The Infinite Zenith

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Tag Archives: movie reflection

Shirobako: The Movie- An Anime Film Review, Reflection and Full Recommendation

“At Musashino Animation, where there’s one Aoi Miyamori and sixteen departments, there’s only enough time for Aoi Miyamori to make it to a department. She can’t be in two departments at once. This FEBruary, it’s time to AOI down your Miyamoris…in Shirobako: THE MOVIE.” –Unreleased Shirobako trailer

Four years after their successful delivery of The Third Girls Aerial Squad, Musashino Animation (MusAni from here on out for brevity) had fallen upon tough times after their latest project, Time Hippopotamus, was cancelled, and instead, are working on smaller projects to keep the lights on. Aoi Miyamori does her best as production manager, while her former colleagues have left MusAni for other companies. After meeting up with her friends one evening for drinks, Aoi wishes to one day work together with everyone again, feeling unhappy that while everyone’s moved on in their careers, their original dream appears to be more distant than ever. She later learns that line producer and current president Shun Watanabe has accepted a a new film project, Aerial Amphibious Assault Ship SIVA (SIVA for brevity), which was advertised to première in February 2020, but ran into production problems and was shelved. With only ten months left before the première date, the time-frames are tight, but Aoi accepts, knowing that it would be a project that could get MusaAni back on their feet. She later runs into former production assistants Tarō Takanashi and Daisuke Hiraoka while out running an errand, and when stopping at former president Masato Marukawa’s curry shop, is overwhelmed by emotion, recalling that Masato’s curry tastes exactly as it did when they’d worked together. While walking home, Aoi decides she’s going to do her absolute best with this movie project. She meets with producer Kōtarō Katsuragi, who had submitted SIVA to a production studio called GPU. However, as they’ve made no progress, Kōtarō’s decided to hedge his bets on MusAni. He introduces Aoi to Kaede Miyai, a producer from Western Entertainment: they’ve agreed to collaborate with MusaAni to complete work on SIVA. Reinvigorated, Aoi sets about gathering the old crew, some of which have similarly fallen on hard times, but all of which are more than willing to lend a hand to Aoi. She manages to persuade director Seiichi Kinoshita to snap out of his depression and return to produce something he’s proud of. Others, such as key animators Yumi Iguchi and Rinko Ogasawara, are happy to help out despite their own workloads. Even animation supervisor Ryōsuke Endō returns, optimistic that he can work on something to turn his life around. With the old team back together, SIVA begins taking shape. When Shizuka Sakaki auditions for a role in SIVA, encouraged by her supervisor, she manages to land a leading role. One day, Aoi runs into former senior key animator Shigeru Sugie, who asks Aoi and her friends to help with an animation class. While the children are unruly, the five manage to turn things around and excite the children, who greatly enjoy the class. The five recall their own love for animation and resolve to double their efforts in SIVA. As production draws to a close, a few impediments present themselves. Director Masashi Yamada is falsely accused of being involved in a scandal, but is able to clear this up. Meanwhile, GPU’s president threatens legal action against MusAni for having taken up the project in violation of their exclusivity contract, but together with Kaede, Aoi finds that GPU had actually breached their original contract by failing to deliver, forcing GPU to relinquish their rights to SIVA. With only a few weeks left before the première, director Seiichi finds the ending to be lacking in impact, but this time, commits to fixing things with the staff. SIVA releases to critical acclaim, and Aoi later briefs her team on The Third Girls Aerial Squad‘s third season.

During its original run, Shirobako covered various aspects of anime production, from the conceptualisation to storyboarding, asset creation, voice acting and editing, all the while striking a balance between bringing a creator’s vision to life and creating a story that could stand of its own merits. Shirobako: The Movie, on the other hand, deals in the notion of copyright and licensing, as well as the importance of getting all of the right contracts signed and notorised, as well as ensuring that one is cleared to begin work on a project. Time Hippopotamus had been an instance of MusAni being a ways into production when the plug got pulled. Because the license belonged to this company, it was impossible to continue production without the proper permissions, and the end result was that MusAni had done little more than burn precious resources on a project that it could not recover from financially. Similarly, the final major obstacle in the film deals with the transfer of rights to production from another studio to MusAni: the director of GPU had not explicitly authorised Kōtarō to find another studio who had the capacity to produce a movie. Intellectual property and its handling becomes a central piece of Shirobako: The Movie: because rights to works of fiction can be very lucrative if a given works is popular, there are provisions in place to ensure that these intellectual properties are respected. However, these same systems can also be shackles, threatening entire projects. When the original studio was not able to deliver their results, Kōtarō seeks out Aoi for help, creating a very sticky situation where things could’ve ended quite poorly for MusAni. It was only carelessness from GPU’s part, that a critical document had not been read in full, and with a bit of fortune on Aoi’s end, she’s able to prove that the exclusivity agreement was null and void precisely because the original contract required that deliverables be handed over in a timely fashion. With no deliverable to show, the contract is not binding. MusAni thus dodges a bullet here, although this element in Shirobako: The Movie was meant to show that navigating copyright and licensing laws can be a tricky field as well. In this way, Shirobako: The Movie covers new territory during its run, while simultaneously revisiting familiar aspects of anime production. This time around, the returning staff are at the top of their game, determined to produce a film of excellent standards.

