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Tenki no Ko (Weathering With You): A Review and Reflection on Makoto Shinkai’s 2019 Film

“I always say: in survival, I’m either dealing with bad weather, or preparing for it.” –Les Stroud, Suvivorman

Tenki no Ko (天気の子, literally “Children of the Weather” and English name Weathering With You) is Makoto Shinkai’s sixth feature-length film that premièred in Japan on July 19, 2019. Shinkai is described to have seen a towering cumulonimbus cloud over Tokyo in late August, shortly after Your Name‘s screenings began in 2016, and began wondering to himself, “what if the cloud tops were an island?”. This materialised into the inspiration for Weathering With You, a film that ultimately grossed 226.16 million CAD internationally and won several awards, including Anime of the Year at the 43rd Japan Academy Film Prize, as well as being nominated for several other awards. At its core, Weathering With You follows Hodaka Morishima, a high school student who runs away from home and finds himself in Tokyo. During a freak down-burst on a ferry that threatens to wash him overboard, he is saved by Keisuke Suga, who gives him a business card. After arriving in Tokyo, Hodaka struggles to find work and support himself. Amidst the seedier parts of Tokyo, he finds a discarded Makarov PM pistol, and one day, encounters Hina Amano at a McDonald’s, who pities him and gives him a meal on the house. With his funds dwindling, he decides to take up Keisuke’s offer and arrives at the address on the business card. After meeting Natsumi, Keisuke’s niece, he is offered a job and explores urban legends as a part of his job to write magazines articles. One excursion has Natsumi and Hodaka learn of the weather maiden, an individual blessed with the power to manipulate the skies. Settling into life as an assistant, Hodaka encounters Hina in the company and attempts to rescue her, eventually discharging the side-arm he found to scare them off. He and Hina escape, and here, Hina reveals an unusual ability to clear the skies of rain that came after she crossed a torii on the rooftop of an abandoned high-rise. Realising that Tokyo’s been raining non-stop, he proposes starting a business to utilise Hina’s powers to help those around them, and they become an overnight success, participating in events from weddings and sports meets to creating a miracle for Tokyo’s Jingu-Gaien Fireworks Festival.

However, after spotting footage of Hodaka on a pole-mounted CCTV, the Tokyo police become interested in the pistol that Hodaka found and begin searching for him. Keisuke distances himself from Hodaka and fires him, but not without telling him to look after himself. After evading beat cops, Hodaka, Hina and her younger brother, Nagi, overnight in a hotel, where Hina reveals use of her power comes at a cost, and that she must sacrifice herself entirely to restore balance to Tokyo’s unusual weather. Despite Hodaka’s promise to protect her, Hina disappears the next morning, and Hodaka is arrested. He manages to escape custody, and with Natsumi’s help, arrives at the derelict building and attempts to reach the torii, but runs into Keisuke. While he had intended to talk sense into Hodaka, he realises the strength of Hodaka’s feelings for Hina and helps him to escape the police. Upon reaching the torii, he is whisked into the skies and manages to save Hina, convincing her to live for her own happiness. In the aftermath, he is arrested and sent back home. Over Tokyo, the skies continue to rain, flooding the city and forcing its inhabitants to move. Three years later, Hodaka returns to Tokyo after graduating and his probation ends. He meets with Keisuke, who is now running a more reputable publishing firm and encourages him to follow his heart. On a bridge overlooking the submerged Tokyo, Hodaka reunites with Hina and promises that things will be okay from here on out. With a run-time of one hour and fifty-two minutes (six minutes more than Your Name), Weathering With You had found itself in the shadows of its predecessor and ultimately, continues in dealing with Shinkai’s themes of love, separation and reunion, as well as the forces of nature that bring people together and drive them apart. Whereas Your Name utilised catastrophe as its motivator, Weathering With You, true to its title, employs the phenomenon of weather to present new themes alongside familiar ones.

Major Themes in the movie

While Weathering with You has a distinct weather motif, the notion of taking responsibility for one’s actions lies at the heart of the film; in the beginning, overwhelmed by his circumstances, Hodaka decides to run away from home and is bound for Tokyo. In his situation, he feels unable to take control and therefore, responds in the only way he can. Upon arriving in Tokyo, Hodaka initially expresses an unwillingness to take responsibility for anything because he seems to be on the back-foot all of the time. When his funds run out and it seems as though there’s no other way, however, after Hodaka meets Hina for the first time, her warmth and kindness instigates a change in him. He begins to take the initiative, and seeks out Keisuke to better his situation. In shouldering more responsibility, Hodaka begins to mature, although he remains brash, impulsive and hot-headed: this is how he formally meets Hina. The journey that Hodaka and Hina take together is one of ups and downs, giving the two great happiness as well as challenges. Over time, Hodaka’s feelings towards Hina manifests as love, and from here, Hodaka’s actions begin shifting; he starts acting in her interests, and while he might initially be seen as shirking responsibility for his actions, such as when he runs away from the police station after his capture, he is actually acting for another reason. Once he recovers Hina from the heavens, Hodaka stops running away: he is ultimately arrested, tried and returned home, but promises to uphold his promise to Hina. After his graduation, he ends up keeping true to his word, and taking responsibility for the consequences of his action, returns to Tokyo to find Hina and fulfil his promise of being with her. Weathering with You presents a tale of responsibility and how one may uphold their word, as well as what sacrifices are necessary; in this film, Makoto Shinkai suggests that if one’s word is worth keeping, then one should keep it even if there is another cost incurred. Hodaka’s time in Tokyo pushes him to learn the meaning of responsibility, and it turns out that love is a powerful instructor; in order for Hodaka to have found happiness with Hina, he would’ve necessarily needed to stop running from his problems and face them. In returning to Tokyo, speaking with Keisuke and finding Hina, audiences are assured that Hodaka has evidently matured, understands what it means to own his actions, and ultimately, is better prepared to support and love Hina than he was when they had first met, no matter what the weather might be.

Les Stroud describes the weather as being the single most dangerous factor in survival, with extremities negatively affecting one’s survival and drastically introducing challenges. In Weathering With You, Makoto Shinkai presents the weather as a natural phenomenon whose impact is less tangible; rainy skies are associated with separation, melancholy and lethargy, seen when Keisuke laments being unable to see his daughter owing to rainy weather, as well as causing the interruption or fouling of events as varied as weddings, sports meets and fireworks events. By comparison, clear weather is a time of happiness, togetherness and adventure. Under good weather, people spend more time together and create more memories together. Hina’s power, then, is a symbol of hope for Tokyo’s residents, who are inundated with rainy weather, wherein the dampness appears to seep into one’s very bones and saps people of their happiness. However, Hina’s power comes with a terrible cost, consuming her own life energy and rendering her increasingly transparent. As she strives for the happiness of others, this comes at great expense to herself. This is the primary conflict in Weathering With You that Hina must deal with; having lived a life without clear purpose or direction, when she is given a chance to impact the lives of others in a meaningful way at a personal cost, which decision she should take becomes muddled. On one hand, meeting Hodaka and spreading happiness through her power has made her happy, but on the other hand, having begun to fall in love with him, Hina appreciates that being with him means not interfering with the weather further. In creating this conundrum for Hina, Shinkai suggests in natural systems like the weather, interference usually carries a cost. Shinkai indicates that things like the weather are immensely complex, in comparing the weather patterns to the work of deities, and for humans to impose their will on these systems only ever yields a short term result. The sunshine that Hina brings is not long-lived, and the rain inevitably returns, stronger than before. The devastation wrought on Tokyo, then, as a result of Hina’s actions, shows that even if it were possible to intervene in natural phenomenon, to do so extracts a toll on those who do not fully understand the nuances of the system they intend to alter.

However, while Shinkai indicates that the weather is phenomenon that humanity must learn to live with, he also suggests that as a species, we are remarkably resilient, constantly striving to better a situation. This is what Hodaka represents in Weathering With You; the deck is constantly stacked against him, but he survives and always seeks a way to better his circumstances. After arriving in Tokyo, he transitions from one spot to another in search of opportunity, bringing him to his fateful meeting with Hina. When he accepts a job with Keisuke’s publishing company, his situation improve enough to where he is able to meet Hina again. Captivated by Hina, Hodaka ends up moving heaven and earth to be with her: his devotion borders on foolishness, and so strong are his feelings that he is willing to run afoul of the law and systems far beyond his comprehension to be with her, whether they be natural or man-made. Driven by his unwavering desire to be with Hina, Hodaka’s determination and persistence is a representation of how powerful love is: he comes to personify the human spirit and how far people are willing to go for one another and their own survival. The film scales this up towards its ending; even as Tokyo begins flooding from ceaseless rain, the citizens’ own resilience leads them to continue living even as a familiar livelihood is disrupted and submerged by unfeeling flood waters. Although people may go through trials and tribulation, their innate desires to survive win out: necessity has driven some of humanity’s greatest innovation and stories of courage, resilience. Altogether, through Weathering with You, Shinkai suggests to the viewer that even when confronted with the unknown, the bonds that connect people are stronger still, and in the end, people will find a way to make it, whatever it takes. As Weathering with You draws to a close, Hodaka and Hina’s reunion marks the beginnings of a new path, one where each will have the other to support and be supported by as the walk their future together.

Personal thoughts on the movie

With its conclusive ending, Weathering with You is a satisfying film to watch, featuring a combination of heartfelt moments, portrayals of everyday life and enthralling action sequences that come together for a big finish. However, it becomes clear that Weathering with You has also inherited much from its predecessor; a star-crossed love story backed by supernatural phenomenon also was at the core of 2016’s Your Name, and both movies utilise the extraordinary to demonstrate the strength of love. Your Name was a powerhouse performance because every action Taki and Mitsuha took in the film served to help them come together during the climax. By comparison, Weathering with You is missing that same coherence in a few areas: the movie is very busy in places as Hodaka struggles to make ends meet, winds up in the seedier parts of Tokyo and comes across a Makarov pistol. This pistol ends up setting in motion events that, while conferring an opportunity for Shinkai to incorporate a vehicle chase, also added nothing substantial to the film’s central message. The presence of social workers and police officers seeking a runaway after Hodaka’s parents reported their child missing would have provided enough of a motivator for Hodaka’s actions towards Weathering with You‘s climax; giving Hodaka a pistol did very little to make his feelings more apparent than it had already been. Similarly, folklore in Your Name ended up giving viewers a unifying element towards understanding how Mitsuha and Taki could transcend the laws of space and time to meet, but in Weathering with You, the inclusion of folklore merely creates a rudimentary mechanism to bolster Hodaka’s urgency in finding Hina after she vanishes. The sum of Weathering with You‘s plot appears to have been Makoto Shinkai’s effort to create a new story without venturing outside of the design choices that had made Your Name immensely successful, treading on very familiar territory. These are ultimately trifling complaints: while perhaps not the powerhouse experience that Your name might be, Weathering with You remains a highly enjoyable movie, standing of its own merits for the strength of its execution.

In every successive film, Makoto Shinkai manages to raise the bar higher for what sort of visuals are seen, and with weather at its core, Weathering with You is a visual spectacle surpassing any of his earlier films. Rain is rendered even more vividly than in Garden of Words, with the motion of individual raindrops being animated. Interiors are intricately depicted, cluttered with everyday items that convey a lived-in sense. Landscape shots and camera effects are more ambitious than before, making use of 3D rendering to present Tokyo in ways the previous films had not: the fireworks festival brought Weathering with You‘s Tokyo to life in a way that earlier films did not, even featuring real-time reflections of the fireworks on the skyscraper windows, and the dynamics of the vehicular chase similarly shows refinement in Shinkai’s craft. In short, Weathering with You represents a progression of the animation and artwork seen in Your Name, and Shinkai’s new story allows the film to portray a side of Tokyo that is lesser seen: the seedy and derelict side of Tokyo is shown, mirroring on how in Japan’s rapid growth and development, some areas were left behind, to be washed away by rain waters. There is a melancholy in seeing the abandoned building that houses the torii Hina found, and throughout Weathering with You, the use of moody, grey lighting suggests that Tokyo is not the destination that it appears to be on an ordinary day. However, when light breaks through the clouds and illuminates the world’s largest city in a wash of warm, golden light, the magic of Tokyo becomes more apparent. The shifting portrayal of Tokyo in Makoto Shinkai’s films show the city as a monolith of activity, a place of great contrasts, of excesses and decay, as well as of beauty and meaning, all of which lie in its people, rather than its buildings: having honed his craft in his previous films, Weathering with You represents further into insight into how Shinkai feels about Tokyo. When Tokyo is flooded by ceaseless rain, its citizens endure, and continue finding ways of making things work; Shinkai therefore indicates, through Weathering with You, that buildings can be rebuilt, and livelihoods restored so as long as people are together.

Screenshots and Commentary

  • Weathering with You opens with Hina finding the mysterious torii gate after noticing a beam of sun illuminating it while with her mother at the hospital. When she walks through the gate, she finds herself whisked into the skies above. Unlike my post for Your Name, I’ve decided to host my images in a typical fashion owing to storage constraints. However, the screenshots should still be quite sharp and capture all of the details in the movie nicely: this time around, I’ve got eighty screenshots (down from Your Name‘s one hundred even), curated from a total of three hundred and sixty, making this first and only proper collection of screenshots around on the internet.

  • Weathering with You begins formally with Hodaka on board a ferry bound for Tokyo. The film does not disclose much about his background, beyond the fact that he was dissatisfied with his old life to the point where he felt running away from home was his best bet. The bandages on his face, in conjunction with his unhappiness about his home, suggest that he suffered from physical abuse. However, Hodaka cannot help but marvel at the gathering storm while riding the ferry: a massive rainfall suddenly inundates him, and an unexpected downburst threatens to wash him overboard.

  • The storm disappears as quickly as it appeared, and Hodaka finds himself being saved by one Keisuke Suga. In gratitude, Hodaka treats Keisuke to lunch, and is coerced into buying Keisuke a beer, as well. Keisuke appears to be a bit of a shady character – his eyes lack the detail and dimensions that are typical to trustworthy characters, and so, viewers cannot help but be a little mistrusting of him when he is first introduced. Before we delve further into Weathering with You, it’s appropriate to explain the page quote: I normally reserve Survivorman quotes for Yuru Camp△, but owing to how Les Stroud describes the weather, I figured his remarks on weather are well-suited for opening a talk about a movie with a substantial weather motif.

  • After the ferry pulls into Tokyo harbour and docks, Keisuke and Hodaka part ways, but not before Keisuke leaves him with a business card. In this post, I’ve avoided recycling images that I used for my post about my plans to write aboutWeathering with You, drafted shortly after the film’s announcement: my expectations back then were to see how well the film utilised Hina’s powers and tie that in with an overarching theme. Beyond that, I had no other knowledge of the film, and when it released to Japanese theatres on July 19, 2019, I hadn’t even made any remarks about missing out on things.

  • Because Hodaka was able to survive for a short while before his funds dwindled, it stands to reason that he comes from a moderately wealthy background, enough for him to have withdrawn enough of his personal funds to buy time and attempt to find a job. Hodaka’s journey takes him to a seedier side of Tokyo that Shinkai had hitherto not explored in his movies, and in this side of Tokyo, questionable nightclubs and gambling parlours are portrayed. It reminds me of the side of Tokyo that Natasha Romanoff found Clint Barton in during the events of The Avengers: Endgame, although unlike Barton, Hodaka is no fighter, and can only escape from confrontations.

  • After taking refuge from the rain in front of one such night club, the establishment’s owner notices Hodaka and roughs him up. While beautifully rendered from a distance, close-up, Shinkai also chooses to portray a grittier, rougher side of Tokyo in Weathering with You to show the idea of resilience, a recurring theme in this movie. Hodaka ends up being knocked onto the streets along side a recycling container, and in it, he finds a Makarov PM. Feeling it to be a toy, he takes it with him and winds up at a McDonald’s, but having run his funds dry, can only order a drink.

  • At the McDonald’s, one of the staff takes pity on Hodaka and makes him a Big Mac on the house. Hodaka describes it as the best dinner he had since arriving in Tokyo, and while the moment conveys a combination of despair and hopelessness, it also foreshadows subsequent events: the staff is none other than Hina Amano, and upon their fateful meeting, he feels the warmth in her actions, which extends into the burger itself. In Five Centimetres per Second, Makoto Shinkai had used a stand-in for McDonald’s, but of late, having seen international recognition, Shinkai’s been able to use some real world brands openly in Weathering with You. Details paid to the Big Mac and its box are remarkable, and the box looks identical to the ones at the local McDonald’s.

  • I’m certain that, with a bit of patience and generous use of Wander in the Oculus Quest, I’d be able to find all of the locations shown in Weathering with You – for Your Name, I ended up using a bit of photogrammetry techniques to locate Taki’s apartment in an exercise that proved immensely enjoyable. The locations of Weathering with You are a bit more inconspicuous, and on first glance, would be trickier to find. However, knowing that Shinkai incorporates great amounts of details into his film, using the address on Keisuke’s business card and the Google Maps app on Hodaka’s phone means that one could find Keisuke’s home/office reasonably effortlessly.

  • Of course, doing so is not advised, as it is impolite to hassle a private residence. Regaining his energy and spirits from the Big Mac and Hina’s kindness, Hodaka decides to follow his lead and visit Keisuke. Ever since he arrived in Tokyo, it’s been raining nonstop: much as how previous films used weather as a metaphor for feelings within the protagonists’ hearts, Weathering with You‘s use of rain shows that at this point, Hodaka is very much in a melancholy and despairing. However, a simple gesture from Hina is enough to send Hodaka down a different path, and he decides to take a look at Keisuke’s offer.

  • Upon arriving at the address on Keisuke’s business card and entering, he finds himself face to face to a sleeping woman in her twenties. Being a teen, Hodaka cannot help but stare at her chest as she sleeps, and when she awakens to find him there, the woman’s first act is to tease Hodaka about it. It’s curious to see Shinkai incorporate more of these aspects into his movies (Your Name had Taki feeling up Mitsuha when he’d inhabited her body). Shinkai’s earliest films had female protagonists as pure as driven snow, perfect abstractions of what romance and love entailed, but over the years, females in his works became more human, with their own flaws and unique features.

  • It turns out that the sleeping woman is Natsumi, and while she’s not the female lead of Weathering with You, she’s certainly not one-dimensional, as this screenshot can attest. After Natsumi introduces herself, Keisuke finally arrives and lays out the terms of the job he has in mind for Hodaka. While Hodaka is initially reluctant, Keisuke notes that Hodaka’s job will also cover lodging and meals, prompting him to reconsider. As it turns out, the job Keisuke has in mind is akin to that of an intern: his job description entails organising meetings, proofreading, writing and helping out with housework.

  • Interior clutter has always been a major feature in Makoto Shinkai’s movies, giving a very lived-in sense: in Weathering with You, details in Keisuke’s home/office, from scattered papers and unwashed cups, give insight to Keisuke’s life. Looking at the placement and organisation of everyday objects in a scene brings interiors to life, and in most anime, this detail is eschewed for ease of animation: looking after that many assets would be immensely difficult, and it speaks the technical skill of Comix Wave Films that they are able to render this. The only other studios that place such effort into interiors are Studio Ghibli, Kyoto Animation and P.A. Works.

  • Hodaka’s first test is to accompany Natsumi to speak with a fortune teller, who presents the story of so-called “Sunshine Girls”, alongside “Rain Girls” whose presence can impact the weather, and this early into Weathering with You, the fortune teller already gives viewers one of the film’s main themes: if you mess with nature, it tends to mess back. My main goal in consuming any work of fiction is to see what I can learn from it (and by extension, the author’s intentions), so if I walk away from something with a quantum of an idea of what the author wanted to convey, I end up satisfied.

  • Once Hodaka begins settling into his new routine, Radwimps’ Kaze-tachi no Koe (“Voices of the Wind”) begins playing. Repraising their role from Your Name as Weathering with You‘s composers, Radwimps delivers an aural experience that elicits memories of Your Name. Voices of the Wind is an upbeat piece whose rhythm mirrors the newfound routine in Hodaka’s life, and their remaining vocal pieces are well-adjusted. The instrumental pieces of Weathering with You create a sense of melancholy and longing that fits well with Shinkai’s themes of separation and distance, as well as the supernatural feeling that arises at critical moments in the story.

  • Besides McDonald’s, Tenki no Ko also showcases Apple products in prominence: Hodaka is seen using an iPhone 8 and a 2017 MacBook Pro, and Natsumi runs an iPad. That Weathering with You is able to use real-world products is a sign of how far Makoto Shinkai has come in terms of recognition, for large companies like Yahoo!, Apple and McDonald’s to allow their products to be rendered in such detail. Since Your Name, Apple has reached iOS 13 from iOS 10, and their Flat UI has been around since 2013’s iOS 7. Since then, iOS has not changed too much in appearance, and I remark that I’m very fond of the Flat UI, which replaces the Skeuomorphism aesthetic that iOS 6 and earlier used.

  • Weathering with You‘s use of supernatural differs from that of Your Name‘s in that whereas the latter employed it purely as a study of regional folklore, Weathering with You mixes it with urban legends that high school girls are familiar with. Old and new collide in Weathering with You in a way that Shinkai’s previous films do not depict, and this hints at Shinkai’s thoughts on advancing technologies and beliefs: the interweaving of old and new suggest in Weathering with You indicates that while Shinkai respects the old ways and uses them when appropriate, he also believes that if the new offers a tangible benefit to something, then it should be tested and utilised, as well.

  • Aside from high school students attuned to rumours and urban legends, as well as practitioners of the occult, Natsumi and Hodaka also speak with meteorologists and experts. While some turn them away, seeing the supernatural as a waste of time, others eagerly speak with them, as they’ve also spotted the unusual phenomenon manifesting in Weathering with You: raindrops occasionally flop about and swim as fish do, and there have been several instances of large bodies of water taking the form of whales. Unfortunately, my understanding of the symbolism here is not terribly extensive, and I can’t offer more on what the cloud fish and whales mean beyond the suggestion that the clouds are supposed to represent a world that has not been extensively studied.

