with glowing red eyes that shows up. Kofuku attempts to chase it, and Yui wakes up, wondering if it was a snake. Although this is forgotten, it’s an ominous sign of what’s to come in Misaki no Mayoiga. The tenour here reminds me of a conversation in Lord of the Rings: The Fellowship of the Ring, when Bree’s night watchman mentions that “there’s talk of strange folk abroad” to Frodo and his friends.

  • The townspeople suggest Yui and Hiyori head straight home, but in the wooded path leading back to Mayoiga, they come face to face with the snake-like beings. Before any harm can come to them, a pair of lion-dogs appear and drive them off. It is here that Kiwa explains the remainder of the story behind Agame, that Agame is responsible for creating feelings of unease and enmity, and Hiyori poses the question that motivates the page quote. There is no easy answer to this, but folks who’ve gone through a great deal and come out the other side often say that in the moment, they don’t care quite that they’re affected, but rather, care about finding the strength to reach the other side, to focus on putting one foot in front of the other and endure the moment in the hopes for a better tomorrow.

  • Kiwa reassures Hiyori that she’s not alone, that there’s also many others who wonder the same thing. Negativity in the community manifests as Agame, but the arrival of the Lion-Dogs and Jizo show that, while the spirits might be preparing to fend off calamity, the people living in the earthly realm have these unseen guardians looking over them. The next day, when Makio shares her concerns about how her best friend hasn’t once written since she’d moved, Hiyori takes some of the strength she’s learnt from Kiwa and does her best to reassure Makio, too.

  • When one of the snakes enters the shop Yui’s working in, it manifests as her worst fear, causing Yui to run out into the day and scream her lungs out in panic. Although viewers know it’s an illusion thanks to Kiwa’s story (and the unlikelihood of Yui’s father actually showing up in town), the moment speaks to how desperately Yui had wanted to escape her old life. Curiously, the music in Misaki no Mayoiga doesn’t really connect with the emotional tenour of some moments; when Yui panics, a gentle guitar piece is playing in the background. This disconnect means the scene won’t convey to viewers what Yui is feeling, and the impression I got from the moment was that it’s meant to show that the town is safe and peaceful, but the snakes that are appearing will disrupt this.

  • Yuri Miyauchi composes Misaki no  Mayoiga‘s incidental music, which has an aural tenour most similar to the soundtrack from Little Forest. Both Misaki no Mayoiga and Little Forest are set in the Tōhoku region of Japan and have an emphasis on a rural locale, and while the films are separated by their emphasis on the supernatural (Little Forest does not have any supernatural pieces to it at all), the similarities in the music indicate that the Tōhoku region is a peaceful setting. Taken together, I would imagine that the music in Misaki no Mayoiga is meant to show that the peaceful setting is enough to help Yui to regroup and return home.

  • On this evening, it is Yui who returns home disheartened and worried, and it is Hiyori’s turn to comfort her. Similarly to Hiyori, the fact that Yui has a home to return to is a vital part of getting her back on her feet. As families do, Hiyori and Yui support one another, and in an environment where there is no judgment, everyone is free to be open with how they feel about things. While this is a part of Mayoiga’s magic, in reality, having a home is a source of refuge from the troubles of the world. When Hiyori and Yui return to Mayoiga, Kiwa is always on hand to provide words of guidance and wisdom.

  • More so than the accommodations and food, this is probably what Yui was lacking most in her old life, so being able to love and be loved here at Mayoiga is a game-changer for Yui, allowing her to be her best self. Kiwa has an excursion planned out for them for the next day, but before this is shown, Misaki no Mayoiga cuts to scenes of the snakes consuming flowers around various townsfolk. The scenes are completely silent and lack any background music; although music is utilised to set a mood, the soundtrack in Misaki no Mayoiga has been peaceful so far, so the absence of music is equally effective in conveying unease.

  • It turns out that Kiwa’s excursion is to visit another, grander and older Mayoiga. The kappa are more than happy to help them move their boat along a narrow canyon, which is beautifully rendered and brings to mind the tributary leading out of Lothlórien into Anduin towards the end of The Fellowship of the Rings, and again when the Fellowship cross the Gate of Argonath into Nen Hithoel. The grandeur in Misaki no Mayoiga is plainly not to the same scale that is seen in Lord of the Rings, but there is a majesty about the landscapes that Yui, Hiyori and Kiwa pass through.