While it’s been four years since the events of the original Shirobako in Shirobako: The Movie, for us viewers overseas, closer to six years have passed. Watching Shirobako: The Movie was therefore a trip down memory lane, bringing back recollections of the things that the original TV series had excelled in during its run. The film returns with messages of perseverance, teamwork and doing something properly: Aoi is determined to see SIVA to the end, and demonstrates her talents for management by connecting with old staff, as well as motivating everyone to do their best, as well. With the entire former team together again, their familiarity with one another and skill-set allows them to work on the SIVA project in earnest, at a much more efficient pace than they had previously. Aoi’s own experience also allows her to find a solution to the matter of copyright, as well as helping director Masashi to escape a nasty bit of accusations designed to bring his reputation down. Despite falling into a depression when MusAni lost most of its staff, Aoi remains committed to doing her best in every situation, stepping out of her comfort zone to see things through to the end. Similarly, when director Seiichi expresses discontent with SIVA‘s ending despite having kept quiet about it earlier, Aoi is able to demonstrate to him that the team cares as much as he does. Despite only a few days remaining to launch, MusAni thus buckles down and remakes the ending, producing something that Seiichi is confident the audience will enjoy. Of the characters in Shirobako, Aoi embodies the core tenants of success, striving to make her dreams possible even when it looks as though all hope is lost. The end result of her actions is a successful launch, and the ending to Shirobako: The Movie was as satisfying as it gets, with MusAni being given the responsibility of producing The Third Girls Aerial Squad, a successful series that demonstrates the world’s faith in MusAni. During its run, it was encouraging to see that notions of hard work, effort and persistence to the end is what brings about hope, and a better shot at pursuing one’s ambitions, even when one’s path forward isn’t clear.

I need a goddamned Aoi Miyamori!

From a narrative perspective, Shirobako: The Movie treads on familiar ground to indicate to viewers that themes don’t necessarily change with the passage of time, and that things like effort, responsibility and integrity are universal. This is how the movie is able to present a compelling story despite running through the same learnings that Aoi had made in the original Shirobako. While the story is an experience viewers won’t find surprising, what sets Shirobako: The Movie apart from its predecessor is the actual artistic merit and animation quality. Shirobako: The Movie possesses slightly improved backgrounds and artwork compared to Shirobako‘s TV series, but where it truly shines is the animation and variety of styles during its run; of note is the sequence where Aoi regains her motivation, and in her mind, performs a musical that sees her revisit Andes Chucky, Exodus and The Third Girls Aerial Squad, along a host of other series, including Jiggly Jiggly Heaven. Shirobako: The Movie seamlessly transitions between these moments, demonstrating a technical prowess that brings to life Aoi’s rich imagination. Similarly, when Aoi and her friends teach children animation, disinterest and apathy soon turns to genuine excitement as Aoi, Ema, Shizuka, Misa and Midori bring their own skills to enchant their students, who are thrilled to have brought their own work to life. In the aftermath of this event, Ema is reminded that she took up key animation because she had a love for drawing and shakes off discouragement to ensure she’s able to perform. One of the joys about Shirobako had always been seeing how P.A. Works brought to life the anime that MusAni and Aoi work on: by Shirobako: The Movie, their craft has allowed them to create genuine interest in these fictional works. SIVA looks like a fantastic movie, and MusaAni’s efforts to set the climax right really shines through in the end. Switching between different styles creates a visually varied film that serves as a welcome addition to Shirobako and bringing to life MusAni’s works, creating a stronger connection between viewers and the projects Aoi contributes to, in turn strengthening the series’ themes.