  • One subtle detail that I really enjoyed was watching Hodaka slowly become better as an article writer: Keisuke had been satisfied with his initial writing but counts him as a slow writer, and while he reviewers Hodaka’s work here, he critiques one of Hodaka’s passages before noting that Hodaka’s done well in another section. While seemingly minor, this moment shows that despite his gruff appearance and the occult focus of his publishing business, Keisuke is someone that Hodaka can look to as a mentor figure. For the audiences, this is reassuring, reminding viewers that Keisuke can be trusted.

  • While out one day, Hodaka runs into Hina again, who is trying to discuss terms of some job with two shady-looking characters. Without really thinking things through, he pulls Hina away and they run off, but the two catch up to Hodaka and begin kicking his face in. Hodaka ends up drawing the Makarov and fires it, scaring the two off, but also earning himself admonishment from Hina. The Makarov pistol is named after designer Nikolay Fyodorovich Makarov, who designed it to be a compact pistol with low recoil without compromising stopping power. It entered service in 1951, and anime fans will know it for being the gun that Shino “Sinon” Asada fears during Sword Art Online‘s Phantom Bullet arc. Owing to its Soviet origins and use by the Eastern Bloc, the weapon does seem to exude an aura of menace and well-chosen to be the antagonist’s firearm in anime.

  • Hodaka discards the gun and ends up having a proper conversation with Hina to know her better, after both have a chance to clear their heads. They head to the roof where the torii is, and Hina demonstrates her power to clear the skies. It turns out that this power is strictly for clearing the skies, and unlike The Elder Scrolls V: Skyrim‘s “Clear Skies” shout, cannot make aurora borealis manifest. In Weathering with You, the first bit of sun is a magic moment for Hodaka. Most promotional images for the film feature the clearing skies by the torii on the rooftop and the cloud-top islands, and while Weathering with You does not have an iconic element as did Your Name in terms of imagery, the imagery associated with Weathering with You remains distinct.

  • While the phenomenon of a Sunshine Girl had been relegated to the realm of myth and rumour, Hodaka’s encounter with Hina changes his world permanently. Here on the rooftops, Hina and Hodaka are removed from the hustle and bustle of Tokyo, as well as the world’s worries. The tranquility and peace that Hodaka shares with Hina here marks a turning point in Weathering with You, being the first time that sunshine is properly seen in the movie, and with it, the first time that Hodaka sees a reason for being here in Tokyo.

  • Reports of animals manifesting in the water begin making their way across social media platforms like Instagram, and Hodaka’s mind is on capitalising the excitement to publish a few more articles that could draw in readers, and with them, the coin. Natsumi’s exact relationship to Keisuke is never explored early on, and this leaves a bit of a mystery to her from Hodaka’s perspective; he is shocked to learn that she’s more of a part-timer with Keisuke’s company, and prior to heading out for a day’s worth of interviews, she looks through some of the phenomenon with Hodaka, but ends up disappointed that Hodaka’s thinking more about the increased profits from increased readership.

  • Keisuke, meanwhile, has other troubles of his own; after his wife died, their daughter went to live with her grandparents, and Keisuke finds it difficult to spend time with her daughter. At Minori Cafe in Ginza’s Mitsukoshi Department Store, he meets with his mother-in-law, who is adamant about keeping Keisuke from seeing his daughter owing to the fact that he smokes and the poor weather makes it difficult to be outside, which would alleviate her asthma. Keisuke’s mother-in-law recalls a time when the weather was more agreeable and laments that contemporary children are less inclined to explore the outdoors owing to extremities of weather, although the reality is that kids of this age are glued to their tablets and phones.

  • When I was in Japan three years earlier, I passed by the famous Wako Department Store in Ginza: I best remember its distinct Seiko Watch Face from the movie King Kong vs. Godzilla. After spending the morning at the Imperial gardens and a shrine, I’d arrived in Ginza for a delicious beef nabe lunch at a restaurant whose location I can’t remember, and subsequently browsed around the shops in the area before heading off for the banks of the Sumida River to check out the Tokyo Skytree and Sugamo Jizodori Shopping Street a ways over. The day ended at Heritage Resort in Saitama, where I sat down to a magnificent dinner of Kobe beef and sashimi before soaking at the hotel’s onsen.

  • There is a lot of exploration in Tokyo, and while I’d only spent a day there during my trip, I appreciate that one could spend a few months there and still not see everything worth seeing (although I note I’ve been in Calgary since time immemorial and there are things back home I don’t know about). Back in Weathering with You, upon seeing Hina’s power to clear the skies with his own eyes, Hodaka begins to develop an idea – aside from a few minutes of good weather, Weathering with You has been very rainy insofar, and Hodaka begins to feel that the mood of people is invariably tied to the weather, with rain signifying depression, melancholy and lack of energy. Sunshine occupies the opposite end of the spectrum, filling people with motivation, determination and joy. He contemplates the idea of using Hina’s powers to deliver hope for cash, and decides to float the idea to Hina.

  • Hina invites Hodaka over, who suddenly realises that this is the first time he’s ever been over to a girl’s house on his own. Hodaka hesitates briefly, but Hina has no qualms about having him over. As it turns out, Hina’s been living with her younger brother, Nagi. Ever since their mother passed away about a year ago, Hina’s been working to support the two, and this was roughly when Hina discovered the torii on top of the abandoned building. Hina’s situation is a tragic one, and despite the challenges she’s faced, she does her best to be optimistic about things, even going to extraordinary lengths like working at a night club despite being under-aged in order to make ends meet.

  • Because of her situation, Hina’s developed a rather unusual sense of cooking, incorporating instant ramen and potato chips into her recipe for fried rice. I am strongly reminded of a similar moment in The Garden of Words when Yukari cooks for Takai after the two retreat to her apartment during a sudden downpour. Both The Garden of Words and Weathering with You feature rain at its centrepiece, and while Hodoka and Takai have different thoughts on the rain, in both movies, the rain plays an instrumental role in bringing people together. When I first watched The Garden of Words, a major flood shut down my area, and now, watching a similar scene in Weathering with You, I am reminded of working from home some seven years ago in a similar fashion.

  • While Hina and Hodaka share a lunch of fried rice and a fried chicken salad, I look back on some meals that’ve put a smile on my face. With restaurants slowly beginning to re-open, I’ve been able to enjoy a combination of restaurant food and home cooking: over the past weekend, I’ve had herb-and-spice fried chicken and fries with southern-style gravy and a delicious sirloin burger topped with onion crisps with a side of crinkle-cut fries. Looking forwards to a good meal is a massive morale booster, and unlike seven years ago, where the Great Flood caused me to fall into a melancholy, I’ve been more proactive in keeping my spirits up. Being able to enjoy a meal is high on my list of things to do during times like these, and the warmth and normalcy of such moments in Makoto Shinkai’s films suggests that he believe something similar.

  • After a day’s effort, Hodaka and Hina spin up a website that allows visitors to make requests for good weather. When Nagi arrives home, he’s unimpressed with Hodaka’s presence, and Hodaka recognises Nagi as the elementary school student who seemed to be rather popular with the ladies. I’m guessing that Hodaka and Hina are using a cloud service to run their website and are rocking a noSQL database to hold their requests, which would be simple entities containing a date, requestor name, email and description of the task, easily retrieved by date of request. Then it’s up to Hodaka and Hina to travel to the customer and fulfil their request for good weather. Nagi is initially skeptical, and even more so when he’s made to wear a teru teru bozū costume.

  • Hina, Hodaka and Nagi’s first assignment comes at a flea market, whose organisers worry that attendance and business will be poor on account of the rain dissuading customers from visiting. Initially, the organisers are skeptical that anything could happen: being able to control the weather is something that only exists in the realm of fiction, involving powerful technologies like those the Forerunners employed on Halo, or through extraordinary means like the Infinity Stones. However, when Hina wishes for it, a break appears in the clouds, bathing the land with sunlight. The flee market’s organisers are absolutely thrilled, and Nagi realises that Hodaka and Hina are onto something, no longer reluctant to head out as a teru teru bozū.

  • As the clouds give way to blue sky, the music swells to a crescendo of joy and optimism. While I had been a little skeptical of Radwimps upon hearing their role as the composers for Your Name‘s soundtrack, I ate my words after seeing the movie, and by Weathering with You, I was thoroughly impressed with their musical performance. The music of Weathering with You is memorable in its own right, creating a different aural aesthetic than that of Your Name‘s; Your Name‘s music was deliberately hesitant in places to mirror the confusion in Mitsuha and Taki surrounding both their scenario and their feelings for one another, but in Weathering with You, the sound is bolder and more purposeful, showing Hodaka and Hina both as being strong-willed.

  • After their success at the flea market, word begins to spread: Hina and Hodaka find themselves busy, fulfilling requests from those who’ve placed them on their website. Tōko Miura’s “Festival” accompanies the montage depicting the various venues Hina and Hodaka are asked to bring sunshine to: this highly upbeat, energetic song offers a break from Radwimps’ own performances, creating a refreshing break in the movie that creates an aural representation of what sunshine sounds like. The spirit and pacing in “Festival” sounds like a song that speaks to the halcyon days of high school, a time for youth to partake in exploration and discovery without the obligations of adulthood.

  • In Weathering with You, Hodaka provides a narration over the montage: as he, Hina and Nagi brighten up weddings, Comiket, and school activities with Hina’s power, he contemplates how happy the sun makes people, washing the land in light and warmth that signifies hope and possibility. Hodaka is at his happiest up to this point in the film: having a purpose to work for and being with Hina, who can be seen as a personification of sunlight, Hodaka believes that sunny weather even helps people to fall in love with those around them more quickly, foreshadowing his own feelings for Hina.

  • Hodaka’s monologue captures the general feeling people have regarding good weather: love for good weather is universal, and there’s a scientific reason as to why this is the case. It turns out that exposure to sunshine triggers the production of serotonin in the brain, as well as catalysing the production of vitamin D. Serotonin is a chemical that is involved in a range of processes and contributes to regulation of sleep, digestion and mood, while Vitamin D is involved in calcium absorption, cell proliferation and regulating the immune response. In helping the body to produce these chemicals, sunlight is a critical part of well-being – there is a physiological piece in why sunshine and well-being are correlated.

  • For me, my mood fouls the quickest at the sight of an overcast sky or snowfall, but rainfall doesn’t bother me at all. There’s a scientific reason for this, as well: the sound of rainfall is a consistent sound that helps the mind to relax, stimulating enough of the auditory cortex to promote some activity without excessive stimulation that we perceive as noise. While research has found that extensive periods of bad or good weather cannot be positively correlated with changes in mood, the fact is that weather patterns do have a tangible impact on people; these might be subtle on their own, but can add up to create a noticeable impact on one’s health and well-being.

  • Eventually, Hina and Hodaka become renowned enough to be called in for their biggest assignment yet: ceaseless rainfall threatens the Jingu-Gaien Fireworks Festival, one of the biggest fireworks events in central Tokyo. Centred around the Yoyogi area, the festival has its origins in the 1980s, and each year in August, up to twelve thousand individual fireworks are used during the event. Most shows begin at 7:30 PM: unlike somewhere like Calgary, where the high latitude means that the skies don’t darken until 11:00 PM local time, Tokyo’s got a much more consistent day/night cycle, allowing for earlier performances.

  • Hodaka appears as a VIP, alongside the event’s organisers: they briefly catch a glimpse of Hina looking rather sharp in a yukata before heading off to the rooftops of the Roppongi Hills tower, a mixed-use high-rise with a maximum height of 238 metres that was built in 2003. It’s a tense moment, as the event’s organisers wait in anticipation of Hina using her magic to clear the skies. Hina begins her prayer, and moments later, the clouds dissipate, bathing the land in an orange glow from the day’s last light.

  • This moment was a truly magical one, and the music swells into a chorus as the details of Tokyo are thrown into sharp relief. From the northwest corner of Roppongi Hills, the skyscrapers of Shinjuku, some 4.5 kilometres away, can be seen, and the Meiji Jingu Gaien park where the fireworks event is hosted, is somewhere below on the right hand side of the image. Makoto Shinkai’s portrayals of Tokyo have always been spectacular, but the sunset in Weathering with You really hits home as to just how far the techniques have improved.

  • I had originally been planning on doing my first hike of the year this past weekend. This excursion would’ve likely entailed of a simpler trail that cuts through a beautiful canyon, followed by lunch at my favourite poutine restaurant on this side of the world. With the current world health crisis contained for now, it would have been tempting to go do a day trip to the mountains, but in the interest of safety, I’ve elected to shelve such an excursion until a later date, and instead, with the recent bit of spring weather we’ve finally had, I decided to walk the local parks instead. While it may not be a mountain trail, the parks in my area are beautiful and most certainly enjoyable to walk in: I was lucky enough to see cherry trees in full blossom.

  • Short of visiting Japan and watching the Jingu-Gaien Fireworks Festival in person, it is no joke when I say that watching Weathering with You‘s presentation of it is the next best thing. The movie makes use of CGI to present a flyover of the area while the fireworks show is on, sending viewers through the fireworks itself, and it is here that the observant viewer will notice real-time reflections of the fireworks appearing on the windows of the buildings below. The entire scene, from the buildings to the fireworks, is rendered in 3D, and this is probably the most impressive application of CG in any anime movie to date.

  • The festival’s attendees are thrilled to be enjoying the fireworks on a clear night, with spectators watching at the Meiji-Jingu park, and Nagi hanging out with one of his lady friends at a festival. Up on Roppongi’s rooftops, Hina and Hodaka share a private moment together, marveling the fireworks together. Hina finally feels that she’s found a purpose to life beyond just surviving, and it is here that Hodaka begins to realise he’s falling in love with Hina, driven both by the magical atmosphere conferred by the fireworks and Hina’s dazzling personality.

  • The Obon Festival brings Hina and Hodaka to the Tachibana family, who’s made a request: Fumi Tachibana, figures that sunnier weather will help her husband’s spirit to navigate back properly. Obon has been a Japanese custom for at least half a millennium, and is a means of honouring the spirits of the deceased: offerings are laid out for them, as they are said to return during the time of the festival. Taki makes a cameo appearance here, watching as Hina and Hodaka help with rites. Cameos only began with Your Name, which featured the return of Yukari Yukino from The Garden of Words, and it stands to reason that Makoto Shinkai’s next film will likely feature Hina and Hodaka in some way.

  • Whereas folklore and regional beliefs feel more tangential to Weathering with You, they were a central part of Your Name: Shinkai crafted an entire set of local rituals and myths for the film based on Japanese folklore to bring Mitsuha’s world to life and create credibility for the extraordinary experiences she shared with Taki. This ended up being a point of contention when one “Verso Sciolto” argued that one needed at least his level of understanding to properly enjoy every detail in Your Name. Verso Sciolto’s presence reached Anime News Network, MyAnimeList and even AnimeSuki, where he wrote pedantic, purple-prose filled paragraphs explaining why his interpretations of Your NameLiz and the Blue Bird and Chihayafuru were the only ones worth considering even though his interpretations all missed their mark entirely.

  • Verso Sciolto fancied himself a lecturer, but eventually ended up being banned from each and every anime forum of note, for being uncommonly persistent in pushing views of anime that were egregiously wrong. This is by no means a loss, and I admit that it is nice to be able to discuss Weathering with You without being told that my lack of background in Japanese literature and folklore leaves me ill-equipped to talk about the film. Back in Weathering with You, Keisuke and Natsumi visit an elderly man familiar with the myth of the Sunshine Maidens. He explains that their power comes at a cost, and that eventually, must be sacrificed to the gods to maintain the natural order of things.

  • It turns out that the police are interested in Hodaka’s whereabouts after he illegally discharged the Makarov, and two officers end up catching up to the fellow that had come into contact with Hodaka. He initially attempts to escape, under the impression they’re here to bust him for attempting to hire Hina, but it turns out they’re looking for information. Firearms in Japan are tightly regulated: aside from air rifles and shotguns, firearms are strictly prohibited in Japan. A law passed in 1958 simply states that no citizen may possess firearms or swords, and individuals who decide to have a shotgun or air rifle consent to random police checks, as well as undergo a series of stringent exams and inspections. As such, Hodaka’s possession of a Makarov is a crime, and it is unsurprising that the police are so intent on finding him before anything serious happens.

  • With Hina’s birthday coming up, Hodaka decides to get her something, but struggles to find a proper answer. Hodaka is frequently seen posting to Yahoo! Answers for suggestions, and while other services have largely displaced Yahoo!, in Japan, they still remain quite popular. Eventually, he decides to ask Nagi, who replies that, since Hina’s been doing her best to look after him, he’d be happy to have Hina live more like an ordinary teenage girl would; a ring seems suitable for this, Nagi concludes, having deduced that Hodaka’s in love with Hina. Despite his age, Nagi is very well-versed in what the ladies like, prompting Hodaka to refer to him as senpai.

  • Hodaka ends up checking out a Lumine Store and picks up a ring for Hina from MocA. These department stores are located near major train stations in Japan, capitalising on the large crowd volumes of these transport hubs to provide commuters and visitors with shopping and dining options. The ring costs 3400 Yen, about 43 CAD at the time of writing, and Hodaka wonders if it will be something Hina likes: the clerk replies that his feelings will reach her, as it is evident in how dedicated he is. Here, Miki Okudera, Taki’s senior from his old part-time job, can be seen in the background.

  • Weathering with You is filled with cameo appearances, and the clerk is none other than Your Name‘s very own Mitsuha Miyamizu. It is great to see Mitsuha doing well: she’s now working in Tokyo and, assuming that she’s the same Mitsuha of Your Name, finally able to live somewhere brimming with activity and excitement as she’d yearned for as a teen. Wearing a warm smile, she reassures that Hodaka’s feelings will reach his recipients, and she suggests that she would be very happy if someone had spent that effort for her. Besides Taki, Mitsuha and Miki, Tesshi and Sayaka also make an appearance in Weathering with You, along with an older Yotsuha and some of her classmates.

  • Hina and Hodaka have one final assignment: Keisuke’s requested their services to create a beautiful day during which he can spend time with his daughter: Keisuke’s mother-in-law would only permit him to spend time with his daughter if it’s outdoors, but owing to the frequent rain, this has not been possible until now. Even though it’s only for an afternoon, this means the world to Keisuke. Nagi gets along with Keisuke’s daughter well, and Keisuke is content in watching this peaceful scene unfold at Shiba Park: Zojoji Temple is visible here a ways past the field where Nagi and Keisuke’s daughter are hanging out.

  • Both Hina and Natsumi wear identical looks of disgust on their faces when word gets out that Hodaka had assumed Keisuke and Natsumi were a couple, when they are in fact, uncle and niece. This scene of normalcy underlies what each of Keisuke, Hina and Hodaka have been longing for – spending time with people they care about. While Makoto Shinkai has explored themes of romantic love in his movies, Weathering with You also begins to touch upon family, as well, showing how the connection between families pushes people towards actions, both great and dubious, to preserve and defend what is important to them.

  • I’ve chosen to render Tenki no Ko with its official title, Weathering with You, simply for the ease of searching. The English translation of Tenki no Ko is often given as “Child of the weather”, which I would only give partial credit for: while it is true that Japanese does not always give an indicator of singular or plural, and the child in Weathering with You is Hina owing to her connection with the skies, I argue that “Children of the Weather” is more appropriate for the film since it’s about children in plural (Hodaka, as well as Hina). The English title is not a 1:1 translation, but is a very clever play on words, addressing both the film’s weather motif and the idea that “weathering” can be interpreted as “making it together with” that speaks to the movie’s themes of resilience.

  • Hodaka decides to accompany Hina back, feeling that the time has come for him to give her the ring ahead of her birthday. Both she and Hodaka have feelings they wish to convey, but before they can speak, Hina seemingly vanishes after a gust of wind whips through the area; she’s light enough to be carried into the air now, and while she’s unharmed, it turns out that as a result of wielding her power, Hina’s given up much of her life force and begins losing her physical form.

  • In a flashback, Hina reveals that she developed the power to clear the skies with a prayer about a year ago. How this came to be is never specified, and viewers are meant to take this as a part of the supernatural piece of Weathering with You: in Makoto Shinkai’s movies involving the supernatural, the reason behind why something happens is always secondary to the consequences of a phenomenon to remind viewers that sometimes, how people handle adversity and the unknown matters more than what caused it to begin with.

  • At Hina’s place, the police come calling and ask if she’s come into contact with Hodaka. She denies knowing anything and the police leave; Hodaka prepares to head back over to Keisuke’s place, but it turns out the police have also spoken to him. Keisuke reveals that he intends to file for full custody of his daughter: like Tony Stark in Avengers: Endgame, family causes Keisuke to realise what’s important to him, and unfortunately for Hodaka, it means that Keisuke will distance himself from him now that it’s known Hodaka is wanted for unlawful possession of a firearm. In Endgame, family is what initially dissuades Stark from seriously investigating Scott Lang’s plan for a time heist.

  • With Keisuke firing him, Hodaka returns to Hina, who intends on running away and disappearing: she’s learnt that social services will be taking custody of Nagi, and unwilling to entertain the notion of being separated from her only family, the three decide to head off. This isn’t an easy task: the weather’s taken a turn for the worse, and the typhoon that’s passed into the area has now chilled the area sufficiently for it to start snowing, an unprecedented occurrence. From orbit, the size of the typhoon is apparent: it rivals 1979’s super-typhoon Tip, which is known for being the largest typhoon recorded (2220 kilomatres across) and having the lowest recorded pressure on Earth (87.0 kPA, against an average pressure of 101.3 kPA).