  • On the topic of Lord of the Rings, the page quote was selected from a remark Gandalf makes to Frodo: this bit of wisdom has become an iconic part of Lord of the Rings, and simply means that while one cannot choose their circumstances, they have the agency and power to make the decisions that’s best for them. Hiyori lost her parents, and Yui ran away from an abusive father. Both were affected by the earthquake, but in the present day, they are actively choosing to live their lives as best as they can by becoming part of their new community.

  • Stills like these are commonplace in Misaki no Mayoiga – the Japanese countryside is gorgeous, and I’ve long fantasised about spending a week living in the inaka. However, this isn’t to say the rural areas in my home province aren’t beautiful. During this past weekend, during the Mid-Autumn Festival, I went with family to a sunflower farm an hour north of town. My immediate impression was that this is an immensely peaceful place to be: while exploring the sunflower maze, I reached the edge and glanced westward. The plains beyond the fields reminded me of the Shire, and while the day had been extremely smoky, we were lucky to have sunlight by the time we arrived.

  • After a pleasant afternoon amongst the sunflowers and corn stalks, we turned around and made our way back home for dinner. Since it was the Mid-Autumn Festival, we celebrated with a 3-course Peking Duck special dinner (which comes with duck fried noodles and duck soup on top of the Peking Duck itself) with a beef and Chinese Broccoli stir-fry. The lateness of the evening meant that I ended up skipping the Moon Cake, and by that point, the smoke had returned, blocking out the moon. However, on Sunday, I was able to enjoy a slice of Moon Cake. While I’ve not previously been fond of the yolk, I’ve since come around and now enjoy Moon Cake fully.

  • The outing takes Kiwa, Yui and Hiyori to a torii leading up a hillside, and this path takes some time to climb: by the time everyone reaches their destination, the sun’s begun to set. As it turns out, Kiwa’s plan had been to temporarily relocate to a much older and grander Mayoiga ahead of the impending doom of their time. Along the way, Kiwa shares her story with Yui and Hiyori: as a child, Kiwa was fond of playing in the forests, and one day, she’d gotten lost. By sheer stroke of luck, she came upon a Mayoiga, and presumably, had become very familiar with the supernatural entities as a result.

  • Because of the scale of things, one can surmise this Mayoiga is likely the one in Kiwa’s story. The presence of multiple Mayoiga seem to suggest that these homes reveal themselves to those who need it, looking after those who find them. However, because stories like these always come with a tradeoff, I imagined that to encounter a Mayoiga also means accepting the service that is expected of those who find it. In reality, this is why I believe in honesty and integrity: folks who game a system so they can benefit at someone else’s expense will always be unpleasantly surprised when the consequences of their decisions catch up to them.

  • Both Hiyori and Yui are impressed with how ornate and luxurious everything is, but this Mayoiga lacks the same feeling of home that their original Mayoiga had. Unsurprisingly, a major part of a home is being a place where one can be true to themselves and retreat from the world. This is why when I travelled to an Airbnb in Canmore as a company retreat some years earlier, even though the place had been a resort condominium that was comfortably furnished, the place didn’t quite feel like home. When I completed my move half a year earlier, I had felt that the new place exuded a similar feeling, resembling an Airbnb rather than a home, but over time, that’s changed.

  • To Yui and Hiyori’s surprise, all manner of deities and spirits have gathered, promising to lend their powers in helping Kiwa to fend off the threat that Agame represents. Having already met the kappa, and listened to Kiwa’s stories, both Yui and Hiyori are accustomed to the existence of such beings. Kiwa thanks everyone for showing up, and following suit, Yui and Hiyori bow, as well. When they complete their bow, everyone’s already taken off, leaving Yui, Hiyori and Kiwa to enjoy dinner. I imagine that people with extensive background in Japanese mythology and folklore would be familiar with everyone assembled here, but I lack such a background. Consequently, I’m only familiar with a few, such as the yuki-onna, but everyone’s presence here suggests that contrary to our existing perception of these spirits, they’re actually benevolent.