Screenshots and Commentary

  • With this review on Shirobako: The Movie, I do believe I’ve broken into uncharted waters with the internet’s first full-scale review on the film, which released last year on February 29 and opens with a delightful skit summarising the events that had taken place in Shirobako. The film runs for a total of 120 minutes and was an absolute blast to watch the entire way, so I’ll open with my final verdict and score – for doing something that only the best works do, for engaging for the full duration and for bringing back everything that made the TV series so enjoyable, and then scaling this up for the silver screen, Shirobako: The Movie takes a well-deserved A+ (4.0 of 4.0, 10 of 10) and is something I have no qualms recommending to people.

  • The film proper opens with Aoi sleeping in the office, exhausted after a long day’s worth of work. How disheveled Aoi is speaks volumes about her commitment to her work, but at the same time, it also appears that Aoi is working for the sake of working now; she lacks the same enthusiasm and spirit that she’d demonstrated in leading the MusAni team during Shirobako‘s second half. Similarly, the office appears to be in a dishevelled state, although the place is also cloaked in darkness on account of the lateness of the hour. Visual cues suggest that MusAni of 2019 (when the movie is set) is a very different place than the one we remember from 2015.

  • Aoi initially hesitates to check out the release of MusAni’s latest episode for The Third Girls Aerial Squad‘s second season, and once the footage starts rolling, it appears to be for good reason. This anime appears to have fallen very far from the tree, resembling World Witches Take Off! more than a combination of Sky Girls, Strike Witches and Warlords of Sigrdrifa, which is what the original anime reminded me of. The skeleton staff at MusAni watching this episode’s airing was similarly disappointing in size, standing in contrast with how in the old day, the entire office would show up for these airings.

  • One aspect of Shirobako I don’t think I spoke too much about was the growing friendship between Ema and Ai. Four years after the events of Shirobako, the two are roommates now, and Ai’s able to speak more cohesively – I remember that she was unable to complete even individual words, but with Ema, she’s able to be quite articulate. Here, she worries about Ema not eating properly; the latter is so engrossed with her work that she forgot to eat her lunch earlier.

  • Further hinting at how Aoi feels, a glance at her apartment shows it to be quite messy and dishevelled inside. She becomes uncomfortable with mention of hanging out with her family, and it was about here that I began seeing a bit of Aoi in myself. It struck me that Aoi’s career is not going quite as well as she would’ve liked. However, for those closest to her, she puts on a brave face and does her best to smile. This is something that I completely get – I’ve been where Aoi is, and I understand what it feels like to live in a world where every day is uncertain.

  • Because Aoi dearly loves the work she does at MusAni, she struggles to face her friends on their outing at a local pub the group has become fond of, worried that she’s fallen the furthest behind in her career goals of everyone. Before entering, she forces her face into a smile. While it is disheartening to see Aoi like this, I also take heart knowing that Aoi’s still resolute in her dream – the disappointment and frustration she sees in her day-to-day work shows that she cares very much about doing a good job, and this is something to be commended. In a completely unrelated aside, Aoi is voiced by Juri Kimura, whom I know best as GochiUsa‘s Rin Mate, a pushy but kind-hearted editor not unlike Aoi.

  • Admittedly, this particular outing brought to mind the time I attended a raclette party shortly before I accepted a job offer for my previous company – while I’d initially been hesitant to share that I was with a failing start-up, hearing my friends’ stories led me to open up a little, and they assured me that while they had struggles of their own, that evening was purely to unwind and swap bad stories. I thus ate and laughed with everyone, my worries forgotten that cold November evening. I’ve since gone through that cycle a second time, and while it has been rough, the silver lining is that I’ve accrued more iOS experience over the past two years. I am therefore very grateful to have worked for my previous post because of the learnings I got out of it; during my time here, I learnt to build my own UIs, and at present, I am able to build pixel-perfect UIs from mockups designers hand me, as well as put together UIs of my own when no designs are available.

  • Upon spotting Shizuka, the pub’s owners switch the channel to a programme where Shizuka is seen speaking with a young voice actress. While Shizuka is not an iconic voice actress and works on live-action programmes, she’s not lost sight of her goals and believes that expanding her repertoire would be valuable. Prior to entering my last role, I’d been more of a mid-end developer, building out data models and business layers in an app, but as Shizuka found, taking on new roles has been very helpful: at present, I’m completely at home with RESTful APIs, JSON serialisation and CocoaPods, amongst others. My experiences, within the context of Shirobako, suggest that Shizuka will do fine and reach her dreams as long as she’s willing to learn and be open to new experiences, which she’s clearly willing to do.