  • With police on the streets to keep order as the incoming typhoon prompts an evacuation order, Hodaka, Hina and Nagi run into trouble when officers suspect them of being runaways, and attempt to ask for their identification. One aspect of Hodaka’s character that I found curious was his tendency to try an escape every unfavourable situation he’s in: it speaks volumes about his own background and how his story in Weathering with You started with him running away from home.

  • When it looks like Hodaka’s options run out, Hina uses Force lightning a prayer to summon lightning that destroys a nearby truck, starting a fire that prompts the police to look after. In the chaos, Hodaka and the others escape. Lacking any identification, most hotels turn the trio away even though Hodaka has the cash to pay for the night: most hotels require that individuals provide proof of identification (e.g. a passport or operator’s license) before accepting a transaction. However, Hodaka eventually does manage to find a hotel that will allow them to stay for the night.

  • Concern gives way to relief, and after taking a bath, everyone sets about preparing a meal with the food from the in-room bar. After dinner, Hodaka and Nagi partake in some karaoke. With the bliss the three share together, Hodaka feels that as long as they have one another, they’ll somehow find a way to make things work. There’s a desperation in his inner monologue, praying with all of his resolve that things can work out; in his heart, Hodaka probably knows that things won’t last forever.

  • Once Nagi is asleep, the time has finally come for Hodaka to give Hina her birthday gift. By this point in Weathering with You, Hina’s become increasingly incorporeal, but her sense of humour remains: she gently teases Hodaka for staring at her, even as he dissolves into tears, worried that their time together will be cut short. Makoto Shinkai’s older films were well-known for presenting separation without resolution, mirroring how people part ways and never reunite owing to circumstances in their lives under ordinary conditions, creating a highly poignant outcome that left viewers wondering if his characters would find happiness.

  • The ring that Hodaka gifts to Hina can be seen as a promise ring, signifying his intent to commit and also to keep his word about keeping everyone together. However, the next morning, Hina has vanished, and moreover, the police have arrived to take custody of Nagi, as well as arrest Hodaka for possession of a weapon and illegally discharging a firearm. The storm has ceased entirely, and the entire landscape is covered in a washed-out light that seems unnatural.

  • Lighting plays a major role in Makoto Shinkai’s films, playing on universal emotions and feelings to convey a particular idea. The bright light washes out detail in the cityscape to create the sense that with Hina’s disappearance, Hodaka is stupefied and unable to think of anything else; his surroundings lose their colour in the process, and his world takes a further blow when he overhears that Hina had lied about her age, being in fact, younger than he is. After arriving at the police station, Hodaka manages to escape again before he can be interrogated. Unlawful as Hodaka’s actions are, one cannot help but admire his tenacity.

  • Natsumi comes soaring to the rescue on her moped, whisking Hodaka away before the police can catch up to him. The world takes on a renewed colour as Hodaka regains his determination to seek out Hina, and he believes that torii on the abandoned building must be a gateway into the heavens where Hina is held. Natsumi demonstrates an uncommon degree of skill in outmanoeuvring her pursuers, weaving between traffic and narrow spaces to throw off police cruisers.

  • Natsumi is plainly enjoying the thrill of the chase: she even remarks that she might be born to ride. In escaping the police station, Hodaka might be seen as running away again, but it is at this point in Weathering with You that things begin flipping around: while Hodaka is escaping the police, he’s also simultaneously trying to reach Hina and fulfil his word, a form of taking responsibility. The blurring of boundaries at the film’s climax shows that the gap between right and wrong is not always apparent, and it is the case that the world is not as black-and-white as we’d like it to be.

  • Natsumi’s ride comes to an end when she drives her moped into waist-deep water. Her Honda Cub ceases to work, with its main engine filled with water: it’s up to Hodaka to get to Hina. His heart tells him that she’s somewhere in the skies, and recalling her story about the torii being a portal of sorts, deduces that this is his destination. Shinkai’s especially fond of portraying the Honda Cub line of mopeds in his films owing to their reliability and track record: Takaki and Kanae both rode these mopeds in Five Centimeters per Second, and similarly, Katsuhiko Teshigawara uses one in Your Name. Unlike Yamaha’s Tricity, the Honda Cub is a venerable bike with a long history dating back to 1958, when it was first produced.

  • As Hodaka runs off towards the derelict building and its gateway to another world across the unused rail tracks, he draws the attention of both the crews working to bring Tokyo’s trains back online, as well as bemused spectators on the streets below. Trains figure prominently as symbols in Makoto Shinkai’s movies, being used as the means of connecting distant people together. Having Hodaka run on the inactive rail lines, then, is to signify that the limitations of a system notwithstanding, he intends to reach Hina at all costs.

  • A cumulonimbus is visible over the abandoned building: we’re now on the first day of June, and summer is a mere twenty-one days away, but during the weekend a few nights earlier, we had our first thunderstorm of the year: an smaller but still severe storm had passed just north of the city, and I watched as cloud-to-cloud lightning silently lit up the evening sky. Unbeknownst to me, some three hundred kilometres to the west was a band of thunderstorms that were moving eastward. By 3 AM, these storms reached my city and began pounding us with lightning and thunder. I was awakened by the thunder, glanced outside and decided to fall back asleep, recalling a time when I’d been younger and said thunderstorms would keep me up all night in excitement.

  • Upon arriving at the derelict building, Hodaka finds many of its floors have collapsed from the storm; reaching the torii is going to be a challenge, further complicated by Keisuke’s arrival. Keisuke implores Hodaka to take responsibility for his actions and turn himself in, failing to realise the reason why Hodaka is so determined to keep going is for Hina. Hodaka recovers the Makarov and points it at Keisuke: he discharges it into the air, and the police finally close in on the building, surrounding Hodaka. The Tokyo police are seen using the New Nambu M60, a revolver chambered for the .380 round that’s been in production since 1961 by Shin-Chuō Industries. When Keisuke realises that Hodaka’s love for Hina parallels that of his for his wife, Asuka Mamiya, he tackles the nearest officer, creating enough space for Hodaka to escape.

  • Hodaka reaches the rooftop torii and finds himself whisked to the upper edge of the troposphere: the average cumulonimbus reaches twelve kilometres up, flattening out at their upper extremities thanks to wind shear. The turbulent winds create a separation of charge, resulting in an electric field that is favourable for cloud-to-cloud lightning. Owing to the instability that creates them, thunderstorms typically result from these clouds, although in Weathering with You, the flattened cumulonimbus top resembles an island in the sky. Besides the rooftop torii, this unusual sight forms the bulk of the marketing materials for Weathering with You.

  • It is in the grassy tops of the cumulonimbus that Hodaka manages to find the sleeping Hina. He calls out to Hina, who awakens: as the currents up here increase, it becomes trickier to reach her. At the last second, Hina leaps into the air and takes a hold of Hodaka’s hand. The two are plunged into the interior of the cumulonimbus cloud, where the turbulence separates the two briefly. Here, Hodaka declares that he doesn’t care if the weather’s foul; a world without Hina is meaningless to him. It’s a touching gesture, and when the two fall from the lower reaches of the cumulonimbus cloud, Hodaka manages to grab onto Hina once more.

  • Shortly after the BD for Weathering with You released, Makoto Shinkai posted a Tweet comparing the theatrical version to the BD version, and it turns out there’s an error in the former: the low-level clouds and their shadows are completely absent. Shinkai remarked that this would make the theatrical cut more “valuable”, unique: the difference doesn’t negatively affect those who saw the theatre version in any way, and reminds me of a similar situation where the home release of Gundam 00: Awakening of the Trailblazer made some changes to the scenes, most noticeably, how the 00 Raiser launches en route towards intercepting a supposedly destroyed object that’s reappeared.

  • Hodaka wishes that Hina will now begin to live for herself; having spent so much of her life living for others’ happiness, Hina’s neglected to consider what she wants for herself. Hodaka acts as the agent of change here, prompting Hina to stay. The two plummet to the surface together, hand-in-hand, and moments later, find themselves lying at the foot of the torii still holding hands. The sunny weather has disappeared, replaced by a torrential rain.

  • It suddenly strikes me that Makoto Shinkai’s novelisation of Weathering with You is probably a valuable companion to the film, as it would be able to explore the inner thoughts that the characters have to a greater extent than in the movie itself. I found this to be true for Five Centimetres per Second, where the companion side-stories offered a considerable amount of insight into what Takaki had been feeling, and provided a decisive answer for the decade-old question of whether or not Takaki found happiness (he does). Similarly, Your Name‘s side story provides great detail into explaining the body-switching phenomenon from Taki’s perspective and also helps to flesh out the Miyamizu family’s history, making Toshiki a more sympathetic character than he had appeared in the film. I’ve not read Weathering with You‘s novelisation yet, but I imagine that it would help to clear out the handful of questions that I have exiting Weathering with You.

  • After his arrest, Hodaka is put on probation and sent back home to Kozushima, a small island some 172 kilometres from Tokyo. Here, he graduates from high school. Two of his classmates are curious to know what happened, and Hodaka initially misinterprets this as a kokuhaku. In the aftermath, Hodaka ends up returning to Tokyo, finding the city flooded from three straight years of non-stop rain. Its impacts on Tokyo are dramatic, and writers with a far broader audience than myself have asserted that Weathering with You‘s central theme lies in the topic of climate change, how the film is a call to action and a grim warning to what awaits humanity if we should continue down our current path. However, in Fujinkōron’s interview with Makoto Shinkai, Shinkai states that:

People say that humans are destroying nature for the sake of their own conveniences, and I agree with that. And yet, I’m the kind of person who doesn’t hesitate to turn on the air conditioning in my room when it’s hot. Climate change is a large-scale phenomenon with an unimaginable scope, but there’s not much a person can do about it on an individual level. Even so, my actions as a single person have a definite effect on the environment. It may feel like something that’s out of your realm of responsibility, but it absolutely isn’t. I made the film while thinking about how to deal with that problem through the framework of entertainment.

  • While weather patterns to the tune of what’s seen in Weathering with You seem a little outlandish, the fact is that the world has been trending towards greater extremities of late, and given the delicate balance of many ecosystems, shifting climate patterns will have massive knock-on effects around the globe. With this in mind, it is erroneous to declare that Weathering with You is an Aesop on climate change, or was intended to be a political statement. The persistent belief that all art is intrinsically political is a flawed belief; in the case of Weathering with You, imposing this viewpoints onto the movie is to be disingenuous towards Shinkai’s intentions for the film to speak of more human themes; even against adversity, people are resilient and will find ways to adapt and improve their situation. Just as Hina and Hodaka had done against the unforgiving backdrop of Tokyo, Tokyo’s citizens find ways to survive even as rain hammers the flood-beleaguered city.

  • Writing the post for Weathering with You was not an easy task: besides coming late to a field saturated with reviews having a distinct political slant, there were also the assertions, at the usual places, that the film’s direction and execution should be considered a “let down” when compared to Your Name. I counter-argue that Weathering with You has its own merits in creating a compelling story of responsibility and resilience, two themes that I’ve noticed are absent from all discussion. The themes in Weathering with You are rooted in optimism, that the belief humanity can adapt, improve and thrive, and speak positively of Shinkai’s world-view – he indicates through the film that people can learn to take responsibility for their actions at the individual level, and at a society level, people will find ways to survive.

  • I’ve long felt the contemporary attitudes towards climate change to be misguided, being motivated by politics and appearances rather than legitimate improvement for all of humanity: society’s propensity to divert funding and media coverage to activists, from researchers and experts who are developing greener technologies and systems, speaks volumes to the current society’s lack of sensibility and adversity towards hard work. It takes genuine effort and passion to learn about how complex systems function and then cultivate the expertise needed for synthesising novel solutions, but it takes no skill to make angry speeches and rally people to support extreme, but ineffectual actions with potentially devastating consequences.

  • While politicians waste taxpayer money towards propping up activist figures over supporting legitimate experts and professionals, I’ll continue to pay no mind to the activists and do my own part in keeping the planet healthier. Doing things like walking and using mass transit, recycling and composting, buying less stuff, turning the lights off in unoccupied rooms and other actions that might be small, but within my ability to carry out – these small actions are how I commit to ecological responsibility, and I count them as being considerably more valuable than telling others how they ought to live their lives.

  • In having Hodaka return to Tokyo and doing his best to make things right, Weathering with You demonstrates that the older Hodaka has come to understand what taking responsibility for his actions means. This is an overarching theme in Weathering with You that, while only visible once Hodaka speaks with Keisuke, is one that nonetheless is an important message to walk away with. These messages are conveniently skated over by those who purport to support ecological responsibility, but whose words are ultimately empty, and whose actions more detrimental to the world than those they seek to lecture.

  • When Hodaka encounters Hina, she’s seen making a prayer for fair weather. Hodaka calls out to her, and the sun appears. Thrilled, Hina warmly embraces Hodaka, and he promises that from now on, things are going to be okay. Indeed, Hodaka ends up entering post-secondary and subsequently takes a new job at Keisuke’s company. With the maturity and stability of someone who’s clearly learned from his experiences, audiences can conclude that Hodaka is able to keep his word to Hina, and that their happy ending is a deserved one. This post and its twelve thousand two hundred and fifty-four words is now very nearly in the books, kicking June off in style, but I admit that this much writing in the past while has been a bit wearing. I would like to take the first bit of June to unwind and take it easy.

  • Overall, Weathering with You succeeds in capturing the magic that is Makoto Shinkai, presenting a captivating story of resilience and determination that concludes decisively. While Weathering with You can come across as a bit busy in some areas, the movie ultimately succeeds in telling a cohesive and compelling coming-of-age story, accelerated by the presence of the supernatural. As such, Weathering with You earns an A (4.0 of 4.0, or 9 of 10): whatever flaws there are in the film are overshadowed by characters with an engaging story and Makoto Shinkai’s continued commitment to technical excellence within the film’s visuals and aural components. Like Your NameWeathering with You is a film I hope that all of my readers will have the chance to check out for themselves.

Whole-movie reflection and closing remarks

On the whole, Weathering with You is a solid film, a fine addition to Makoto Shinkai’s filmography that combines his unique sense of aesthetics with a warm (if somewhat busy) story. While Weathering with You will continue to exist in the shadows of its predecessor, the film also has enough unique elements to indicate that Shinkai’s continuing to push the boundaries for excellence in animation. Viewers will find the film will to be tread upon well-worn paths that Your Name had trail-blazed, from the journey Hodaka and Hina take, to design choices like placement of music, but in spite of this, Weathering with You still hits all of its high points to create an immersive, engaging experience during its run. With this in mind, there is a limit to how well a reiteration of familiar plot points and story mechanics will be received, and so, in the future, Makoto Shinkai will need to focus on his own visions for his work: Weathering with You is a technically superb film that managed to keep things engaging, but revisiting the same themes in a future film could prove wearing on viewers. Besides exploring different themes, one other aspect that would yield a memorable movie is to keep the narrative consistently focused on one main goal; Your Name and The Garden of Words both excelled in this area, making use of a very straightforward story to drive a considerable amount of character development. By comparison, Weathering with You was busier, and left a few plot points unresolved; these elements were actually not strictly necessary to the story and could’ve been removed without negatively impacting the themes or progression in the movie. A back-to-the-basics approach in Shinkai’s next film would therefore be especially welcome: Shinkai has always shown that he is able to do a great deal using very little as the starting point, and this is where the magic of his movies lie. For the time being, however, Weathering with You remains a film worth watching for its unparalleled visuals, another perspective on the sense that human emotions are comparable to supernatural forces for the miracles and tragedies they create, and features excellent music from Radwimps: while perhaps not appealing to as broad of a viewer-base as Your Name, folks looking for a proper Makoto Shinkai experience in Weathering with You will not be left disappointed.

MythBusters meets Makoto Shinkai: Addressing Myths Surrounding Kimi no Na Wa (Your Name)

“This is the show. It’s like four minutes of science and then ten minutes of me hurting myself.” –Adam Savage, MythBusters

It has been two years to the day that Makoto Shinkai’s Your Name premièred in Japanese theatres – the film was counted a veritable masterpiece by some and saw overwhelmingly positive reception in the days following its launch, for its exceptional visuals and a coherent, moving story that ended up being very satisfying to take in. Your Name was screened internationally to acclaim, and around the world, the film was lauded as being one of Shinkai’s strongest. However, as is the norm for anime dealing with such a broad range of topics and themes, numerous assertions, and the occasional untruth, sometimes arise. In this post, the central aim will be to deal with some of the more persuasive, and occasionally blatantly false, claims surrounding the movie. There are four that particularly stand out, and I will, as Adam Savage and Jamie Hyneman have done for MythBusters, I will be methodically going through each of the five claims and determine whether or not each holds any merit. As with MythBusters, each claim will end up in one of three categories: something that is “confirmed” holds weight and is backed by substantial evidence, oftentimes, from the authors, producers or staff themselves. A claim that is “plausible” is one that may hold true given observations seen in the work itself, and “busted” claims are those that either lack substantial evidence to indicate they are true, or else stand in contradiction with observations seen within the work itself. Below, I explore each of the four myths surrounding Your Name, and with my particular brand of exploration, offer insight as to what I found the outcome of each assertion should be.

Taki and Mitsuha’s meeting is undeserved

From a certain perspective, the happy ending that Taki and Mitsuha ended up receiving in Your Name came across as contrived and unearned, and that a superior ending would have been for the two to walk by one another without anything else occurring. For these individuals, their fateful meeting at the film’s end diminished their experience, who feel that neither Taki or Mitsuha have genuinely earned their ending:

My big problem with the happy ending in Your Name.[sic] is that it felt too contrived. I felt that neither Mitsuha nor Taki earned their happy ending, which relied heavily on an implausible deux ex machina. I felt cheated, because the Shinkai went for a cliched conclusion, and that cheapened the impact of the drama for me.

I dislike happy endings in my choice of fiction, in general. I think happy endings are a lie that people actively seek because they can’t accept the shitty mess that is real life. I think good endings are the ones which realistically portray the cost of all their characters’ actions and why, in the end, the choices were worth it, despite what they gave up in exchange.

Individuals further argue that reality is not about giving people happy endings and in some cases, have even gone so far as to say that Makoto Shinkai had intended to write a distance-themed ending similar to that of Five Centimeters per Second. However, throughout Your Name, the image of the red ribbon is very prevalent. This red ribbon of fate, as it is commonly known, is meant to symbolise being bound together by some force beyond our comprehension. In conjunction with the persistent and forward use of braided cords, as well as notions of musubi, or, a coming together of, it is clear that Your Name aims to speak to notions of connection. Something has brought Taki and Mitsuha together, and for better or worse, causes their lives to be intertwined in ways that they had thought impossible. Using extraordinary circumstances to speak about love, Shinkai’s use of symbolism is meant to suggest that love works in enigmatic ways.

  • Before I go further into this discussion, I address the page quote: it’s meant to set the stage for the tone of this post, where a few sentences of it show what the reality behind some claims are, and the rest of it is me making wisecracks about some of the beliefs. Now, we formally begin, and I open by mentioning that all of the happy couples that I know state that their meeting was happenstance, and that once they’d met, something convinced them that this was what they were looking for. This is the fate, 緣份 in my tongue, 運命 in Japanese, that my parents say drive relationships. The complexity of love is such that it is likened to the supernatural, and Your Name definitely strove to convey that there is a degree of magic in love and relationships, as well as how some people meet.

  • Thus, to say that it was deus ex machina that brings Taki and Mitsuha together, and that neither of them “earned” their happy ending is indicative of someone who lacks understanding of what love is. Your Name‘s ending is by no means clichéd because the film was setting up the possibility of a reunion with its symbolism, and the ending audiences got shows that some occurrences in life, though beyond our ability to fully comprehend, can work out in peoples’ favour. Optimistic, open-minded individuals accept things as they occur, making the most of their moment, while pessimists tend to leave their heads in the sand, oblivious of the world progressing around them.

  • The payoff at the end of Your Name comes as a stroke of fate precisely of the sort that bring people together: had Your Name aimed to set up an ending similar to Five Centimeters per Second, Shinkai would have dispensed with the focus on cords, braiding and the red string imagery that is so prevalent in the movie. Willfully ignoring the symbols in a film and attempting to force one’s own opinions into them, contrary to Shinkai’s application of the symbols, is to suggest that Shinkai’s intentions are irrelevant. In this case, the quoted individual asserts that the theme of Your Name is that the “vague yet aching sense of clinging to memory underpins the entire point of the movie”.

  • This is wrong: Shinkai had previously covered the dangers of clinging onto memories and a shadow of one’s desire through Five Centimeters per Second. Takaki falls into a depression and breaks up with a girlfriend because he was not able to live in the present and appreciate where he was, longing after an idealised fantasy. By comparison, while Mitsuha and Taki continue to feel as though they are forgetting something, both continue moving ahead with their lives, graduating from school and transitioning into their occupations. Besides suggesting the individual quoted misunderstood Five Centimeters per Second (which does not romanticise waiting for the impossible), it is clear that the individual in question missed the point of Your Name, as well.

  • I’ll close off by remarking that to be so dismissive of happy endings is to hold a pessimistic outlook of humanity and the world – while there are plenty of reasons why people might be pessimists, I am of the mind that online, most people hold a pessimistic, or even nihilistic worldview for the sake of attention. As such, folks who make broad, sweeping statements about their lives in response to one film are doing so without any concrete basis; perhaps they simply cannot accept that their life lacks colour and purpose, and so, are quick to write off any happy endings as being inconsistent with their worldview, rather than making a conscious effort to change themselves and their outlook.