  • Following dinner, Hiyori enjoys some fireworks with the Mayoiga’s Zashiki-warashi, a spirit that is said to bestow good fortune upon the homes they inhabit. Although this particular spirit is shy, she gets along fine with Hiyori. Yui and Kiwa share a conversation about Yui’s future – because her life had been so hectic, Yui hasn’t had a chance to really define her goals or aspirations. Kiwa’s completely okay with this and suggests that for Yui, she has time yet to figure something out. If I had to guess, Yui’s enjoyment of cooking would mean that she’d probably find a fulfilling career in a culinary arts programme.

  • Before turning in, Hiyori and Yui share a conversation about the Mayoiga. This one’s grander than theirs, and while there’s nothing wrong with it per se, the pair both agree that the smaller one they previously lived in felt more like a home. There is truth in this – while some people justify larger homes as having more space for storage and privacy, the realities are that larger homes come with more property tax and increased utility costs, on top of time needed to keep everything ship-shape. In 2017, Chris Foye published a paper to the Journal of Happiness Studies that found people actually up-size their homes not for practical reasons, but as a status symbol, so having a larger house didn’t correlate to increased happiness in the long term.

  • Home developers continue to insist that two thousand square foot single-family homes are sustainable even where there is overwhelming evidence to suggest that urban sprawl is unsustainable, whereas in reality, there is an upper bound for how much space people need to be at their happiest. Back in Misaki no Mayoiga, Kiwa receives an enchanted dagger from a pair of foxes. The inevitable reality becomes clear: Agame has become a sufficient threat such that intervention is now necessary, and Kiwa sets off to deal with Agame on her own.

  • The next morning, Yui and Hiyori are shocked to find that the Mayoiga has only laid out breakfast for two and swiftly realise that Kiwa’s gone to take on Agame on her own. They search the whole of the Mayoiga to find nothing and set off to find Kiwa, only to learn that the Mayoiga has sealed them in per Kiwa’s wishes. While Kiwa had done this to protect Yui and Hoyori, par the course for anime films, the story is always going to be written in such a way so that tensions are increased. Kiwa’s decision thus speaks firmly to the fact that she alone cannot handle Agame.

  • The Mayoiga relents and unlocks its front gates after Yui implores it to let them help Kiwa out, that this is what being a family means. Despite only spending a short amount of time together, Yui and Hiyori have come to view Kiwa as an indispensable part of their family, enough to take the initiative and act according to their own judgement. It is the case that the elders are often more protective of youth, whereas youth are always striving to prove their worth. In stories like Misaki no Mayoiga, the characters’ decisions and the corresponding outcomes tend towards showing adults should give youth a chance.

  • Giving Yui and Hiyori a chance to catch up to Kiwa means giving the producers a chance to showcase the town by morning: it’s a pleasant day with blue skies, and the morning calm shows how there’s still time for Yui and Hiyori. The visuals and animation in Misaki no Mayoiga are of a fine quality, and the film itself is produced by David Production, whose repertoire includes Planetarian, Strike Witches: Road to Berlin and Cells at Work. While varying greatly in style, and perhaps not quite as visually distinct as studios like P.A. Works and Kyoto Animation, David Production’s work is still solid.

  • Before we enter the film’s climax, I’ll go on a brief tangent and comment on the recent iPhone 14 Pro preorders, which opened last Friday at 0600 MDT. I placed my order shortly before my workday started, and Apple’s estimate now is that my order is likely to ship early October. While this delay is apparently newsworthy, as was Apple’s online store folding from the volume of orders, I’m not terribly worried; I’m in no rush for a new phone (the iPhone Xʀ I’m running is still in excellent shape). I will be giving my own impressions of the device once I receive mine – online technology sites suggest the device is overwhelmingly positive, and critics are suggesting the new features aren’t sufficiently innovative. I expect that the iPhone 14 Pro will be a serious upgrade over the Xʀ, and that my reaction will be somewhere between the news outlets and the critics’ opinions.

  • Back in Misaki no Mayoiga, Hiyori and Yui had correctly deduced that Kiwa had set off to take on Agame on her own, feeling it to be her responsibility to protect those around her. Contrasting the other scenes in the movie, the skies here are truly dark and grim, setting the stage for Misaki no Mayoiga‘s climax. Weather is an element that is utilised extensively in anime to convey a specific atmosphere or mood, and viewers with an eye for these details will quickly discern nuances in each moment: subtle differences in lighting and sky conditions can speak volumes to what a moment intends to convey.

  • Although the blade is imbibed with the power to cut down Agame, the engorged Agame has been bolstered by the negative energies surrounding the earthquake and tsunami survivors. Calling all of the smaller serpents in the area, it grows to a tremendous size, far greater than had been described in the tales and far exceeding what Kiwa can handle alone. For her efforts, Kiwa is unsuccessful, and the enchanted blade is shattered.

  • Yui and Hiyori are temporarily impeded when Yui’s father seemingly appears out of nowhere, intent on bringing her home. Defeated, Yui has no choice but to follow, and in this moment, recalling all of the memories they shared together, Hiyori regains use of her voice and calls out to Yui. Surprised that Hiyori’s come to care so deeply for her, Yui rejects her “father” and casts him aside, breaking the serpent’s illusion. Yui and Hiyori share a moment together; the two could not have grown to the extent they did without one another. Caring for one another has allowed Hiyori to speak again, and Yui manages to find enough strength to make peace with her past.

  • With Agame calling all serpents to it, a massive snake eye-like orb begins manifesting in the skies. The final act of Misaki no Mayoiga ventures into the realm of fantasy as the fight is finally taken to Agame, and here, I remark that anime films do have a tendency towards flooring the accelerator towards the end. Both A Whisker Away and Hello World had similar pacing, with the story beginning slowly, but steadily, only to wildly speed up towards the ending. This approach is not one that all viewers appreciate, as it conveys the sense that the film had miscalculated early on and must now accommodate for everything that was hitherto unresolved so that a resolution can be reached.

  • In Misaki no Mayoiga, the clash with Agame did seem surprising: Agame felt more like a metaphor for sadness and desolation, so giving it a physical presence and plunging the story into the realm of fantasy can seem jarring. At the same time, this route also means that Misaki no Mayoiga presents a very visceral portrayal of how people might overcome despair and melancholy. Alone, Kiwa had no chance of defeating this monstrosity, but having spotted that they’d become a family, Yui and Hiyori had reasoned that their best odds of besting Agame is also together.

  • The lion-dogs thus bring the pair to the seawall where Agame is manifesting, and the other supernatural entities that had shown up at the large Mayoiga have also arrived. Because of their cordial relationship with Kiwa, it stands to reason that similarly to the kappa, Kiwa must’ve also encountered them previously; preparations for this fight might’ve been a long time in the coming. While Agame hurls bolts of lightning in an attempt to set the nearby forests alight and keep the spirits busy, it is too distracted to notice two arrivals.

  • Drawing parallels with their roles in the Fox Dance, Hiyori begins playing the flute. The melodies diminish Agame’s power, and the skies begin clearing as a result. Kiwa’s original story had mentioned that Agame was weak against music, and as such, nothing that happens here in the climactic fight comes across as being contrived; no matter how small, all details that are mentioned are fair game when it comes to being utilised for helping to resolve a plot. Speaking to how much effort she’s put into practising, Hiyori’s flute skills are enough to tangible slow Agame down.

  • Meanwhile, Yui’s gained access to an enchanted bow. She’d reluctantly accepted the role of playing one of the dancers in the Fox Dance, and becomes well-suited for being the one to land the blow that will finish Agame off. Unlike the other sections of Misaki no Mayoiga, where there hadn’t been any incidental music during the tenser moments, the lead-up to the showdown against Agame has an intimidating choral piece. The final fight itself is set to the Fox Dance music, consisting of traditional flute and percussion mixed in with orchestral elements. This was deliberately selected to emphasise the scope and scale of the battle, and of the songs on the soundtrack, these ones stand out from the gentler slice-of-life pieces.

  • While the music may slow Agame down, it begins rising towards the vast orb in the skies. No explanation is directly provided as to what this orb is, but thanks to Kiwa’s stories and the emotional tenour surrounding the confrontation, it stands to reason that this orb would confer Agame with the power to spread discord and chaos to a much wider region that extends beyond Tōhoku. Before Agame can reach the orb, the skies suddenly clear out, and Yui readies an enchanted arrow, ready to shoot Agame in the eye and stripping it of its power.