That the two come together in the end, then, is the culmination of these signs and their experiences. Had Taki and Mitsuha missed one another, it would completely contradict what Shinkai had intended to go for – this would show that no amount of effort, natural or supernatural, could accommodate love. Aside from yielding a highly unsatisfactory ending, having the two pass by another would defeat the sum of the symbolism, betraying the audience’s expectations. Five Centimeters per Second had Takaki consciously choose not to worry about whether or not the woman at the train crossing was indeed Akari, precisely because it indicated Takaki’s willingness to move on, to let go of his past. No indicator of divine intervention was given in Five Centimeters per Second, and distance was meant to illustrate that Takaki had lost sight of why he was in love to begin with. The same cannot be said for Your Name, where conscious decision to act on a feeling and pursue it, coupled with a bit of supernatural influence, allows Taki and Mitsuha to come together. As a result, Your Name could not have been successful with any other ending.

Verdict: Busted

The film is an allegory for the March 2011 Tohoku Earthquake

March 2011 saw one of the most powerful earthquakes to strike modern Japan: this earthquake was followed by a devastating tsunami that ravaged the Tohoku region, and also resulted in the Fukushima nuclear disaster, which is second only to the Chernobyl disaster in 1986 in terms of severity. The earthquake, tsunami and nuclear disaster wiped entire rural towns out and created an exclusion zone around the now-derelict power plant; the impact on Japanese communities, both rural and urban, was strongly felt. Being located along the Ring of Fire, and being in the path of typhoons means that the Japanese are no strangers to natural disasters. Stoically accepting their fate and making the most of their circumstance, forces of nature are the focus of many Japanese films: people always wind up rising to the occasion and surviving. Because of these elements were quite obvious, many news outlets assert that this film was meant to be an allegory for the response to and aftermath of the Tohoku Earthquake; the imagery is very strong, with scenes of wreckage surrounding Itormori as great in scale as the destruction wrecked by the tsunami, and the eerie silence of the twin-craters captures the subdued, almost supernatural feeling in an exclusion area. However, it would seem quite far-fetched to say that the events of the Tohoku Earthquake directly influenced Your Name – after all, Your Name is ostensibly a love story.

  • When the Tohoku Earthquake occurred, I was in the middle of the second undergraduate year, and news of the disaster was all over the news: I was waiting for organic chemistry lecture to begin and was reading about the events as they were unfolding. The scale and scope of the disaster were unknown at the time, and it was only later that the reach of the devastation became known. I donated to relief efforts, and time passed; the earthquake faded to the back of my mind as I busied myself with summer research.

  • Two years later, the Great Flood of 2013 hit Southern Alberta, bringing the disasters to my doorstep. The Bow overflowed its banks in the evening of June 20, and forced an evacuation of the entire downtown core, as well as communities surrounding the city. I saw for myself the power of rising waters and donated to relief efforts: the recovery was astounding as people came together to overcome challenges. The fact is that natural disasters are a part of our world, and for better or worse, people will find ways to recover and continue living.

  • As heartbreaking as natural disasters are, they can also bring out the best in people. In the case of Your Name, Makoto Shinkai likely utilised the impact event to show the resilience of the human spirit, specifically, that even when people are separated, powerful positive emotions can prevail over this. As a result, the inclusion of Tiamat’s collision with the surface is likely meant to reinforce this notion, and the film is unlikely to have reached the hearts of so many viewers had it chosen to focus on a strictly comedic or realistic approach.

  • The Itomori disaster is ultimately a central aspect of Your Name, although it is the human aspects that are ultimately the most important to consider: Your Name shows both an effort to make a difference in the presence of existing knowledge and also, how people endure and move on following disasters. I did not cover the topic to any extent in my original review beyond a short blurb about it, as I felt the disaster to be less critical at the time, but looking back, with the knowledge of why Shinkai added it, in retrospect, it is clear that my original review is missing the mention of the strength of human resilience and spirit that being aware of the disaster piece brings out.

  • Beyond this, however, the general themes and messages of my original Your Name discussion remain quite unchanged. I wrap up this section’s screenshots with the remark that there’s an eerie beauty about the destruction surrounding Itomori. The exclusion zone surrounding Chernobyl and Fukushima are similarly places of contrast, although they differ from the fictional Itomori impact crater in that the presence of radioactive particles and emissions make them much more dangerous places to be in.

As it turns out, Makoto Shinkai himself stated in an interview that the earthquake had a profound impact on him. In the days following, he travelled to Natori in Miyagi, and saw there a scene of total juxtaposition: above was a beautiful blue sky, peaceful and serene, and below, the ruins of towns, farms and roads. Realising the scale of the destruction, and that it just so happened that this area was made to bear the full brunt of the tsunami, Shinkai felt that natural disasters could happen anywhere, at any time. This was the raw strength and beauty of nature, and so, Shinkai wondered, if one could be given the power of foresight against a disaster, what would one do? What could one do? As time passed, and Shinkai returned to Natori, he saw the town rebuilt. The same ocean that had shattered the city years before was now back to being a part of the background, beautiful and majestic. This contrast in nature inspired Shinkai, and into his love story, he weaves powerful disaster imagery to show that nature is beautiful, terrible and above all, fair. In his story, Shinkai hopes to remind audiences that disasters are forgotten with time, but people should nonetheless be more mindful of the awesome strength that is nature. In doing so, just as news outlets have found, Your Name is indeed an allegory to the Tohoku Earthquake. Using stunning visuals and a central human element, Shinkai subtly informs viewers to never forget about the duality of nature, but also, the strength of the human spirit to make a difference.

Verdict: Confirmed

Your Name and The Garden of Words are set in the same universe

Yukari Yukino was one of the protagonists of The Garden of Words, where she had fallen into a depression as a consequence from stresses of her work and became increasingly isolated until Takai entered her life. Metaphorically helping her walk again, Taki’s influence on Yukari is a positive one, and Yukari resumes teaching in her hometown on Shikoku Island. Yukari is seen again in Your Name, this time, as a teacher in Itomori. Kana Hanazawa provides the voice to both incarnations of Yukari, and so, with this overlap, viewers have been compelled to try and show that The Garden of Words and Your Name are set in the same universe, using Yukari’s presence to indicate that this is indeed the case. However, Yukari’s presence in Your Name is only because Makoto Shinkai was interested in reusing her character for the film as a bit of a call-back to his earlier film, and partially in jest, so he could work with Hanazawa again. In addition, Shinkai carefully includes dates to indicate that the Yukari of Your Name and the Yukari of The Garden of Words are not the one and the same, which is to say that The Garden of Words and Your Name are set in different universes.

  • If this blog post were to be done in a MythBusters episode, this particular claim would occupy the fewest number of minutes in that episode and be the one myth that could be tested entirely in the M5 Industries warehouse. Further, if Jamie and Adam were to replace me, then they would probably say that this is one of the myths that can be tried at home. The basis for the notion that Your Name and The Garden of Words are in the same realm stem from the fact that Yukari is present in both worlds.

  • Using the calendars on Taki and Mitshua’s smartphones is the quickest and easiest way to determine that the universes are quite different. September 10 fell on a Saturday in 2016, and in a blink-and-you’ll-miss it moment, Mitsuha is seen writing a journal entry dated Thursday, September 12. A glance shows that September 2013 has this occurrence, which also lines up with frequent mention of “three years ago” in Your Name. Yukari did not leave Tokyo until September 2013 in The Garden of Words, but in Your Name, is a teaching in Itomori in 2013.

  • There is one more subtle detail that should be sufficient to convince the reader that Yukari of The Garden of Words and Yukari of Your Name do not exist in the same universe. The first is that Shinkai had strictly adhered to realism in both Five Centimeters per Second and The Garden of Words. In Your Name, however, Itomori is a fictional town, and magic is at play in Your Name.

  • So, short of the Space and Time Stones being present in Your Name (and there most certainly are not), it is not the case that Yukari of The Garden of Words and Yukari of Your Name are the same Yukari, and moreover, these two realities are completely different. The details seen in Your Name, so deliberately chosen to reinforce this, are present to remove this ambiguity, and small details like these merit rewatching Your Name.

  • I remember that shortly after the film became available in North America, some wondered why Mitsuha did not feel something was off about their timelines based on what version of iOS they were using. Short of looking at the system settings, I argue that there aren’t enough differences between iOS 7 and iOS 9 for the average user to differentiate. iOS 7 saw the introduction of Apple’s Flat UI, which gives iOS a more modern, streamlined form, and it was a dramatic departure from iOS 6 and earlier versions, which had skeuomorphism in its design.

Looking through the calendars of The Garden of Words, Yukari writes a letter to Takao dated February, 2014, indicating that when she mentions returning to her hometown for September, she is referring to September 2013. The time that Yukari and Takao spend together, then, is between June and August of 2013. In Your Name, there are numerous stills of Taki and Mitsuha leaving daily journal entries on their mobile devices. From Taki’s perspective, he sees everything from 2016: September 10 was a Tuesday in 2016. However, inspection of the frames when Mitsuha leaves a journal entry behind show that it is 2013 – September 12 was a Thursday in 2013. Consequently, it is reasonable to suppose that Mitsuha first begins switching consciousnesses with Taki in the summer of 2013 from her perspective. During the phenomenon, Yukari is clearly seen teaching classes in Itomori. There is a direct overlap in Yukari’s teaching Mitsuha’s classes in Itomori and teaching Takao’s classes in Tokyo. Since it is impossible for an individual to have omnipresence in the absence of additional elements, practical evidence in Your Name and The Garden of Words, coupled with Shinkai’s remarks about Yukari, indicate that both movies have a different instance of Yukari, and so, could not be set within the same realm.

Verdict: Busted

Understanding and a profound familiarity of the Man’yōshū is mandatory to enjoyment of the film

Your Name covers a myriad of themes, from the ethereal and powerful nature of love to the juxtaposition of beauty and indifference in natural phenomenon. The film’s broad appeal comes as a consequence of the narrative’s breadth – a diverse audience enjoys it because there’s something in this film for everyone, including linguists and cultural anthropologists, who would find the references to the Man’yōshū highly enjoyable. The Man’yōshū, literally “Ten Thousand Pages Collection”, is renowned as being a comprehensive collection of Japanese poetry dating largely between 600 and 759 AD. In particular, the Man’yōshū is counted as being a very extensive collection of poetry containing traditional Shinto values, as well as aspects of Buddhism, Taoism and Confucianism. Written in a sentimental tone, the Man’yōshū‘s contents are further important from a cultural perspective, offering insight into an older Japanese written system, known as the man’yōgana. This system, though cumbersome, utilised Chinese characters in both phonetic and symbolic roles, and is counted as the forerunner of the modern kana systems. It is therefore unsurprising that there is a romantic appeal surrounding the Man’yōshū; it is quite fitting to draw on these well-known elements for a work of fiction. However, there are some who suggest that there are hidden thematic elements in the film, and that it requires a specialised mindset for one to truly appreciate Your Name. These individuals posit that Yukari’s references to Man’yōshū provide insight into Makoto Shinkai’s intentions more succinctly than do imagery and overarching themes elsewhere in the movie, and that further to this, one must adopt a strictly academic perspective towards the film before they can begin appreciating all of the nuances within the film:

“Kimi no na wa” is one of those films, like “Kotonoha no Niwa” -and a TV series like “Kuzu no Honkai” is as well- which can continue to provide entertainment for years. Not everyone will appreciate the connection but they have the same seeds for a lot of their symbolism. The benefits of tracking those down can be sown for an even better understanding of so many stories. Grounded with the same roots. Never ending homework but of the fun variety. While throwing me miles out of my depth, “Man’yōshū” also continues to provide foundational knowledge which in turn inspires further exploration and the formation of a never complete but ever expanding baseline for understanding. Someone who followed the hints provided by the creators of “Kuzu no Honkai” on a weekly basis and stuck with delving into them to the end will walk into a “Kimi no Na wa” screening better prepared for the emotions and symbolism they’re about to witness on screen. I came here, in part, to say that I think they have a lot in common.

  • I expect that this myth would be the one that generates the least amount of resistance by the time I reached my conclusion: the vast majority of viewers will not be watching Your Name with the intention of writing a graduate thesis about it. Your Name is intended to entertain, not instruct, and as such, one should not need a serious background in Classical Japanese to get Your Name any more than one needs an understanding of British folklore and medieval witchcraft of Europe to enjoy J.K. Rowling’s Harry Potter.

  • If, we supposed that Shinkai had intended Your Name to be a movie requiring a background in Classical Japanese literature to appreciate, then the film would’ve spent more time going over the blackboard. Instead, the blackboard is shown very briefly: aside from acting as foreshadowing for viewers who do have the background in Classical Japanese literature, the film does not directly go into details line-by-line. Instead, there are numerous landscape and cityscape shots: the time lapses are impressive and show how far animation has come since Shinkai’s early days. The presence of jaw-dropping visuals, however, are unlikely to be sufficient to convince those who are dead-set on forcing an academic approach to this film.

  • Quite frankly, it is no business of mine if people want to do a graduate thesis on Your Name – they’d have a helluva time finding a graduate supervisor willing to do such a project, and encounter similar difficulties in securing the requisite, for starters. With this being said, I do not wish for people to read through piles of meaningless purple prose online and then come away feeling as though they’re missing something from Your Name: often, people will do this to satisfy their own egos and intimidate others, rather than present novel ideas for a discussion amongst peers. Those with the most convoluted thoughts are those who have the least meaningful things to add, as the quoted individual for this section illustrates.

  • There were two other myths that I would have liked to bust. The first is that that a power line dividing the moon in two has symbolic meaning (allegedly, “heartbreak or broken fate”). However, with the art-book “A Sky Longing For Memories” never mentioning this, and the fact that this image actually has no meaning, this myth would not be a satisfactory one to bust, being quite short. These shots are intended to be establishing shots only, bringing to life an environment, and beyond this, does not hold any relevance to the narrative. The second is that couples will get more out of Your Name than single folk, but this is also obviously false, and would make for some uninteresting discussion.

  • My original Your Name post was quite lengthy and featured an even hundred screenshots, but even this was insufficient to cover all of the moments in Your Name. With this being said, in the two years that have passed since the film began screening in Japan, I think that all of the conversation that can be had about Your Name is exhausted. There will be screenshots I do not imagine I will have a chance to use, but things are what they are. I note the goal of this exercise is to take a closer look at existing beliefs about the movie, rather than a revisitation, and so, the screenshots were chosen to be (somewhat) relevant to what was being discussed.

A film is not intended to, and should never, force its viewers to do “homework”. It should be evident that any film demanding its audience to possess a degree in Classical Japanese, folklore, linguistics or culture would not be particularly enjoyable to watch. Doubtless that there might be interesting aspects in Your Name drawn from the Man’yōshū, they do not form the focus of the film: had Shinkai chosen to conceal his themes behind aspects requiring uncommon knowledge, audiences would not have found the film enjoyable. The reason why Your Name was so successful was that it broadly touched on a range of topics, packaging things up in a film with stunning sound and visuals, and finally, concluding in an immensely satisfying manner. As such, it is evident that without having the requisite “foundational knowledge” and a preparedness to seek out the symbols in the film, one can nonetheless enjoy the film to a considerable extent. In fact, it should be clear that while Shinkai may have drawn from the Man’yōshū for his films, the stories and themes in Your Name (and The Garden of Words) are his own – Shinkai draws from his own experiences to create a story, and it is disingenuous to suppose that there is enough of an overlap between his works and the Man’yōshū such that the latter becomes required reading to understand Shinkai’s intentions. One does not need to “[follow] the hints provided and [stick] with delving into them to the end” ahead of watching Your name to be “better prepared for the emotions and symbolism they’re about to witness on screen”; this is a load of bullshit. Numerous viewers have enjoyed the film without the requisite knowledge that is supposedly mandatory to enjoy the movie; as the large, diverse audience have decisively shown, there is no wrong way to enjoy Your Name except for one: the belief that declares academic perspectives as being necessary and sufficient to experience the film properly. With this myth being firmly busted, it is my hope that people do not accept those verbose, purple prose-filled passages as resembling anything even remotely relevant to Your Name.

Verdict: Busted

Closing Remarks

The broad themes and messages in Your Name means that discussion on the film’s subtler aspects are only natural, but there are occasions where conversation strays away from the realm of facts and towards speculation. This post was intended to take a look at some of the assertions surrounding Your Name. In this round of myth busting, I cover four widely-known queries that are invariably raised after watching Your Name, and through a bit of discussion, find that three of the four claims are “busted”. That is to say, there is evidence to show that the claims made about Your Name are merely thus. One of the claims turned out to have merit, and this revelation gives additional weight and meaning to Your Name. I’ve found that appreciation for a film usually comes from hearing insight into what motivated the creators to create the film in the manner that they did, and also from being able to relate to the film in a manner. While post-modernist thought supposes that the audience’s interpretation should be held to at least the same weight as the author’s intent, deviating from this may leave an individual with an inaccurate understanding of the same film, or even a diminished experience. While we are on the matter of a diminished experience, I note that this post lacks the same excitement as a conventional MythBusters episode. Instead, I’ve addressed a few long-standing queries about Makoto Shinkai’s Your Name, and ultimately find that, regardless of whether one might agree or disagree with my verdicts, the fact is that Your Name is a worthwhile film to watch.

A Photogrammetry Exercise in Kimi no Na wa (Your Name): Determining the location of Taki’s Apartment and a fly-through from Tokyo to Hida

“Where is Taki’s apartment located?”

This question was posed by one of our readers shortly after Your Name began screening in Japan, and at the time, information about the film, especially amongst the English language anime community, was limited. Consequently, when I received the question, I wondered if it were even possible to answer it accurately. For one, metro Tokyo is the world’s largest city, and even Tokyo Proper has a surface area of 2187.66 km² and a population of 13 617 445 as of 2016. By comparison, Calgary has a tenth of the population, and it’s already tricky enough to find things here — it took me ages to realise that Pure Pwnage‘s Lannagedon event was hosted at the Bowness Community Centre, for instance. However, the challenge was an intriguing one, and I began wondering how to go about solving it. When I recalled an episode of The Raccoons back in July, I felt that I had my answer: in the episode “Search and Rescue”, Bert Raccoon and Cedric Sneer go looking for a meteorite that lands on Jack Pine Island in the Evergreen Forest. Assuming that recovering the meteorite is a day trip, the two do not leave any information behind as to where they went, and when their raft floats off from the island, the two find themselves stranded. Despite the effort of their friends, who search the Evergreen Forest through the night for them, the two are not found until the next morning. After Lady Baden-Baden reveals that she saw the meteorite, Professor Smedley-Smythe is able to use triangulation to work out where the impactor landed, leading to Bert and Cedric’s rescue. The concept of triangulation is a reasonably simple one: if there are at least two known points, then the location of an unknown point can be determined by forming a triangle by means of the existing points. The version in The Raccoons is the simplest one: the baseline distance and angles are not used, as a map is available. However, slightly more involved forms allow for a distance to the unknown point to be determined provided that one knows the baseline distance between two observes and the relative angle of this baseline to their line of sight. In this exercise, I apply a variation of the technique, plus several landmarks in the Tokyo, to form the starting point for answering this question.

Locating Taki’s Apartment

  • Figure I: Taki viewing Tiamat’s fragment splitting up in the eastward direction. The Yoyogi Tower and Tokyo Metropolitan Government Building are highlighted in this image for clarity. All of the images in this post can be expanded for viewing at full resolution.

  • Figure II: A section of the Tokyo skyline seen in Your Name. Here, I’ve highlighted some of the buildings visible in the image. Landmarks with a red label were used in my preliminary estimates to narrow down which area Taki’s apartment is located in.

  • Figure III: Approximation of where the skyline in Figure II might be viewed from. Using the four landmarks and roughly their angles, the area one can begin looking for Taki’s apartment is highlighted in blue, enclosed by the sightlines. All of the map data in this discussion are sourced from Google Maps and have been modified to improve clarity.

From footage in Your Name, Tokyo Metropolitan Government Building and the nearby Yoyogi Building is visible from Taki’s apartment (Fig I). In the image, the Tokyo Metropolitan Government Building is right of the Yoyogi building. Inspection of a map allows us to work out that Taki’s apartment must be east of these buildings. The second set of points we can use can be derived from the fact that Taki is seen leaving home with Tokyo’s skyline visible on the horizon (Fig II, Fig IV, Fig V, Fig VI, Fig VII). Visible in the frame’s left-hand-side is Akasaka Palace, accommodations for visiting state dignitaries. Tokyo Tower is also visible, along with the Embassy of Canada as the frame pans right. Thus, we can use Tokyo Tower and the Embassy of Canada as the first of the known points for our calculations: in the images, the Tokyo Tower is left of the Embassy of Canada, so we can reason out that the scene is taken from a point north of these buildings. The estimated sight lines allow us to constrain Taki’s apartment to an area in Shinanomachi, Wakaba, Yotsuyasakamachi (Fig III). These are densely-built up neighbourhoods, and while we’ve worked out roughly where Taki’s apartment could be, exploring the area bit-by-bit would still take a while. Fortunately, we have two more points that makes the calculations easier to approximate: Akasaka State Property is visible in the frame shown when Taki (Mitsuha) is looking over Tokyo. We use this to further constrain the possible region to an area west of the Akasaka State Property (Fig II). The second point is rather more subtle – there’s a small apartment complex called the Meiji Park Heights, and it is visible in the image’s lower right hand corner (Fig VII, VIII). This apartment is located southwest of Taki, so using the same technique and tracing backwards, we find a line that passes over a community centre north of the Chou Main Line (Fig IX).

  • Figure IV: Identifying buildings visible from the perspective seen in Your Name. When we zoom in to the area highlighted in Figure III and rotate the camera, we find a distinct set of landmarks not dissimilar to the buildings seen in Figure II. I use some of the more distinct skyscrapers in the image as comparisons.

  • Figure V: The equivalent spot from Figure IV in Your Name. Amongst the buildings I’ve looked at include the 43-story Park Court Akasaka: The Tower, a residential complex that was completed in 2009, the Sogetsu Concert Hall and the Embassy of Canada. The Embassy of Canada was chosen as a point primarily because of its distinct roof. This building was completed in 1991.

  • Figure VI: Panning east from the perspective in Figure IV. When the camera pans right, other buildings become visible, including Tokyo Midtown, a mixed-use building that is, with its height of 248 meters (814 feet), the second-tallest in Tokyo. By comparison, Brookfield Place East of Calgary will have a completed height of 247 meters (810 feet). Other buildings highlighted for their visibility include the International Medical Welfare University Graduate School, Honda Welcome Plaza Aoyama and the TK Minami-Aoyama Building.

  • Figure VII: The equivalent spot from Figure IV in Your Name. With the number of familiar landmarks visible in Your Name, we can say that Taki’s apartment must be located close to the Akasaka Imperial Property. There is one final structure that is present when the camera pans, and this is the Meiji Park Heights, with its distinct roof and windows.

  • Figure VIII: A closer view of Meiji Park Heights. Despite its unassuming appearance from 3D imagery, the building houses spacious, luxury apartment units and is conveniently located to two train stations, as well as the Akasaka grounds. With two-bedroom units that have a total area of close to 1125 square feet (110.41 square meters), rentals start at 350000 Yen per month (3900 CAD), more than double that of an equivalent in Calgary (1500 CAD per month).

  • Figure IX: Using the Akasaka State Property and Meiji Park Heights to constrain the possible region of Taki’s apartment further. The Akasaka State Property was visible in Figure II, and together with the Meiji Park Heights, allow us to say that Taki’s apartment must be in a narrow area where both structures are visible. Using the sightlines running east-west, the possible location of Taki’s apartment can be searched for in the highlighted area.

We now have an area small enough so that we can start looking around manually, and immediately north of the community centre are some apartment complexes. We are left with several options: Taki lives in an apartment with an outdoor hallway, which allows us to eliminate a larger apartment nearby with windows facing south, as well as a green-roofed apartment (Fig X, XI). Adjacent to the green-roofed apartment is a slightly taller apartment, and while it has south-facing balconies, this is our candidate, located at the address 〒160-0011 Tōkyō-to, Shinjuku-ku, Wakaba, 1 Chome-22-15. The building itself is called 離宮ハイム (Rikyū haimu), and from details in the film, Taki lives on the sixth floor. Despite the descrepancies in design, especially with respect to the placement of balconies and the angle of sunlight seen in the film, when we descend down for a closer look along a road, it becomes apparent that we’ve located Taki’s apartment. Details in the road he’s seen running along, both to school and to meet up with Miki for his date, line up with what is visible from the site’s real world location (Fig XII, XIII, XIV, XV). Without the use of too much trigonometry, we’ve found Taki’s apartment with some reasoning, a bit more guesswork and liberal use of Google Maps. I remark that a more precise and sophisticated technique can be applied here: because we have the heights of the Tokyo Tower and Tokyo Metropolitan Government Building, clever use of a clinometer and the screenshots can also allow one to approximate the distance to the buildings and determine where the screenshots are roughly located.

  • Figure X: Highlighting Taki’s apartment and the route he’s seen taking to school and on his date with Miki. Taki’s apartment is highlighted in blue, while the route we see him take is given in red. From exploring the area given in Figure IX, Taki’s apartment was located in the space of around two minutes.

  • Figure XI: Corridor outside of Taki’s aparment. Close inspection of the unit numbers find that Taki lives on the sixth floor, although his apartment has a covered corridor compared to the unit located in the real-world location. However, as the structure needs to be suited for plot-related elements, the discrepancies are readily accepted without much concern.

  • Figure XII: Street-level view looking south from the road leading from Taki’s apartment. Quite ordinary and unremarkable by any definition, it is possible to use Google Street View to approximate a small section of Taki’s route, and I imagine that folks in Tokyo familiar with the region can trace his path to school and the route he takes when meeting Miki for a date with total accuracy.

  • Figure XIII: The equivalent spot from Figure XII in Your Name. The extent to which details are reproduced are incredible: whether it be the placement of mirrors, the potted plants beside the apartment on the right, the vending machine or the skyline, we have a near-perfect reproduction within Your Name of the location.

  • Figure XIV: The road going down the hillside leading from Taki’s apartment. The real-world location is filled with shrubbery, with the skyline barely visible, whereas in Your Name, there is less vegetation that allows the skyline to be more clearly seen.

  • Figure XV: The equivalent spot from Figure XIV in Your Name. While I never visited this spot during my time in Tokyo back in May, the closest I got from Taki’s apartment and the Suga Shrine would have been around 2.6 klicks, when I visited the Meiji Jingu Garden. This was the first destination that was on my itinerary in Tokyo.

The Giant Flythough Kimi no Na Wa

During the opening credits to Your Name, there’s also a brief moment where the camera flies from Taki’s apartment in Tokyo, through the Tokyo Metropolitan Government Building, out to rural Japan and eventually, Itomori (Fig XVI). This is undoubtedly an impressive feat of animation and a visual treat to behold on its own, but there is a pleasant surprise to this, as well – if one were to project a line from Taki’s apartment in the heading as depicted in the film, they would end up in Hida, Gifu, passing over Lake Suwa along the way (Fig XVII, XVIII). In total, roughly 237 kilometers of distance separates the location of Taki’s apartment in Tokyo from Hida in the Gifu prefecture. While some might consider this a mere coincidence, the level of detail Makoto Shinkai and his team put into their art is nothing short of exceptional, so I imagine that this was a deliberate design in keeping with the thematic elements within the movie. Whereas Shinkai’s earlier themes were more about distance, Your Name deals predominantly with connections and how distances can be closed: the Chinese term “緣份” (jyutping jyun4 fan6, “fate”) describes the movie neatly, as it appears that supernatural forces compel Taki and Mitsuha to meet. That their homes lie along the same line is a clever element added to the film, and while subtle, serves to reinforce notions that Taki and Mitsuha must meet in order to convey the thematic elements in the movie. With this in mind, it is likely that Shinkai and his team worked backwards, choosing the rural location and then corresponding it with a location in Tokyo; it is considerably more difficult to pick a rural location suitable for Mitsuha, whereas in Tokyo, the dense urban build-up means that Taki could have been placed anywhere in central Tokyo without any substantial impact to the narrative.

  • Figure XVI: Stills from the opening scene in Your Name depicting a fly-over from Taki’s apartment in Tokyo to Mitsuha’s house in Itomori. Starting from the roof of Taki’s apartment (1) and flying east over the Tokyo cityscape (2) towards the Tokyo Metropolitian Government Building (3), the camera moves through the gap between the two towers (4) out into rural Japan after a transition (5), eventually landing in Itomori (6).

  • Figure XVII: Approximation of the route covered by the route seen in the opening in the real world. The red path highlighted shows this: in the upper left, the route covered between Figure XVI’s (1), (2) and (3) are shown. The opening shortens things after (4) is reached. Curiously enough, the line intersects Suwa Lake before landing in the small town of Hida in Gifu. During my visit to Japan, we passed by Suwa Lake after leaving the Ikenotaira Hotel beside the shores of Shirakaba Lake en route to Nagoya and Gifu.

  • Figure XVIII: Overhead view of the entire route from Tokyo to Hida, Gifu, intersecting with Lake Suwa. The total distance separating Taki’s apartment from Suwa Lake is 154 kilometers, while the full distance from Hida to Tokyo as the mole digs is 243 kilometers. To put things in perspective, Red Deer to Calgary is a little less than 154 kilometers, while Edmonton and Calgary are separated by a distance of 270 kilometers.

Closing Remarks

An interesting point to note is that only 480 metres separates Taki’s old apartment from the Suga Shrine. This entire exercise only took around five minutes to complete, although the post itself took a ways longer to draft out: from exploring the areas by means of Google Maps’ Street View and 3D utilities, it becomes clear that, as with Suga Shrine, Your Name takes some creative liberties in recreating locales for the film but nonetheless retains considerable accuracy. That it is possible to apply a bit of triangulation and make use of a commonplace tool to precisely determine where the events of an anime film occur, is itself a testament to how far technology has come in recent years. Sophisticated techniques for obtaining stereographic data to create 3D maps has made photogrammetry, the process of using imagery for locating structures and objects, increasingly accessible to all users: Google has optimised their 3D maps so even computers with an Intel Iris GPU can view maps in 3D. Such tools make it effortless to figure out where one’s destinations are, what road layout and traffic controls lie along a hitherto unexplored route and gain a preview of what things look like on the ground at a location halfway across the world. With tools of this calibre, quickly ascertaining locations within anime becomes a much more straightforwards task, especially if one is familiar with a handful of landmarks in the area of interest. All of these sophisticated tools means that hopefully, I’ve adequately answered the question posed: when asked “where is Taki’s apartment located?”, I can suitably respond “〒160-0011 Tōkyō-to, Shinjuku-ku, Wakaba, 1 Chome-22-15“. Back in The Raccoons, for Bert and Cedric, being lost on an island now simply means sending out a phone call and tagging their location to simplify the search and rescue process. Having said this, some lessons, such as informing others of their intended activities and destinations, continue to endure even if the technology we’ve presently got far outstrips anything that was available in 1989.

The Stairs to Suga Shrine in Yotsuya, Shinjuku, Home of the Fateful Meeting in Kimi no Na wa (Your Name)

“The distance between insanity and genius is measured only by success.” —Bruce Feirstein

The history behind Suga Shrine dates back to the Edo period; the shrine itself is actually the merger between the Gozutennou and Inari shrines, which, after the Meiji Restoration, became enshrined together to become the Suga Shrine. The shrine takes its name from Japanese mythology, where hero Susano no Mikoto defeated an eight-headed serpent and remarked 「吾れ此の地に来たりて心須賀、須賀し」(Romaji: “Warere kono ji ni ki tarite kokoro suga, suga shi”, literally “I come to this place, and my heart becomes purified”). The shrine itself features unique paintings on its ceiling depicting the Sanjurokkasen (The Thirty-Six Immortals of Poetry) a group of poets from the Asuka, Nara and Heian Periods renowned for their poetic ability. The painting was dedicated to the shrine in 1836, being the work of Unpou Ooka, while the lettering was done by Arikoto Chigusa. Besides the painting, the site also is home to the Komainu, a guardian dog statue dating back to 1728, as well as the Yotsuya mitsuke memorial stone. With a bit of history behind it, the Suga Shrine is an intriguing place to visit for folks travelling in Japan, being close in proximity to the Tokyo Toy Museum and Shinjuku Historical Museum. However, I imagine that most folks are not here for some Lonely Planet-esque entry on the Suga Shrine: the stairwell leading up from the main road to the Shrine was quite trivial until the première of Makoto Shinkai’s Your Name, and since the film’s release, has become a popular spot for visitors looking to tread the same path that inspired the place Mitsuha and Taki, the film’s protagonists, meet properly for the first time.

  • Because we are going through Your Name again, the presence of duplicate images in this post are unavoidable. The post itself comes out of the blue, precisely a year after Your Name premièred in Japanese theatres; it is a consequence of a request I’ve had from a member of Tango-Victor-Tango, who was looking for a well-written location post and was kind enough to supply me with the photographs they’d taken. I’m not sure how visible this post will be in the grand scheme of things, since search engines are saturated with sub-standard location posts from Your Name, but at the very least, I hope that the post, featuring fifteen images each for the real-world location and movie incarnation, will be helpful for this particular member.

  • Most of the images of the film’s final moments are set in the streets surrounding Suga Shrine, and while attesting to the exceptional amount of attention Shinkai’s art team has paid to detail, such as illustrating of street signs, protrusions in the road and even the reflection of light on wet surfaces, the locations themselves are rather unremarkable, so this post’s figure captions will not deal predominantly with the locations themselves. Instead, I will take another look at the ending of Your Name, which has been considered inappropriate in the days following the home release.

  • Criticisms of the film’s ending as being inordinately happy have been made by a handful of individuals, asserting that a happy ending is, and I quote “…a lie that people actively seek because they can’t accept the shitty mess that is real life”. Such an assertion evidently can only come from individuals who have yet to find fulfilment or purpose in their lives – if they have such aversions to notions of serendipity, it follows that such people hold a degree of resentment against society itself, lacking the drive to better themselves and improve things around them.

  • The same individual goes on the claim that “…endings are the ones which realistically portray the cost of all their characters’ actions and why, in the end, the choices were worth it, despite what they gave up in exchange”. The irony of this is that even by their definition, Your Name‘s conclusion is enjoyable. I remarked that one of the main themes of Your Name, missed elsewhere even by reviews published to major news sources, is that love transcends spatial-temporal boundaries. As such, after everything that Taki and Mitsuha had gone through, it is realistic in portraying how the two reach their destination.

  • Because Your Name places so much emphasis on the unusual properties of how fate can bind individuals together and makes extensive use of the red ribbon as a metaphor for this connection, it stands to reason that the film was aiming to illustrate the strength of this connection. To have Mitsuha and Taki pass by one another and passively resign themselves to a fruitless search would be to contradict the very themes that Shinkai strives to convey. Mitsuha and Taki make sacrifices on the course of their journey to find one another, and the end result is the culmination of these choices.

  • The reason why there is seemingly “no patience for contrarian opinions” is not for the fact that contrarian opinions exist, but because the opinions themselves seemed intent on painting the movie as a sub-par “feel-good” effort that deviated too greatly from realism. I found that the film succeeded in telling the story it set out to tell, and with its combination of comedy and drama, managed to capture the audiences’ attention from start to finish. While not a masterpiece that dramatically altered my worldview, it nonetheless remains an immensely enjoyable film; it is evident that folks who found the film unsatisfactory are in the minority.

  • Owing to the film’s widespread popularity and reach, there have also been numerous cases of armchair experts coming out of the woodwork to comment on the film, asserting that there is a much deeper meaning in the film that other viewers have missed and that they alone understand. The counterclaim for this is simple enough: the fact that Your Name is so popular and relatable for such a diverse population is precisely because the film’s themes, symbols and motifs are universally understood. By conveying these ideas in a visually stimulating manner, through the perspectives of two everyday characters, the messages in the film are never obfuscated.

  • One indication that execution of Your Name is masterfully done is that the film was able to present abstract topics in a highly accessible manner. One of the long-lasting lessons I took away from my time in academia, one that endures, is that an idea that it takes genius to make the complex understandable. The concept is attributed to Albert Einstein, and my former supervisor certainly encouraged his students to think this way: while other professors gave jargon-heavy talks, with slides filled to the brim with text, my former supervisor explained complex systems in simple terms, preferring to let visuals and diagrams augment his lectures. Shinkai is likewise able to express complex ideas in an approachable manner, which lends itself to his films’ ability to move such a number of viewers.

  • The most noticeable differences between the real-world staircase in Suga Shrine and the incarnation seen in Your Name is visible in this image: while largely faithful to the real location in composition, lanterns from the shrine are not present in the film, giving the sense that it is down an ordinary street that Mitsuha and Taki meet, rather than beside a shrine. While Your Name makes extensive use of real-world locations, it also integrates fictionalised locations, as well, standing in contrast with Five Centimeters per Second and The Garden of Words.

  • One of the most suspenseful moments in Your Name was watching to see if Taki and Mitsuha would go the route that Takaki experienced in Five Centimeters per Second. In Your Name, Mitsuha and Taki come close to missing their moment, but ultimately seize the chance to address the longing in their hearts. It is a welcome, deserved ending for two characters for whom the film persistently present as being fated to meet one another: their longing was purely to meet, and the film allows this modicum of solace in being able to do so.

  • While long held to be Shinkai’s best work, and a movie that I count as being a full-fledged masterpiece for having changed the way I saw the world, I presently find that Your Name is an excellent companion to Five Centimeters per Second in that it confers another, different perspective on what things could be. While prima facie differnt in their endings, Your Name ends in an open manner just as Five Centimeters per Second did, to remind audiences that meeting is not sufficient, but it is necessary, for a meaningful relationship to occur. Much like how Takaki accepts what’s happening and see where things go, Taki decides to take a chance and see where things go, as well. The endings are, in retrospect, more similar than initially apparent.

  • I’ll take a moment to remark that I’m not particularly fond of going down long flights of steps, since the longer the stairs are, the more likely I’ll feel as though I’ll trip on the way down. This image is almost identical to the one I used in my original Your Name review, and in the comparison between reality and Your Name, both similarities and differences become quite apparent here. I imagine that the choice to blend reality with fabricated cityscapes is meant to mirror the fact that Your Name uses both fictional and realistic elements.

  • Besides the ending, one conversation topic that seems to plague discussions of Your Name is why Taki and Mitsuha remain oblivious to the differences in their years, especially considering how the current year is almost always actively in one’s mind owing to the prevalence of calendars. I imagine that the sheer lunacy of the conscious exchanging phenomenon pushes the year into the back of Mitsuha and Taki’s minds, which is not improbably considering just how shocking such an experience would be. Others yet contend that their different iPhone models should immediately give away the year, but such a remark is indicative of naïveté: the iPhone 5 that Mitsuha uses is still quite widespread, explaining why Taki has no trouble with using one, while Mitsuha, being from the country, assumes that she’s been out of the loop with respect to iPhone models as a result of living in the countryside and accepts Taki’s iPhone 6 without too much difficulty.

  • One of the things I’ve never mentioned about Your Name but greatly enjoyed was Mitsuha’s version of the song Nandemonaiya: the RADWIMPS version was quite nice, but having Mone Kamishiraishi perform it was to give the song a particularly strong emotional feeling to it surpassing even that of RADWIMPS’ performance.

  • With this last image, so ends a locations post that was thrown together on a moment’s notice. This one comes across being more unusual in focussing less on the setting and more on topics (somewhat) relevant to the film itself. The reason for this is that there is only so much I can talk about concerning stairwells, and not being an engineer, I won’t be able to offer any technical details about the bending moment of a stairwell or anything of that sort. Regular programming resumes in a few hours, where I will be detailing my incredibly enjoyable experiences with Battlefield 1‘s Łupków Pass update and the insane things I’ve done with the armoured train on that map.

The question is then, how does one reach this location? Owing to the exceptional mass transit system of Tokyo, this is not particularly challenging as an endeavour: Suga Shrine is an eight-minute walk from the Tokyo Metro Marunouchi Line Yotsuya-Sanchome Station, and ten minutes away from JR Yotsuya Station, being located at 5 Sugacho, Shinjuku-ku, Tokyo. The actual detail of the stairs leading up to the shrine is quite different than that of Your Name, as is the cityscape visible from the top of the stairs, but as outlined in the Your Name Official Artbook, this is one of the major locations in Tokyo featured in Your Name, along with Gaien (the pedestrian overpass is located here near the Shinanomachi station and is the site where Taki and Miki share several conversations over the course of the movie), Yoyogi (where Mitsuha first visits in an attempt to meet up with Taki), Roppongi (Miki and Taki have their date at the Brasserie Paul Bocuse Le Musée Restaurant on the third floor, after meeting up at Yotsuya) and Sendagaya (Mitsuha can be seen running here at the train station trying to catch a glimpse of a seemlingly-familiar face). Outside of Tokyo, the town of Itomori is evidently a fictional location, drawing inspiration from Hida in the Gifu Prefecture and Lake Suwa of the Nagano Prefecture. The dormant caldera is modelled after Aogashima; located south of Hachijojima, it is very remote and typically, can only be accessed by helicopter or boat. The latter is a tricky gamble owing to dangerous terrain surrounding the island, accounting for the general reluctance of fans to visit.

Kimi no Na wa (Your Name): A Review and Full Recommendation on Makoto Shinkai’s 2016 Film

“Love isn’t something that we invented. It’s observable. Powerful. It has to mean something. Maybe it means something more, something we can’t yet understand. Maybe it’s some evidence, some artefact of a higher dimension that we can’t consciously perceive. Love is the one thing that we’re capable of perceiving that transcends dimensions of time and space.” —Dr. Amelia Brand, Interstellar

Premièred in late August 2016, Kimi no Na wa (English title “Your Name“, which will be used for the remainder of this discussion) is Makoto Shinkai’s latest feature film, being his fifth full-length feature. It is adapted from his novel; since its release, Your Name has been widely praised for its narrative and visuals — the film has received universal acclaim, and its box office numbers have been nothing short of impressive. As of July 4, the film has grossed a total of at least 444 million CAD, and with audiences praising Your Name to an almost improbable extent, it is worth taking a look at the film that has caused such a commotion amongst the community. At the movie’s core is a seemingly unassuming premise: Mitsuha Miyamizu is a girl living in the rural community of Itomori who is greatly dissatisfied with her life, her father and her role in the community as a shrine maiden. Long yearning to be a handsome guy in the city, Mitsuha begins to experience an unusual phenomenon of switching into Taki Tachibana’s life. A high school student living in Tokyo, Taki works part time at an Italian restaurant and holds a crush on Miki Okudera, one of his seniors. Taki realises that he is switching out with a girl living in rural Japan, and as the two begin acclimatising to the phenomenon, they begin intervening in the other’s life — Taki presents Mitsuha as being more bold and open, bolstering her popularity amongst her peers, while Mitsuha is able to help Taki become closer to Miki, managing to ask her out on a date. The phenomenon ceases as quickly as it came, but, his sense of curiosity piqued, Taki decides to travel to the Itomori region and visit Mitsuha in person.

Taki’s trek proves unsuccessful and unearths a bizarre truth: the area had been obliterated three years previously when a fragment of a comet impacted with the surface. Refusing to give up, Taki manages to find the kuchikamizake that Mitsuha had made as an offering: he finds himself as Mitsuha and sets out with the goal of saving the citizens, enlisting Mitsuha’s friends to create a diversion in order to force an evacuation, while Mitsuha, now as Taki, heads towards the shrine on the mountain on the feeling that she might find Taki there. At the mountain’s summit under the evening skies, Taki and Mitsuha manage to meet for the first time and promise to recall one another’s names, but their memories of one another begin fading: Mitsuha is only left with Taki’s message that he’d fallen in love with her. While unable to stop the comet fragment from destroying Itomori, Mitsuha manages to convince her father to aid her in evacuating the region. Eight years later, Taki has graduated from university and is struggling to find work, all the while haunted by vague memories connecte to Itomori. One day, Taki disembarks from a train to find a woman who seems familiar; she seems to feel the same way about Taki, and meeting at a flight of steps, Mitsuha and Taki ask for one another’s respective name. Your Name represents a return to the fantastical from Shinkai’s earlier The Garden of Words (2013) and Five Centimeters per Second (2007), making use of the supernatural to present a very specific set of ideas in his film — while their inclusion is noticeable, fantasy elements never overwhelm Your Name, instead, being finely woven into the narrative to subtly hint at the complexities of human emotions.