  • Yui resolves to do what she can, signifying that she’s managed to let go of her past and live in the present. She subsequently fires an arrow that hits Agame squarely in the eye, and with its source of power gone, Agame explosively unravels. Agame resembles the Basilisk, a mythical reptile of European origin whose gaze was said to be lethal, and whose movements left a trail of deadly venom in its wake. Unlike Agame, and the Basilisk of Harry Potter, the original creature was no more than a foot long. Unlike the Basilisk, Agame’s gaze induces horrifying visions; Misaki no Mayoiga suggests the strange comings and goings were a result of Agame’s influence.

  • The next morning, Hiyori awakens to find Yui and Kiwa with her. Kiwa had caught Yui up to things and notes that the townspeople remember nothing. Hiyori has fully regained the use of her voice and implores that she be allowed to remain with Kiwa and Yui so that she can continue exploring the world of mythological beings. Kiwa finally reveals a bit more about her background: she too had lost her parents and wandered from place to place. In this moment, Yui realises that she and Kiwa are more similar than she’d thought, and expresses a desire to continue living at Mayoiga, which she now counts as a home.

  • Walking out into the garden, Kiwa points out a cherry tree sapling that has begun growing. The tree has put down its roots, and when it matures, it will provide Yui, Hiyori and Kiwa with sakura blossoms every spring. Putting down roots is not a small decision, and the presence of this tree shows that Yui, Hiyori and Kiwa are finally ready to settle down, having found a place to call home and the people to cherish life’s moments with. Overall, Misaki no Mayoiga was an enjoyable film, and while I’m out of my depth when it comes to Japanese mythology, the movie’s overall themes and progression were consistent and meaningful.

  • Coupled with good visuals and a wonderful soundtrack, Misaki no Mayoiga is a movie that has my recommendation: the movie earns an A grade (4.0 of 4.0, or 9 of 10) in my books. I am glad to have taken the time to watch this movie, and with this, my talk on Misaki no Mayoiga draws to a close. We’re now halfway through September, and this corresponds to the ending of the summer anime season. I’ve been following Luminous Witches and Kanojo Okarishimasu on a weekly basis, and will write about both once they wrap up. Lycoris Recoil and RWBY, I am planning to watch in once they conclude in full, and with the time I’ve got, I’ve been catching up on Spy × Family ahead of its second season, which is set to air come October.

Misaki no Mayoiga utilises both the mundane and the supernatural in order to convey its messages, resulting in a film that masterfully combines stunning portrayals of landscapes with vividly detailed renderings of supernatural beings that seamlessly blend together in a touching and meaningful story about recovery following the Tōhoku Earthquake. The topic remains a poignant one because, although more than a decade has elapsed since the earthquake, its impacts are still felt today. Works like Misaki no Mayoiga are an uplifting and encouraging tale for folks, reminding them that so long as they’ve got one another, they can rebuild their homes and communities, and so long as they’ve got their homes, they have a base from which to rebuild their lives and help others to do the same. While the supernatural elements in the film are quite bombastic and stand in stark contrast with the gentler slice-of-life aspects, they serve an important purpose in reminding viewers of how the past may yield some encouragement for people in the present day. Much as how Kiwa draws on mythology to provide Yui and Hiyori stories of strength, and how there is precedence for the problems they each face, Misaki no Mayoiga reminds viewers that lessons from the past remain relevant now. Being a tectonically active nation, earthquakes and volcanos have long impacted the nation, but its people have always been resilient, and will continue to find a way even during moments when it seems that all hope has faded. Overall, while the supernatural piece may come across as a bit jarring compared to the remainder of the aesthetic and tenour within the movie, it is there for a reason, and Misaki no Mayoiga ends up being a worthwhile film to watch; it speaks volumes to the idea of Japanese stoicism and resilience in the face of adversity is, in part, a consequence of community, and also gives viewers the sense that while the disaster may have impacted hundreds of thousands of people, even to this day, the spirit within Japan remains strong, and people have found their way in that time frame.