Major themes in the movie

At the core of Your Name is the exploration of human emotions and their incredible sophistication; the brain is often touted as being the most sophisticated machine in the known universe, and presently, it is still unknown how things like memories and emotions operate at the bio-molecular level. While science has yet to yield more insight into this particular mystery, authors of fiction definitely appreciate this complexity; the inclusion of phenomenon such as body-swapping is meant to overcome constraints in reality to see how people may respond when presented with extraordinary circumstances that allow them to experience the world from a different perspective. In the beginning, Taki and Mitsuha’s exchanges are characterised by a strong sense of curiosity. While initially dismissing these as dreams, the persuasiveness of the body switches eventually drives Taki to try and meet Mitsuha, to confirm that his experiences are real. Curiosity soon gives way to understanding one another as they continue living life from the others’ perspective, and even after the first set of phenomenon ceases, the memories and emotions imparted continue to linger. In fact, they are sufficiently strong that Taki decides to take action, trying to reach Itomori. When he arrives, the strength of his desire to understand overcomes spatial and temporal boundaries, allowing him to meet Mitsuha in person for the first time. Similarly, even after his memories of Mitsuha fade from his life, Taki is left with a sense of longing. This is a consequence of having reached mutual understanding with her through their shared experiences — despite never saying so, the two become as close as lovers, as each knows what the other’s feelings and thoughts are. It is therefore unsurprising that, having gone through so much, Taki and Mitsuha understand one another as though they were the other: these feelings are strong and continue to persist over space and time. In his portrayal of Taki and Mitsuha, Shinkai aims to portray love as being an immensely strong emotion, being able to endure and bring people together even against the very laws that govern time and space.

It came as quite a surprise to learn that Interstellar, in a single quote, succinctly and accurately captures the main thematic element of Your Name. Love being an entity able to transcend the known laws of space and time have been explored in Christopher Nolan’s Interstellar, former NASA pilot Joseph Cooper (Matthew McConaughey) and his daughter, Murphy (Jessica Chastain), are separated when Cooper is sent on a mission to explore habitable worlds through a wormhole to find a new home for humanity before Earth’s biosphere fails. In this journey, Cooper ends up passing over the event horizon of a black hole and enters a space with a fourth dimension, reaching a point where he is able to communicate with a past Murphy and transmit vital data allowing her to find the solutions the equations that John Brand (Michael Caine) had dedicated his life to solving. At around the film’s midpoint, John Brand’s daughter, Amelia Brand (Anne Hathaway) mentions that love is something seemingly with no social utility during a conversation with Cooper, and suggests that it is a force with trusting, even if it has no tangible, quantifiable form. Although Cooper initially is dismissive, inside the black hole, he finds that this holds true: his love for his daughter moves through space-time when he transmits the information allowing her to complete John Brand’s work. Similarly, the feelings that Mitsuha and Taki share over the course of their experiences are powerful, persisting long after their initial memories of one another fade. Makoto Shinkai and Christopher Nolan thus share the commonality in that they leave the precise mechanism as secondary to the presentation of this notion, emphasising that being able to experience love is far more important than the exact workings behind things.

While a wondrous aspect of being human, love is also a desperately tricky emotion to understand, leading capable folks to do things they might not otherwise partake in while in rational control of their actions. Indeed, Shinkai suggests that love is an emotion that may require external intervention in order to adequately explore, and in Your Name, this intervention takes the form of body-swapping. A commonly-employed storytelling device, body-swapping aims to present individuals with a different perspective, a literal “walking a mile in someone’s shoes”: as humans, individuals are constrained to viewing the world from a single perspective and as such, while people are generally able to empathise with others and imagine themselves in a different person’s viewpoint, it does not quite compare to actually experiencing or viewing the world as another individual. Most narratives using this element do so in order to broaden the individuals’ perspectives, and in Your Name, the phenomenon is utilised to provide an unequivocal sense that Mitsuha and Taki have walked in the others’ shoes sufficiently to know what the other is longing for. By providing the means for the two to experience life from another perspective, Shinkai pushes them to understand one another more profoundly than would be possible in reality, but even with newfound perspective conferred through a supernatural means, it takes some time for Taki and Mitsuha to acclimatise and understand one another. Over time, this sense of connection strengthens, and leaves a particularly profound impact on Taki, enough to prompt him to visit Itomori and Mitsuha.

Taki and Mitsuha’s decision to seize the initiative and seek out answers surrounding their feelings represents a welcome return to Shinkai’s usual approach: Five Centimeters per Second, long held to be the strongest of Shinkai’s films, featured a protagonist whose efforts to take charge in his life was met with resistance upon resistance, resulting in a character who gives the semblance of being unable to control the events in his life. By comparison, Taki acts on his feelings to ascertain them: he desires to learn more about Itomori and meet Mitsuha in person, arranging to travel there himself. Even when met with failure, Taki continues to persist: his journey to Mitsuha is fraught with challenges, but Taki continues to endure. In his determination, he challenges fate, trying to evacuate Itomori’s citizens with the aim of saving Mitsuha for the singular purpose of seeing her. While his efforts initially seem to be for naught, Your Name‘s ending shows that his actions ultimately prevailed. By taking the initiative to do something, rather than remaining passive and consigning himself to the flow of events, Taki sets in motion the very events that lead him to finally encounter Mitsuha properly in person. Similarly, Mitsuha is consumed with curiosity and yearning, visiting Tokyo in an attempt to find Taki even though at this point in her time, Taki does not know her. Nonetheless, the chance meeting sets the stage that ultimately drives them together. Where this goes is left open to the audiences, but given the overarching messages presented in Your Name, having taken the pains to figure out who the other is, Mitsuha and Taki will become acquainted with one another — their experiences allow them to understand one another to an extent that a relationship would certainly be within the realm of possibility.

Personal thoughts on the movie

With themes of love being a force beyond comprehension, the idea that even supernatural phenomenon can have their limits in allowing people to understand one another and fall in love, and that it is ultimately an individual’s own will to act governing the narrative in Your Name, Makoto Shinkai delivers a masterful story in this movie. It is therefore quite unsurprising that the film has been met with near-universal critical acclaim: Your Name is a tale where determination triumphs over distance and time, one that reminds audiences that not all dreams necessarily are doomed to failure or obscurity. In leaving bleaker endings behind for one that is much more optimistic in nature, Shinkai succeeds in creating a film that resonates with a much wider audience. The unique combination of Shinkai’s storytelling and art style coupled with a satisfying ending creates a memorable film; even though Your Name does come across as being a classic feel-good movie, its execution is solid on all accounts. Aside from its narrative elements, Your Name‘s incredible attention towards details further contribute to its world-class qualities, ranging from its adherence to scientific aspects even in spite of its liberal application of body-switching, to the top-tier artwork and animation that Makoto Shinkai wields to bring his stories to life with a sense of fluidity and realism that remains unparalleled.

In spite of its supernatural premise, Your Name manages to retain a modicum of scientific accuracy in depicting the impact event that levels Itomori. When it was first announced that an impact event involving a comet would figure in Your Name, questions would immediately be raised: comets are usually no larger than ten kilometers in width (larger comets that have come closer than Saturn have been estimated to be twenty to sixty kilometers in diameter), but even a smaller comet with a nuclei of around eight hundred meters in diameter would create a crater around fifteen kilometers wide and impact with 50 gigatons of TNT equivalent. Thus, even an impact by a smaller comet would completely devastate Japan and have global effects. However, Your Name decides to go with a much smaller body, no larger than forty meters: as Comet Tiamat flies by the Earth, observers are treated to a large scale meteor shower, with the media reporting that the nucleus is disintegrating despite the Roche Limit not being exceeded. The release of gases from the comet’s interior has weakened its structural integrity, and as comets are composed mostly of rocky ices, the surface damage should is limited, as the objects would melt and lose much of their mass. Despite reassurances that the odds of an actual impact would be slim, a small, surviving rocky fragment of around two to five meters wide is headed for Itomori, striking the hillside and decimates the area, leaving a crater several hundred metres wide. The depicted blast is under ten kilotons, smaller than that of the first atomic bombs; obtaining figures from the novel, the object has diameter of forty meters and an impact velocity of 32 km/s. Shinkai’s novel describes the impactor as creating an 800 metre-wide crater. In Arizona, Meteor Crater was created by a body 50 metres across, impacting at around 12.8 km/s with 10 MT of force. Meteor Crater is 1.186 kilometres across, and residues show that this was likely a nickel-iron body. By comparison, the 800 metre wide crater in Your Name is consistent with a body with a much lower density, although its high impact velocity would have likely created a sizeable explosion, as well. The film depicts the body as having a diameter of no more than ten meters, which would have yielded a crater less than 400 meters across. While there are some inconsistencies, and perhaps not completely precise, it is quite clear that in Your Name, Makoto Shinkai has taken the time to research the effects of a smaller impact to craft a plausible outcome of the aftermath of the fragment’s collision with Itomori. In doing so, Your Name manages to strike a balance between the supernatural and the scientific, furthering the film’s notion of blurring boundaries to yield something novel.

Aside from its solid narrative and compelling characters, the artwork and animation in Your Name is top-tier, truly world class in ever sense of the word. In fact, it is not audacious to suggest that Makoto Shinkai’s attention to detail, whether it be the reflection of light on Taki’s iPhone 6, to the visual clutter of interiors to them a lived-in feel, or the majesty of Tiamat’s tail as it passes over the planet, makes Your Name by far the most intricate, best-looking anime that audiences will have seen — graphics in Your name are truly in a league of their own, matched only by Shinkai’s earlier films and Studio Ghibli’s best works. Under the well-chosen lighting and associated effects, Shinkai capitalises on the colours and tones to vastly augment his characters’ emotions and feelings. Warmer environments and more saturated colours show the characters to be at ease or content, while colder, moodier colours convey a sense of desolation. It is under the most brilliant skies that the pivotal moments of Your Name take place, whether it be the myriad of colours that paint the sky under which Taki and Mitsuha finally set eyes on one another, or the majesty of the night sky split in two by Tiamat’s passing. In this masterful application of colour, Shinkai demonstrates that he genuinely understands how to best project his characters’ thoughts and feelings to the audience, making use of it to supplement the dialogue and aural elements within Your Name that succeed in leaving a powerful impression long after the scenes have concluded.

Screenshots and Commentary

  • Your Name begins with a cold open, depicting an asteroid plunging towards the surface, but like the artbook I purchased in Osaka, I’ve decided to open things with Mitsuha beginning her day. This movie is not the longest I’ve waited for an anime movie: that title belongs to Girls und Panzer Der Film, which was announced back in 2013 and finally saw a home release in May 2016. Compared to that, Your Name was not a long wait, although the ceaseless articles from Anime News Network about the film’s reception and box office numbers made the wait feel much longer than it actually was. One of my friends remarked that he couldn’t care less about the reception: what mattered most was being able to see the film.

  • Shinkai takes a bold new direction with Your Name; the unique situation that allows Taki to possess Mitsuha’s body means that Shinkai’s characters can do what his previous characters do not, and here, Mitsuha performs a physical check to make certain that she’s back, leading Yotsuha, Mitsuha’s younger sister, to wonder whiskey-tango-foxtrot is going on here. Taking on learnings from Children who Chase lost Voices From Deep Below and The Garden of Words, Shinkai’s female leads have a much more fluid, human feel to them, whereas earlier on, his female characters feel much more ethereal in nature.

  • The interior of the Miyamizu residence is intricately detailed — this scene marks the first time that pantsu have been shown in any capacity in a Makoto Shinkai movie. Closer inspection of this moment also finds that Mitsuha’s personal effects are drawn to a very high quality. Going from this image alone, Mitsuha seems quite organised: her room is very tidy save a few spots.

  • Breakfasts in Japan are typified by their inclusion of items such as rice, fish, vegetables and an omelette; to folks outside of Japan, this can be somewhat unusual these items expected from a dinner, rather than breakfast. With this in mind, Cantonese people typically have congee with Chinese doughnut (油炸鬼), fried noodles or rice noodle rolls (腸粉) for breakfast: this comes across as different even for me (I’m Canadian-Chinese and grew up with Canadian breakfasts), as I typically have such foods during lunch.

  • Whether it be the greenery or reflections in a window, each minute of this film is a visual treat, even if it is not high-intensity from an emotional or narrative perspective. Depicting common, every-day events is critical to set a tone in anime; all stories arise as a consequence of some status quo being disrupted, so in order to understand why a story happens, it becomes important to understand what things are like prior to that disruption.

  • Before we continue further into this discussion of Makoto Shinkai’s Your Name, I remark that I was wondering if it would be meaningless to write a post of this scale, considering that almost all readers coming in will have seen the film. However, having read through other discussions and interpretations of the film, this review is not entirely unnecessary: for one, I can offer a completely unique perspective of the film that has not been previously explored, and second, there are full-resolution screenshots that can be utilised as wallpapers. Having established that I am not wasting my time with this discussion (and hopefully, not yours), we can proceed.

  • This Your Name post surpasses even the Girls und Panzer Der Film post as the longest post this blog hosts: the discussion features a hundred images, all of which are available for viewing in 1080p such that viewers may enjoy the exceptional artwork in the latest film from Makoto Shinkai. As with every post before this one, I accumulated a non-trivial number of images, and to give each of them figure captions would mean spending an inordinate amount of time (to the tune of twenty-five hours) getting this post out. While the internet’s most exhaustive collection of screenshots at the time of writing, it should be apparent that one hundred images is not sufficient to capture everything within the film.

  • To put things in perspective, this post has a total of 14398 words: the total encompasses everything including the figure captions and paragraphs. Such a post would have taken at least fifteen hours to construct, certainly impossible to achieve immediately after the BDs became available especially considering that I’m working, but the film was also unique in that I had a chance to see it several times previously. Armed with this knowledge and the artbook, I have put together a serviceable review within the space of three hours. I note that even though this is the largest review I’ve ever done, with a hundred screenshots (or frame-grabs, whatever you’d like to call them), I do not feel I’ve adequately captured all of the moments in the movie.

  • Mitsuha’s friends, Katsuhiko Teshigawara and Sayaka Natori, walk with her to school. Katsuhiko is skilful with construction implement and explosives, while Sayaka is a member of the school’s broadcast club and is generally quite bashful. On her way to school, Mitsuha runs into her father, the mayor of Itomori, and is reprimanded in front of her classmates for not standing straight, to her embarrassment. One of the upcoming challenges any blogger will encounter while writing about Your Name using the approach I’ve got here will be determining who’s who. I will use a simple but consistent convention in my own discussion: whenever a character is being run by the other, I will use brackets to indicate thus. So, Mitsuha (Taki) corresponds with Taki being in Mitsuha’s body, and similarly, Taki (Mitsuha) means that Mitsuha is inhabiting Taki’s body.

  • Yukari Yukino is the Japanese literature instructor in Mitsuha’s class: reprising her role from The Garden of Words, Yukari is voiced by Kana Hanazawa, whom I best know for her roles as Angel Beats! Kanade Tachibana, Nagi no Asukara‘s Manaka Mukaido and Charlotte Dunois of Infinite Stratos. Unlike some voice actors, whose voices I can discern almost immediately (Ayane Sakura, Kikou Inoue and Inori Minase, to name a few), Hanazawa’s voice talent is quite diverse; I doubled over in surprise when I found out that Yukari and Charlette Dunois share a voice actor. Here, Yukari is presenting a bit of classical poetry; while foreshadowing the film’s events, the single lines chosen are not capable of describing the entire film as some individuals have asserted.

  • Returning to Your Name, Mitsuha’s classmates regard her strangely and wonder why things seem a little off: she cannot recall any of her behaviours from the previous day and assumes that she’s been dreaming. It is only during lunch that her classmates fill her in on what happened, affirming that, while her experiences felt like a dream, the events did indeed occur. Such a revelation can only come as a surprise to Mitsuha: phenomenon such as this in reality firmly remains impossible, and it is perhaps a blessing that our consciousness is confined to a single perspective (our minds would not likely be able to handle the strains associated with multiple lives).

  • The passage of time in Your Name is depicted in a linear fashion, although the flow of time in the film’s beginning is chaotic, conveying to audiences the sense of confusion and bemusement that Taki and Mitsuha face when experiencing this phenomenon for the first time. It is initially difficult to gauge who’s who because there is no precedent for what Taki and Mitsuha’s respective personalities are; when properly executed, a narrative can drive audiences to feel exactly what the characters themselves are feeling to create a sense of immersion.

  • Mechanics behind how Makoto Shinkai uses body switching are never explained in any real capacity: the limitations and constraints associated with switching bodies, such as the preservation of knowledge and experiences, are largely left arbitrary. The largest question audiences are left wondering about is just how much of the other’s memory one has access to when their bodies are switched. From the sounds of it, spatial orientation does not seem to carry over, nor do some skills that require training, such as Mitsuha’s involvement in weaving braided cords for her shrine duties, so it’s safe to assume that it’s a complete transfer.

  • Mitsuha is a miko (shrine maiden) for the family shrine, performing a kagura dance here. Literally “God-dance”, the kagura are a ritual dance performed by shrine maidens for the Imperial court and later propagated back into the villages, telling stories of folklore or fables. They are said to have had an influence on noh and even kabuki; modern kagura are performed to pay respect to the kami at the shrine.

  • As a miko, Mitsuha exudes a much more mature, even alluring quality to her character. Embarrassed by the complex history surrounding the shrine and her entanglement in its politics, Mitsuha would rather have nothing to do with things, although the choice is outside her control to make. Here, she produces Kuchikamizake, a form of sake produced by chewing on rice. The resulting alcohol is a white colour and very sour; production of this sort of sake for ceremonial purposes is still carried out on some Okinawa islands.

  • The use of flat visual layers to indicate a character’s imagination is a first in any of Makoto Shinkai’s films; typically, these are seen in something like Glasslip or Girls und Panzer. These effects are used precisely twice in the film, with the first instance being Mitsuha imagining herself acting in a mortifying manner most unlike herself. Visuals tell a story very succinctly, and in his earlier films, Shinkai’s characters are exceptionally articulate. They give highly poetic monologues that yield insight into their minds. In English, these sound tightly structured and highly formal, as seen in The Sky Longing For Memories.

  • While utterly hilarious to behold, watching Mitsuha shout out her displeasure about life in general, and that she wants to respawn (or reincarnate, for folks who don’t game) as a handsome Tokyo boy in her next life. While I’ve never really wished to be anyone but myself, I wonder what life would be like as someone else; to that end, if respawns are a thing (whether or not they are is not something I count as within the scope of this discussion), I would probably want to be someone with a much more relaxed, carefree outlook on life for diversity’s sake.

  • Perspectives shift to that of Taki’s. He fumbles for his iPhone, bringing to mind my iPhone 6, which has been in service for a shade more than a year now, acting as my workhorse platform for testing the apps that I am writing. I originally purchased one in 2015 November to replacing my ageing Nokia Lumia 520 in preparation for being able to test iOS apps, and since then, the iPhone 6 has been a remarkable asset: besides testing apps on a live device, the iPhone 6 has proven indispensable for my travels last year: the offline maps offered by Maps.me allowed me to navigate the streets of Laval, France, and I managed to save myself a bit of trouble by using the phone to book last-minute transportation from the Cancún International Airport to the Zona Hotelera. I’ve heard that the iPhone 8 will kick ass, but because I prefer to make my devices last, I have a feeling I’ll retire my iPhone 6 by the time the iPhone 10 comes out.

  • Taki feels as though he’s in a very strange dream, but nonetheless sets about getting ready for his day. From what is seen in Your Name, Taki lives with his father, and his mother’s whereabouts is never explicitly mentioned. In Five Centimeters per Second, Takaki’s parents were never shown on-screen, although very subtle details in the environment, such as handwritten notes from his parents, show that Takaki was loved by his family even if his parents were busy with work and thus, rarely around to spend time with him. Consequently, I imagine that inspection of seemingly trivial details in the environment may yield more insight into Taki’s family.

  • In contrast to the quiet of the Japanese countryside, Tokyo is packed with people as Taki sets off towards high school. In this scene, Shinkai captures the Chinese concept of “人山人海”: this expression, pronounced “Rén shān rén hǎi”, translates directly to “mountains (of) people, ocean (of) people” and commonly indicates a crowd of gargantuan proportions. This is an occurrence that is uncommon in my current city of a million; while I love the quiet that offers, some of my friends note that the city’s lack of night life is a major drawback.

  • The interior of Taki’s high school is ultra-modern, with large glass skylights that allow in a great deal of natural light. The buildings housing the faculty of nursing/social work and architecture on the university grounds have a a very similar design: with their large atriums, these buildings were a part of campus I rarely frequented. I took walks here during the quieter parts of the day and most often during the summer: from the top floor, one can look below to see open offices, and the area distinctly reminds me of some of the architecture seen in Portal 2.

  • Taki (Mitsuha) hangs out with his friends by lunch hour on the school rooftop: Tsukasa Fujii is in the center and expresses concern whenever Taki switches out with Mitsuha, while Shinta Takagi is an optimistic fellow who is keen on helping those around him. Here, Tsukasa’s remarks suggest that the body swapping phenomenon does not carry all of one’s memories over, explaining why Taki gets lost going to school whenever Mitsuha’s consciousness is inhabiting his body.

  • Taki (Mitsuha) expresses pure joy when visiting a café in Tokyo: the menu items are hugely expensive for her, and a cursory glance at some of the offerings (roughly 20-25 dollars for pancakes) indicates that the prices are expensive for me, too. However, under the assumption that it’s a dream, Taki (Mitsuha) finds that it’s okay and decides to indulge in afternoon tea, savouring the moment.

  • Anyone whose curiosity led them to click on the hyperlinks around in my older articles may find themselves staring at a photograph of food — ever since I bought my iPhone, I’ve grown fond of and have fallen into the habit of photographing the poutines and more casual things I’ve eaten, and it’s served to make memories of a day or event all the more vivid. Using clever flow, Shinkai captures the passage of time by depicting the plate as being finished by the time Taki (Mitsuha) removes his camera.

  • Later, Taki (Mitsuha) has trouble dealing with some difficult customers at work and is bailed out by his senior Miki Okudera, a university student whom Taki has a crush on, and who is more commonly referred to as Okudera-san or senpai in the movie owing to her seniority relative to Taki. Miki defuses the situation but her skirt is damaged by these customers in the process in an act of aggression. Miki notices here that Taki (Mitsuha) is acting contrary to his usual self: Taki is ordinarily short-tempered and likely would have told these customers to shove it, which is how Miki picks up that something seems unusual.

  • Inheriting Mitsuha’s skill with sewing, Taki (Mitsuha) repairs Miki’s dress, surprising her with an apparently hitherto undisplayed skill. I am almost certain that those close to me would notice something is off if I suddenly acquire the ability to sew: while I’ve become reasonably proficient with housekeeping skills, sewing is not on that list. As Taki, Mitsuha’s actions trigger Miki’s interest in him, a turn of events that Taki did not expect.

  • Things return to Itomori, where Sayaka remarks that Mitusha had acted quite contrary to her usual self during the previous day. Mitsuha occupies the back-most seat near the window in her class: this seat has been occupied by The Melancholy of Suzumiya Haruhi‘s Kyon, Tomoya Okazaki of CLANNAD and Yui Hirasawa of K-On! in other anime. Giving a sense of distance and melancholy in some cases, there is actually a practical reason why anime protagonists so often occupy the back rows — it allows for the play of light to better bring out the character’s feelings, and also reduces the number of other people that need to be rendered on screen. It’s a simple technical element, certainly not important enough to warrant an statistical study.

  • I include in this post several screenshots of room interiors and landscapes to truly capture the extent of the artwork that is present in Your Name: this is an art class at the high school in Itomori, and as per Shinkai’s strength, the room is highly cluttered and detailed. Volumetric lighting effects can be seen in this image, and because this scattering occurs as a result of dust particles in the room, it stands to reason that the art room is a dusty sort of environment.

  • When Mitsuha (Taki) boldly knocks over a desk with her leg and dares anyone to challenge her identity, her entire art class goes silent. She smiles in a mischievous, dangerous-looking fashion that is certainly not how Mitsuha would ordinarily react, and when Sayaka informs her of this, Mitsuha is bewildered that something like this could happen. This may seem a very far-fetched phenomenon from a scientific perspective, but swapping consciousness is, strictly speaking, not an impossibility. In a study by UCLA’s Martin Monti using functional magnetic resonance imaging (fMRI), it was found that consciousness is an emergent property arising from the firing of billions of neurons in the brain.

  • In order to document these events, Taki and Mitsuha take to jotting down their experiences as one another. The nature of their body-switching becomes increasingly real, allowing for some humour to arise as each intervenes in the other’s life using their experiences to drive things in a new direction. Advertised as a critical element in Your Name, body-switching was originally speculated to be utilised for comedy back when trailers for Your Name began airing. This is true to some extent, and a great deal of Your Name‘s magic actually comes utilising this feature for both the comedic and the dramatic.

  • Their looks of horror mirror one another, and the similarities in their facial morphologies (besides being hilarious) is an early, subtle hint that these two are going to be closely connected, sufficiently so that they begin interfering in the other’s life. However, to emphasise differences in their background, Taki’s initial notes to Mitsuha are made on paper, while Mitsuha recounts her experiences as Taki in his iPhone’s electronic journal. The calendar app Taki uses is strikingly similar to the interface used in CareKit, a framework I am absolutely not fond of for its inflexibility and lack of support.

  • The music in Your Name is produced by RADWIMPS, a Japanese rock band. Your Name features the greatest number of vocal pieces in any of Makoto Shinkai’s films (another first), and beyond this, one of their most impressive feats for Your Name is that, for the English dub of the movie, they’ve performed each and every one of their inset songs in English.

  • Overall, the instrumental soundtrack in Your Name is a solid one, featuring a fine balance between the ambient background songs that serve to create a lighter atmosphere, as wells the pieces that are more intensive from an emotional perspective; these tracks make extensive use of piano and string to create a moving piece that serves to further augment the psychological tenour of a moment to clearly spell out what mood or tone a particular scene is intended to convey. I’ve never been big on male Japanese rock bands, but when enlightened with what the lyrics meant, their vocal pieces proved very enjoyable to listen to.

  • Taki’s first act is touching Mitsuha’s breasts following their initial switch. You, my readers, may laugh, but I am highly doubtful that folks have that level of discipline if they had switched over to a body of the opposite gender, they would not succumb to curiosity. Numerous fictional works suggest that this is the first thing that would happen because likely, it is the first thing the author would do if they were to undergo such a transition, and because curiosity is an integral part of human nature, I suppose it is only natural to do something like this.

  • As Mitsuha and Taki become accustomed to their situation, they ascertain that the phenomenon occurs with a random frequency, only occurs when both are sleeping, and has an unknown cause. In order to preserve the integrity of the other’s physical body, neither is allowed to stare excessively at oneself in the mirror or hit the showers. Furthermore, they must learn the other’s schedules, speech patterns and not unnecessarily waste money. Finally, to track things, a detailed list of activities is to be left on each’s mobile devices so they can recall any actions. It’s surprisingly thorough and shows that both Taki and Mitsuha are doing their best to figure things out.

  • Hypothetically, using a sophisticated form of fMRI and electroencephalography (EEG), brain activity could be captured and transferred onto computers far surpassing what we presently have, then use means beyond our current technological level to upload that data into a brain in a different body. This is to say nothing of the implications that would arise from memories of one gender residing in a brain of the opposite gender: even if male and female brains are very similar structurally, subtle differences could alter their functionality (e.g. personalities, emotions), and hormonal differences would create a challenge for the individual as they adapt to their new body. Transferring minds with the frequency seen in Your Name could lead to memory loss, function impairment or even brain damage if the technology is not sufficiently advanced for the task. Owing to all of the unknowns in the brain, much less digitising its contents, I imagine that such technologies can only reach a useful state once humanity reaches the same level of technological advancement as that of Halo‘s Forerunners.

  • My application of science into the matter turns me into a wet blanket, so I close off on the note that while scientifically improbable given humanity’s technological progress, using a supernatural means of switching consciousness for a story is perfectly acceptable — at the end of the day, I’m just here for a good story, not to pick apart the feasibility of switching bodies. As time wears on, both Taki and Mitsuha become wise to the extraordinary phenomenon they are experiencing and begin recording their experiences.

  • The most entertaining scene during the montage, as far as I’m concerned, shows Mitsuha (Taki) landing a perfect shot in basketball mid-air and landing with enough force to oscillate her mammaries in the z-axis. Earlier, Mitsuha berates Taki for sitting as a guy would. This has never been seen before in a Makoto Shinkai film before, giving Your Name a much bolder sense than his earlier works, and while Shinkai capitalises on the unique situation to field moments his previous characters are not subject to, they never become excessively distracting from the main narrative.

  • Whereas Mitsuha begins bringing Taki closer to Miki with her knowledge of how a woman’s thought process works, Taki draws on his confidence to improve Mitsuha’s image at school. Despite being unaccustomed to dealing with aspects in the other’s life, Taki and Mitsuha begin imparting positive impacts on the other’s life through their actions, suggesting that sometimes, improvements in life do require another perspective. While quite impossible from a literal sense, it is certainly true from a figurative sense.

  • If someone were to switch places with me, unless they had basic knowledge of C# or Swift 4 (released with Apple’s upcoming Xcode 9), they’d likely be in for an unpleasant surprise. Similarly, I’d probably be ill-suited for whatever occupation they are in. This is why high school students are used in Your Name: given the earlier assumption that Taki and Mitsuha change places completely, the impacts, while still noticeable, would be far less detrimental. I shudder to think what would happen if I lost even a day’s worth of time at work and dealing with the consequences after coming in the next day.

  • As things progress, the different perspectives that Taki and Mitsuha bring to one another’s lives begins altering their relationships amongst other. Both critique the other for having not done such a bang-up job maintaining their own social lives and consequently, are single. Yet, Mitusha manages to elevate Miki’s interest in Taki, while Taki introduces a noticeable change in Mitsuha that leads a few guys and even a girl to give her love letters. When it comes to relationships, I’ve never made it past square one, and I do find myself wondering if things will turn around.

  • Mitsuha (Taki) and Yotsuha take hike through the mountains to visit the body of their deity. During this process, Taki learns more about the Musubi-no-kami (having nothing to do with the rice balls or Hawaiian snack of the same name), the Shinto God of love whose functional counterpart in Chinese mythology is Yuè Lǎo, who unify couples with red cords. The story has its origins in the Tang Dynasty, and Yuè Lǎo takes the form of an elderly man who appears by night.

  • Mitsuha and Yotsuha’s grandmother explain that these red cords rule the unity between people, govern the flow of time, and in the darkness, bind them. The cords are meant to symbolise the relationship between human emotion and time. This is the physical representation of the theme that I derive from Your Name — the movie is about the strength of emotions enduring through time. Consequently, it is fortunate that a particularly egregious analysis has not gained too much traction. In this “analysis”, the conclusion reached is incorrectly that the “vague yet aching sense of clinging to memory [both Mitsuha and Taki experience] underpins the entire point of [Your Name]”.

  • Upon arriving at the top of the mountain, a vast caldera is beheld with a rock at its centre. Mitsuha’s grandmother informs her and Yotsuha that this is the god’s main body, accessed by a small passageway into the underworld (Yuè Lǎo, while said to live on the moon, alternatively lives in the Chinese equivalent of Hades in some accounts) from which return to the overworld is only permissible through a sacrific. Continuing from points earlier, notions that Your Name is about a “juxtaposition of written and oral traditions, the difficulties of transmitting and interpreting each when transported to a different time and place” simply don’t apply: the supernatural phenomenon surrounding Mitsuha and Taki are not lost in time and space, but rather, endure because of the strength of the connection that the two share.

  • It is explained that the Kuchikamizake is an offering made because it contains something of great value: a bit of Mitsuha herself, in its essence. This is sufficient to appease the gods and allows for safe passage into the underworld. The scenery of the Caldera and the mythology Mitsuha’s grandmother brings to the table is reminiscent of that of Children Who Chase Lost Voices From Deep Below, which was likewise set in rural Japan and also the fictional world of Agartha. The fantastical setting allowed for some wondrous scenery to be created.

  • The Garden of Words marked a return to the urban settings Shinkai masterfully created in The Place Promised In Our Early Days and Five Centimeters Per Second. These locales are absolutely stunning, but I also enjoyed the fantasy world of Children Who Chase Lost Voices From Deep Below and the science-fiction setting of Voices of a Distant Star. Consequently, while I’ve no qualms with the beautifully depicted forests, peaks and cities of Your Name, a part of me wonders if the time is appropriate for Shinkai to revisit the military/science-fiction stories that his earlier films were constructed around.

  • As the sun dips below the horizon, the day enters twilight. In standard Japanese, this is is indicated as 黄昏 (tusogare, Huáng hūn in Chinese); kawatare-doki (かはたれどき) stems from an archaic dialect form of expressing twilight. However, owing to mechanics in the Japanese language, kawatare-doki can also be written as 彼は誰時 (which is approximated as “when is the time of who he is”). The implications are that twilights are that time frame where it is neither day nor night, when time blurs, and thus, is when one is likely to experience uncommon phenomenon. As an aside, 黄昏 shares some phonetic similarity with the phrase 誰そ彼 (Daresokare).

  • These similarities in the linguistics form a poetic explanation of why the body-switching phenomenon can only occur while the other is sleeping: it’s technically occurring owing to the transition of day and night, when time itself seemingly becomes unfocused. As Grand Admiral Thrawn might say, it’s very artistically done, serving to suggest that who we are and when we are become unclear under some circumstances. It’s as much of a mystery as the feelings that endure in our hearts, and this is the truth of the thematic elements in Your Name. Thus, I strongly disagree with claims that defining the different forms of kawatare-doki and their relation to the braided cords is the entire theme of Your Name. These are merely the symbols and motifs that serve to act as a tangible indicator of what the movie’s theme is, and as such, to the aforementioned egregious analysis, I note that no credit is offered for partial answers: pointing out the symbols and saying that they are the themes in whole leads to an incomplete conclusion being draw.

  • As evening sets in, Mitsuha’s grandmother notes that Mitsuha must be dreaming; she’s aware that Taki is inhabiting her body at this point in time, but as the revelation sets in, Taki suddenly comes to back home. He learns quite suddenly that he’s set for a date with Miki, organised courtesy of Mitsuha, and rushes out the door, reaching the train station just in time to meet up with Miki. As his first date, things are a bit quiet between Taki and Miki. With little to say, Taki finds himself engrossed at a gallery depicting Itomori, and Miki puts two and two together, feeling that Taki’s fallen in love with someone else. While Taki denies this, the outcome is not particularly surprising: having flitted in and out of Mitsuha’s mind, he knows her nearly as well as she does herself.

  • I was quite fortunate to watch Your Name shortly after its original release and made a note of it in early October, to review this movie properly when it became available. The main reason why I am insistent on reviewing anime movies only after the home releases are available is motivated by two reasons: the first is a practical reason, being that I am an ardent believer that visual elements serve to augment a blog. Having screenshots allow me to properly express reactions and make a commentary of what’s happening on screen while providing a solid context for what I am discussing. I greatly enjoy drawing connections, and this is one of the reasons why quotes from Lord of the Rings, Futurama and Star Wars Episode III: Revenge of the Sith made their way into this review.

  • The second reason for why I only will review an anime movie after the home release is available is out of fairness to readers. Brazenly leaving spoilers in the open and ruining the experiences for other folks interested in watching the movie is not my modus operandi. By presenting a review very shortly after the release date, this gives people a chance to watch the movie for themselves and also discuss the film to a much more interesting depth than if I alone were to be holding all of the cards.

  • Meanwhile, Mitsuha’s cut her hair, much to her friends’ surprise. It’s an old tradition arising from ancient Japanese women regarding their hair as the symbol of their womanhood. To cut it, then, it is a powerful representation of severing ties with the past and indicate the turning over of a new leaf, hence its the assumption that a girl who cuts her hair shorter must have suffered a break-up with someone. In Your Name, Mitsuha has experienced no heartbreak, but does feel different in the aftermath of her time as Taki. Again, this is not particularly surprising, since her experiences in Taki’s shoes mean she understands him second only to how well she knows herself.

  • When considered as an Oscar nominees for 2016, fans were excited: the film was counted as having a “very rightful possibility for the Best Foreign Film and Best Animated Feature for the Oscars”. Your Name ultimately did not make the list, the same fans went ballistic, denouncing the Oscars as an unsatisfactory metric for gauging a film’s quality. Oscar or no, Your Name is a fantastic film to watch, and that should be all that is relevant.

  • Subsequently, the body-switching phenomenon ceases to be, and Taki finds himself growing restless as his memories of Mitsuha gradually fade. However, unlike Takaki of Five Centimeters per Second, Taki seizes the initiative to sate his curiosity and meet up with Mitsuha in person. This singular decision is why the “vague yet aching sense to memory” can hardly be considered an overarching theme in Your Name: this conclusion fails to take into account the decisions that the characters make to explore their own feelings further. For someone who alleges to “appreciate anime with deep storylines and multi-faceted, yet very human characters”, the individual behind this analysis falls short of understanding what’s driving Your Name.

  • Curiosity soon turns to reality when Taki plans out a trip into the rural regions of Japan with the hope of finding Itomori and meeting with Mitsuha for the first time. Miki and Tsukasa accompany him on this trek out of concern for his well-being, leaving Shinta to handle Taki’s shifts at work. In spite of their efforts in speaking with folks in the Japanese countryside, their initial attempts wind up unsuccessful and no one has heard of the town that Taki seeks. In spite of this adventure turning up fruitless, Miki and Tsukasa end up having a bit of fun in enjoying area cuisine and taking in the sights outside of Tokyo.

  • During my time in Japan, I’d not ridden on any of their trains until the final day, when I was leaving Osaka for the Kansai International Airport. Other than that, a tour bus ferried me across the different parts of the nation. I am a little envious of Europe and Japan, where high population densities accommodate the infrastructure required to run cross-country trains: Canada is so vast and sparsely populated that it simply won’t be feasible to run a high speed rail from Vancouver to Halifax. In fact, such a journey lasts two weeks and starts a cost of 3200 CAD – train rides such as these are so uncommon we would count them as a vacation that evokes the journeys that pioneers made, rather than being a commonly-utilised mode of transportation.

  • After reaching a ramen shop and ordering some ramen, Taki asks the others if they’d like to turn back. However, a bit of fate in this moment gives Taki the intel he’s been seeking: his drawings turn out to be the town of Itomori, and thr ramen shop’s waitress and cook identify it as such, with the latter having grown up here. The lateness of the hour forgotten, Taki’s excitement gets the better of him and he asks for Itomori’s location. However, he learns that the entire region was annihilated three years earlier. The moment brings to mind my evening meal in Gifu, where I visited a ramen shop near my hotel and had a Pork Ramen to wrap up a fantastic day of travels.

“Mitsuha stood me up and died? I’m so angry. I mean, I’m so sad. But I’m still pretty angry. But also sad. Can I be both?” —Leela, The Late Philip J. Fry, Futurama

  • Surely enough, when Taki, Miki and Tsukasa reach Itomori, they find the town has been blown away, with a large parameter prohibiting trespassers and beyond, wreckage strewn about. The lake has a second shore formed from the impact crater, several hundred meters across. The surprise that Taki feels with this revelation is likely that of the audience’s; in keeping audiences on the edge, Your Name is very difficult predict and thus, captures the audience’s attention in full. This is an impressive accomplishment, and not all movies can pull this off: even if they do possess an exceptional execution in depicting how an outcome is reached, the outcome itself can often be derived with a bit of reasoning.  A most unusual phenomenon unfolds at the fringes of Itomori: Taki’s records of Mitsuha begin erasing themselves from his phone, and the very neurons in his brain are reorganised in a manner that fogs his memories of Mitsuha. Such an occurrence can only be counted as supernatural: there are no known mechanisms in the natural world that can simultaneously affect electronic storage or the biochemical processes within our brains. Incidentally, this memory loss takes place as the sun sets, and the skies darken; it’s a callback to the notion of kawatare-doki.

“Where is Mitsuha? Is she safe? Is she all right?”
“It seems in your haste, you let the meteor kill her.
“I…? I couldn’t have! She was alive…I felt it!”

—Darth Vader and Darth Sidious, Star Wars Episode III: Revenge of the Sith

  • As the hour becomes later, Taki and his friends stop at an inn to rest for the evening. However, Taki can find no rest and digs through article after article, eventually learning that Mitsuha, Sayaka and Katsuhiko were among the casualties when Itomori was incinerated in the impact. Taki is pulled in two directions: on one hand, seeing things for himself leads him to conclude that this really was a fool’s errand, and steels himself to return to Tokyo. However, when he sees the braided cords that he’d made while Mitsuha was inhabiting his body, a few neurons in his mind fire, driving his desire to continue delving into the mystery to at least gain some closure.

  • Thus, Taki thanks Miki and Tsukasa for having accompanied him thus far, asks that they return to Tokyo so as not to continue on this journey, and continues onwards alone even as a thunderstorm rages in the area. As with The Garden of Words previously, details in the rainstorm are meticulously rendered, whether it be the beads of moisture glistening on a spider’s web or the spray caused by rainfall coming in contact with the surface. Rain figured prominently in The Garden of Words, coinciding with the Great Flood of 2013. There’s been a great deal of snowfall this year in my AO, and June was quite rainy, but July’s been quite pleasant, warmer than usual: we’ve been fortunate to have had pleasant weather this year.

  • Amidst the pouring rain, Taki ascends to the summit of the mountain where the Mizumiya deity resides. Google-fu finds that this mountain is a custom variation of Aogashima Island, a volcanic island some 358 kilometers south of Tokyo. Its maximum height is 423 meters on the island’s southern edge, and it is very much an active site for volcanic activity; its last eruption in 1785 and killed around half of the island’s population. Today, the island is home to around 170 people. In Your Name, the island’s design is dramatically modified for use as a setting for a major plot point.

  • Recalling that Mitsuha’s Kuchikamizake contains a bit of her essence, Taki decides to do the unthinkable and drinks it. While it is probably consumable, that it has been left to sit under the mountain for upwards of three years in an environment conducive for the growth of moulds meant that Taki runs the risk of growing very sick when consuming it. However, for the narrative’s sake, I will set aside my inner health scientist and allow this to slide, since his actions allow things to advance.

“From her first memory to the events of yesterday, I journeyed through the past. Until at last, I saw the times that we both shared and remembered as vividly as our own. Darkness took me, and I strayed out of thought and time. The stars wheeled overhead and every day was as long as a life age of the earth. But it was not the end. I felt life in me again. I’ve been sent back until my task is done.” —Gandalf the White, Lord of the Rings: The Two Towers

  • The effects of the Kuchikamizake send Taki into a journey through time and space: in this journey, he learns more about Mitsuha’s family and past; her father was a folkorist who fell deeply in love with Futaba Miyamizu, Mitsuha and Yotsuha’s mother, but following her death, became more grim and silent than before. That Your Name chooses to focus on Mitsuha’s past suggests that Taki’s past is rather more ordinary; it is presumably fate that brings his destiny with Mitsuha’s. The women of the Miyamizu family were attuned to impact events and experienced concious-swappings, but previously, no actions were taken, resulting in death and destruction: Itomori’s original lake had formed from an impact event.

  • After this blast through the past, Taki comes to as Mitsuha, gropes her out of relief and causes Yotsuha to feel that Mitsuha’s marbles have been lost. Taki seizes the initiative to try and save Itomori with the aim of preventing Mitsuha’s death, and to this end, manages to convince Sayaka and Katsuhiko to help out: Sayaka is to operate the radio broadcast system after hijacking the transmission signal, while Katsuhiko will place charges at a nearby transformer to create a diversion and small crisis in order to evacuate the area. In order to prepare for this, the three cut class, with Sayaka stepping out to purchase some snacks. Note the detail in the convenience store; from the items on the shelves to the play of light on the floor surface, every thing is intricately rendered in classic Makoto Shinkai style.

  • Likewise, the interior of the clubroom is filled with clutter to give a lived-in sense; besides photographs and flags posted to the walls, an eye examination chart of the same type seen in Sora no Woto is also visible. Mitsuha (Taki) is pleased that Katsuhiko is able to help and gets a little too close for comfort: to Taki, this is natural, but Katsuhiko is unaware of the switch. Later, when they describe their plan to Sayaka, Mitsuha (Taki) and Katsuhiko share a fist bump.

  • With the aim of convincing her father, Mitsuha (Taki) heads to the town hall and recounts her situation. However, being a strict, no-nonsense sort of individual, he’s convinced that Mitsuha is insane in the membrane and makes to call for an ambulance when she seizes him by the collar. This is Taki’s doing and is so out-of-character that Mitsuha’s father can only wonder who he’s dealing with, and Mitsuha (Taki) subsequently leaves without another word. This moment has been parodied by an artist who stylises the characters from Your Name in a manner reminiscent of those of Kiseki Himura’s Tawawa on Monday.

  • Yotsuha grows concerned about Mitsuha’s behaviours and chooses the moment to inquire as to why Mitsuha suddenly took off for Tokyo. In her monologue, Mitsuha wonders if the endeavour will be worth it and privately hopes that Taki will be glad to see her. She finds him studying for an exam, unaware that she’s meeting the Taki three years previously, and while Taki is unnerved, Mitsuha manages to give Taki her cord and name before they are separated.

  • Moments such as these unequivocally illustrate the enduring nature of human emotions, if they can persist through time and bring two people together in such a manner. This initiative, noticeably absent in Five Centimeters per Second, makes a triumphant return: while Shinkai portrays distance throughout his films as a core element, in Your Name, his deliberate and careful use of cords signify that feelings can bind people together even though temporal distance separates them. It’s a breath of fresh air, and with this in mind, Five Centimeters per Second is the outlier in his filmography with respect to his thematic elements.

  • Elsewhere, Taki (Mitsuha) has come to and stares down at the landscape below from the summit: she is horrified to learn that Itomori is no more and wonders how she is in this future. She hears Taki’s voice nearby as herself, and makes to try and find him. They pass by one another, but once the sun sets fully, under the time of transitions known as twilight, the two finally meet one another face to face for the first time.

  • In the eleven months since Your Name first screened in Japanese and select Southeast Asian theatres, my work has shifted from building Unity visualisations to designing and implementing iOS apps. Compared to my old university experiences, pacing is radically different, and on most days, I feel as though I’m getting the equivalent of a week’s worth of work done. Time simply blazes by in the blink of an eye, and each day is filled with new challenges to design solutions for – remarkably rewarding work, it’s also a full-time occupation. For Girls und Panzer Der Film, I was fortunate that the home release coincided with a weekend, but for Your Name, the film was set to release on a weeknight.

  • The hesitancy in Mitsuha’s voice captures her apprehension perfectly as she sets out to meet Taki for the first time, not knowing about the time difference that exists between the two. Mitsuha thus runs into Taki, who is studying English while on board a train to classes. He shows no sign of recognising her, and it is here that the disparity of time periods come into play. It is this element that led me to my comparison between Interstellar and Your Name; as different as the movies are in execution, their end messages ended up being surprisingly similar to one another. In a sense, Your Name can be seen as a Japanese interpretation of the idea that love can transcend space and time.

  • Because the lake and crater below are no longer visible, it becomes a challenge to tell whether Taki and Mitsuha will meet in Taki’s timeframe or Mitsuha; in fact, this creates a timeless sense that underlines the ethereal atmosphere surrounding their first meeting. It is during this time that the two finally meet one another for the first time, in a place that is in a literal sense, neither here nor there.

  • Under twilight, Mitsuha berates Taki for having groped her and being bold enough to drink the Kuchikamizake, but their conversation soon turns into a warm one — despite having never met physically, the two are as close as any friends, and after resolving to try her best to help evacuate the town, Mitsuha and Taki write their names down so they will remember after they return to their own timelines. The two revert into their original bodies after, and Mitsuha sets off to try and save Itomori’s inhabitants.

“Start the broadcast, Taki. Let’s just evacuate the damn townspeople and get back to our own time.”
“But-but won’t that change history?”
“Oh, a lesson in not changing history from Mr. I’m-My-Own-Girlfriend! Let’s get the hell out of here already! Screw history!”

— Professor Farnsworth and Fry, Roswell That Ends Well, Futurama

  • Back in town, the explosive charges that Katsuhiko have placed go off, destroying the transformers and causing a blackout in the area. Over the speakers, Sayaka begins announcing that the explosion has triggered the danger of forest fires in the region. On the ground, Mitsuha and Katsuhiko try to spread the word in an effort to get the people to leave the area. Folks are skeptical, and most choose to remain behind even though the festival’s been disrupted.

  • After Sayaka is busted, Yukari Yukino is seen among the escorts leading her away from the broadcast room. One of the questions floating around on the anime equivalent of Stack Overflow is whether or not Yukari manages to escape the disaster. My answer will not be quite as patronising as the tone adopted by the author of the accepted answer; it’s mentioned later that casualties were avoided because the town was in the midst of an evacuation drill, allowing them to leave the area before the comet fragment made earthfall.

  • While work has been busy, I’ve nonetheless found time to kick back and make the most of the time that I do have off. Last Friday, I decided to stop by my old lab and see how a colleague was doing with his degree. We shared conversations of his research, future directions and game development over dinner at Big T’s BBQ and Smokehouse, where their delicious smoked ribs make for a fantastic evening meal. This time around, I ordered their Prime Rib Beef Bone dinner, which features four gargantuan smoked ribs. Accompanying the ribs were sweet potato fries, horseradish mayonnaise, fried green tomatos and cornbread. Everything was fantastic as always – the meat is flavourful and falls off the bone, and the fried green tomatoes proved quite delicious, being simultaneously refreshing and hearty. Big T’s is not just a name; their portions are massive, and while I’ve been defeated the past three times I’ve eaten here, in the perpetual struggle between man and food, I managed to finish everything to score my first-ever victory for MAN.

  • During this past weekend, I woke up at the crack of dawn to finally capitalise on the complementary Parks Pass the Canadian Government has offered: the destination was Yoho National Park a province over in British Columbia. I visited Takakkaw Falls for the first time since seeing images presented in photobooks of the Rocky Mountains ten years ago – a three hundred meter high, glacier fed waterfall, Takakkaw takes its name from Cree for “magnificent”, and magnificent, it is. There’s a short footpath that leads to the base of the waterfall, and it was well worth it to walk this trail. With few crowds and a complete sense of calm, I finally check off one of the sights in the Rocky Mountains I’ve longed to see. We also visited the Natural Bridge and drove by Emerald Lake before turning around for Canmore, but not before my vehicle’s Check Engine light came on.

  • In Tokyo, the Taki who has yet to formally meet Mitsuha marvels at the beautiful scene unfolding before his eyes. It’s been quite some time since any comets were visible in the northern hemisphere; the last one was Comet Hale-Bopp in 1997, and I only have vague memories of seeing that comet for myself. As a bit of simple statistical analysis suggests that great comets are visible every twenty five to forty years in each hemisphere, and with Hale-Bopp’s perihelion was some twenty years ago, the numbers suggest we might be in range of a comet to match Tiamat in majesty.

  • In the film’s climax, Mitsuha trips en route to the town hall, and a glance at her arm reveals that Taki had written “I love you” in place of his name. The hiragana reads すきが (formally 好き): is the equivalent of the English “I like you”, to indicate an interest in starting a relationship. A much deeper form of love is expressed as 愛してる (aishiteru), although its usage is quite rare. With this in mind, the English expression “I love you” is one that holds a great deal of weight, and despite being only three syllables, is said to be exceptionally difficult to say.

“Never mind, Houston, never mind the story! Ah, it’s starting to get hot in here. OK. Alright, the way I see it, there’s only two possible outcomes. Either I make it down there in one piece and I have one hell of a story to tell, or I burn up in the next ten minutes. Either way, whichever way, no harm no foul. ‘Cuz either way, it’ll be one hell of a ride. I’m ready.” —Ryan Stone, Gravity

  • The re-entry scene in the 2013 film Gravity is probably the only movie I know that surpasses Your Name‘s comet entry with respect to visual quality and emotional impact, which is saying something: the combination of exceptional cinematography and the aural masterpiece titled “Shenzhou” create a moment that gave me the chills. Incidentally, “Shenzhou” fits rather well the moments in Your Name right before the piece of Tiamat impacts the surface. Now, if a comet come within a lunar distance to the planet and the probability aligned for a fragment to make earthfall in the near future, we would not have the means to effectively stop it from colliding with the surface with this little notice. Most of the impact avoidance strategies proposed to be effective involve long term manoeuvring of the object to alter its trajectory so it misses the planet. Short term strategies involve kinetic impact or nuclear solutions, which are more inexpensive but run the risk of turning the body into a fragmented cluster of smaller asteroids.

“Circular error probability zero. Impact with high-order detonation. Have a nice day.” —John Clark, Clear and Present Danger

  • The moment impact of the Tiamat fragment with Itomori is executed in silence, and shortly after, a tremendous blast rips through the area. While Makoto Shinkai and his team have done a fantastic job of presenting the visuals in this movie, I note that the moments following the impact demonstrate the artists’ commitment to visual fidelity — immediately after the collision, clouds are blown away by the blast wave, which faintly spreads through the area and triggers a tsunami in the lake near Itomori. Ever since watching a bit of refraction resulting from the blast wave of explosions in MythBusters, I’ve always found myself impressed at their depiction in media even though technically, the blast wave would travel at speeds exceeding that of sound and wouldn’t be visible at 24 FPS or 60 FPS: one would need a high speed camera with a minimum of 1000 FPS to capture the wave. The disaster component of Your Name is sufficiently involved so that it could involve another discussion, and for now, beyond mentioning that Shinkai was greatly affected by the 2011 Tohoku Earthquake and integrated elements into this film, I won’t explore that topic in additional detail.

  • The next morning, Taki finds himself on the top of the mountain and cannot recall why he arrived there, nor why his friends returned ahead of him. He returns to Tokyo, haunted by memories of a longing he cannot explain, and over the course of five years, has completed an undergraduate degree in architecture. Taki begins the ardous process of job hunting and is turned down everywhere he goes, while his friends fare better and have a number of job offers. The transition between university and working is immensely challenging, but once one finds their first job, the experiences and learnings are invaluable.

  • Shinkai has depicted the Tokyo skyline in his works previously, but by the time of Your Name, the subtle technical elements, such as watching the movement of trains amidst the cityscape has been improved. I remarked in an earlier review that the level of visual fidelity in Shinkai’s films has reached an upper ceiling on how detailed scenes can be; the difference between Your Name and The Garden of Words is roughly the difference between Battlefield 1 and Battlefield 4, but both successors utilise a novel execution to stand out from their predecessors.

  • In the five years that have elapsed since his trip to Itomori, Taki no longer vividly recalls the events of that day. Instead, he is left with lingering memories of what happened previously, and the knowledge that Itomori was successfully evacuated before the impact, leaving a minimum number of casualties. The dénouement of Your Name comes into play here as Taki is shown in trying to apply for work while his friends have already begun receiving offers for work. He meets up with Miki and shares a conversation with her, where she hopes he can find his happiness. A brief cut shows her with an engagement ring, and perhaps attesting to the milestone I’ve reached in age, I’ve become more attuned towards picking these things up now, although whether or not this is good or bad will be left as an exercise to the reader.

  • Shortly after Your Name was shown in Japan, an acquaintance of mine who’d seen the movie noted the song was perfectly describing their relationship and how couples will gain a great deal from watching the movie together, that “the distance and hardships now seem small compared to how much love there is…working on our dreams together, [couples] wouldn’t have it any other way”. However, I would argue that Your Name resonates deeply with folks who appreciate a good story, regardless of whether or not they are in a relationship or not, and that it would be nothing short of folly to pre-suppose that the film is intended solely for couples to enjoy.

  • My copy of the novel arrived a few months ago, and reading through it thoroughly has allowed for some insights to be conferred about both Mitsuha and Taki’s characters. In the ending remarks, Shinkai notes that the book and film complement one another, although the better experience is certainly from the film itself (for instance, the lack of a soundtrack means some emotions aren’t conveyed quite as readily). However, in providing the character’s thoughts, readers learn that Itomori Lake was once formed by another impact event, that the Miyamizu family has an uncommon history of being able to switch consciousness with another individual and that Taki manages to find employment by the time he encounters Mitsuha during the film’s end.

  • The combined insights from the novel and the powerhouse performance of Your Name means that reading and watching both is the most complete Your Name experience. I remark that purchasing the novel and having a professional translation of it was well worth the price of admissions: comparing the novel against fan translations find the latter to be inferior to the genuine article. Meanings are mangled, and subtleties are lost, whereas a professional translation allows most of the original meaning to be retained. The end result is an indispensable companion to the film.

  • Unlike Taki, who is minimally aware that he is searching for someone important in his life, I do not have that fortune. However, I would not wish to be in Taki’s situation — between having someone in my life and a starting point for my career, right now, I feel that the career is more important. I can get by without a partner, but I won’t last long in this world without a career. After sitting alone in a café, Taki overhears a conversation between Katsuhiko and Sayaka, who’ve become engaged to one another by this point in time. However, when he turns around, they’ve left. While the odds of this seem astronomically small, reality does things beyond comprehension, and even now, I’ve crossed paths with the people I’ve met years before.

  • One of the biggest challenge about writing this post is, because it deals so heavily with themes of love and strength of the heart even against space and time, I experienced a continuous, mild chest pain while writing it. I don’t normally have chest pain unless it’s from lifting weights, and are generally otherwise of a reasonably fit and healthy standard: I lift and run on a consistent basis. My curiosity got the better of me: this is the first time where a blog post has done this, and it’s not healthy to be feeling like this, so I decided to look at what was going on. As it turns out, the necessity of revisiting some old memories and emotions fire the same neurons in the brain responsible for processing physical pain.

  • The scene where Taki crosses a bridge on a snowy evening and runs into some who appears to be Mitsuha is designed with a very similar feel as seen in Five Centimeters per Second. However, rather than the moody shadows and prevalence of dark blue hues, in Your Name, the scene is better lit, with yellow sodium lights casting a different colour to break up the scene. This is intentionally done to remind audiences that Taki is not experiencing the same that Takaki had in Five Centimeters per Second. The importance of lighting cannot be understated, and misunderstanding how lighting in Five Centimeters Per Second played out is what led folks to draw the wrong conclusion about the movie.

  • Fortunately, I’ve got some training in stress management, so the pain will go away after I publish this post and busy myself with some Battlefield 1 and Far Cry 4. In Your Name, the application of time lapses is probably one of the surest indicators of how far Makoto Shinkai and his team have come since The Place Promised In Our Early Days: these scenes involve intricate lighting and dynamic shadows that must be painstakingly drawn for each position of the sun to ensure everything looks consistent. It was quite inspiring to learn that Shinkai hired graduates with a painting background rather than animators, which gave every film since The Place Promised In Our Early Days a distinct aesthetic.

  • Your Name‘s final moments appear quite similar to the short Paperman (2012), where a fellow by the name of George encounters a woman named Meg while riding a train to work. His efforts to catch her attention are to no avail, but through the power of love, fate brings the two together. Easily one of the most moving shorts I’ve seen, Paperman captures the intricacies of falling in love into a short span of six minutes, and moved one of my friends greatly: we were in a software engineering tutorial, and the TA had allowed us to watch the video near the end of semester. I imagine it would be lovely to have fate create those sorts of moments.

  • As with Gundam Unicorn‘s finale, “Over the Rainbow” and Girls und Panzer Der Film, I’ve made allusions to several different works. Among some of the works mentioned include Futurama, Star Wars Episode III: The Revenge of the Sith, and Peter Jackson’s Lord of the Rings: The Two Towers. The page quote itself is sourced from Christopher Nolan’s Interstellar, whose relationship with Your Name has already been discovered to some extent. While some may regard the defacing of these great quotes as an insult to Your Name or their original works, I contend that they are present to lighten the mood up throughout the post.

  • At a flight of steps, a dejected-looking Taki ascends, wondering where Mitsuha had gone. Precisely here and now, Mitsuha is descending, with an equally glum expression, having lost sight of the person she’s longed to talk to and meet. This precise spot became the location of great interest amongst viewers: for those in Tokyo with a bit of extra time to explore, the nearest train stations to the flight of steps are Yotsuya Station (JR Chuuou Line) and Tokyo Metro (Marunouchi Line/ Nanboku Line).

  • That Mitsuha and Taki meet one another again after all this time is attributed to fate, but fate alone is meaningless unless acted upon. One of the issues with Five Centimeters per Second is that Takaki seems very passive, acting based on the path of least resistance and never really taking the initiative to move forward and live in the present. As such, he finds himself unable to do anything when Kanae dissolves in tears in front of him during her failed confession, and why his subsequent relationships continue disintegrating.

  • Conversely, Taki shows a considerable degree of initiative: Shinkai’s characters are strong-willed and determined, so Takaki seems to be the exception rather than the rule. Here, Taki decides to throw caution to the wind and see if this person really is Mitsuha. Turning around, he asks out loud that she seems familiar, and wonders if they’ve met before, setting in motion events that set Your Name as being a world apart from Five Centimeters per Second in terms of how decisive the outcome is.

  • There was another challenge in drafting this post — this one is rather more benign and involves screenshot collection. Some of the moments towards the end of Your Name are shown in the movie’s beginning, and the use of flashbacks means that there is the risk of using duplicate images. In order to ensure that every image is unique, I had to go through the set of screenshots I’ve picked to be in the final review and replace any duplicates. However, even in spite of this extra effort, I was able to get this post out in a timely fashion; I don’t imagine there exist a large collection of screenshots, commentary and discussion out there as of right now, although this will change very quickly once other bloggers get their heads in the game. For the next hour or so, however, this post will hold the distinction of being the most comprehensive English-language resource for Your Name to have ever graced this planet Earth.

  • Lost memories come back, and tears find their way to Mitsuha, who realises that this is the person she’s been searching for. Both long to ask one another the question that’s been on their minds for the past several years, “君の名は,” bringing the film to a close as both characters begin to explore a direction they’d given up to be impossible. The morning light and clear weather throughout the scene hints at the movie’s outcome, and with Your Name under my belt, I can decisively say that this movie is worth watching; its combination of a rewarding ending and visual effects means that Your Name is able to appeal to a very diverse group of viewers.

  • The sum of taking Shinkai’s learnings from his previous films and integrating them into a single entity, the top-tier artwork and animation and a story that combines elements from Japanese folklore and literature with modern components and real-world setting means that overall, on a letter grade system, Your Name scores a 9.5 of 10 (which corresponds to an A+ using the system my university uses). The reasoning is that, while incredibly entertaining to experience, Your Name did not change my world-view to any significant extent, which is the requirement for a perfect ten. Makoto Shinkai himself has expressed that the film is far from perfect, the combination of effective application of things taken from his previous movies packaged up into a single entity telling an immensely satisfying story means that this film is indeed worthy of its overwhelmingly positive reception. I hope that all of my readers have a chance to see this film for themselves.

Whole-movie reflection and closing remarks

The last time I watched a Makoto Shinkai movie was The Garden of Words during the summer of 2013, ironically, while it was pouring so heavily outside that the Bow River overflowed its bank and created the worst flooding in my area in over a century. Before that was Children Who Chases Lost Voices From Deep Below during late 2011. Both movies, already of an impressive quality, have been eclipsed by Your Name from a box office and reception perspective, but the question that remains is whether or not it Your Name does anything unique from a narrative perspective that sets it apart from his earlier works. From my perspective, it is able to take the fantastical elements of Children Who Chases Lost Voices From Deep Below, open drama of The Garden of Words and the emotional aspects of Five Centimeters Per Second, incorporating them into a cohesive story whose ending is one of optimism. While Makoto Shinkai has certainly had impressive works previously, Your Name shows that Shinkai has definitely been applying lessons taken from his earlier movies and using these to further hone his craft — Your Name represents his years of experience feeding into each scene to create a compelling story. This is my answer to the question; I don’t find the film to displace any of his earlier works in terms of quality. Each of his preceding films are outstanding and merits of watching, and Your Name reflects on the accumulated learnings from these earlier movies: the end result is an outstanding movie that definitely is a meaningful one to watch. For Your Name, I give it a strong recommendation without any question — the sum of its narrative, artwork, aural and thematic aspects makes it a moving experience to watch for both existing anime fans and folks who do not count themselves as anime fans.