  • As the evening draws to a close, a sickly version of the Seven Lucky Gods passes by, visually denoting that the five friends’ dream appear as distant as it’s ever been. While returning home by train, Aoi and Ema share a conversation: Aoi mentions that MusAni has been quiet for some time, suggesting that the workload and the corresponding revenue has been reduced. In light of this, she notes that it was better that Ema ended up becoming a freelance keyframe animator like Misato Segawa. Leaving one company for another is always tricky, especially when one loves what they do, but Ema appears to have landed on her feet, and indicates that she’d be happy to work with MusAni again should the opportunity present itself.

  • When Aoi arrives at work the next morning for their team meeting, the interior of MusAni’s office is thrown into sharp relief: the scuffled wallpaper, accumulation of boxes and generally beat-up quality of the surroundings is a far cry from the offices I remember back when Aoi first started. It was here, beyond any doubt, that MusAni was in dire straights: the smaller staff count and an office that has clearly seen better days leaves no doubt in the viewer’s mind where MusAni is now. Aoi’s reservation and poor spirits earlier are mirrored in her surroundings now; the movie had done a solid job of slowly building viewers up with what had happened so it doesn’t come as a shock.

  • On this rainy day, Shun brings Aoi out for a private conversation; the grim weather accentuates MusAni’s current state. Like other works I’ve greatly enjoyed, Shirobako: The Movie makes use of weather and visual metaphors to tell stories in ways that dialogue and body language cannot. I often rely on weather and lighting to help me with identifying what the significance of different scenes are because writers utilise weather to create a very specific mood, and generally speaking, weather is chosen to line up with how the characters are feeling. Consequently, when the weather is contrary to expectations, I pay even closer attention to understand what the intentions are. The choice of weather in Shirobako: The Movie reminded me a great deal of Les Stroud’s Baffin Island episode in Survivorman: during his fourth day in the arctic tundra, difficult conditions created a sort of darkness that made it seem especially melancholy, and his remarks here capture perfectly what a lack of hope looks like.

  • I couldn’t help but smile upon seeing Yutaka Honda running his own cake shop. Formerly a production manager like Aoi, he eventually left to pursue his dreams after Exodus was completed, but periodically returned to drop off sweets and encourage the team. Yutaka represents someone who ends up finding his own path and pursuing it in earnest; as a pastry chef, he is a happy and energetic individual: by the events of the movie, he’s regained his former weight as a result of trying every new creation to ensure its taste is satisfactory. After placing their orders, Shun and Aoi sit down to discuss MusAni’s future, and Shun opens with the question that people would dread hearing: has Aoi considered quitting MusAni in light of their current situation? This conversation confirms all of the visual signs that had been presented earlier, as Aoi affirms that MusAni is in a difficult spot.

  • As luck would have it, Stroud would turn his situation around when a Narwal forced Arctic Char close to his camp, allowing him to capture four fish and secure a sizeable supply of food for the remainder of his episode. Survivorman has shown how situations can turn around in a heartbeat, and while skill and preparation are essential, sometimes, a little luck can help. In Shirobako: The Movie, the turning point is when Shun reveals that MusAni has the opportunity to produce a movie. Suddenly, the grey skies and rain give way to a warm sunlight that illuminates the shop’s interior. Aoi doesn’t react to the offer on-screen, but the shift in weather speaks volumes about how Aoi feels: she’s seen wearing a look of utmost determination in the next scenes, which flash briefly over to what Ema, Midori, Shizuka and Misa are working as a bit of foreshadowing. It becomes clear that this film project is what MusAni needs, even if the deadline is a tricky one.

  • The next day, Aoi runs into Tarō while fuelling up the company car, which has become quite ragged and beaten-up over the past four years. It turns out he’s looking for a ride and while some time has passed, Tarō retains all of his energy and enthusiasm. Along the way, Tarō spots Daisuke and has Aoi drive him, as well. While I remember Daisuke for being quite confrontational and getting on poorly with Tarō, in the past four years, the two have developed a bit of an interesting friendship, and Daisuke feels a lot more relaxed now than he did four years earlier. It turns out the two are on their way to pitching ideas, and they thank Aoi for the ride before heading off.

  • Before Daisuke leaves, he provides some words of encouragement to Aoi, encouraging her to fight for her dreams in a world where things only come to those who prove they want it more. In Shirobako: The Movie, the famous “Miyamori Faces”, as I called them back in the day, don’t really make a comeback: during Shirobako‘s original run, Aoi was seen with a range of hilarious facial expressions resulting from shock, frustration and overwork. I imagine that these stopped being a part of the show because Aoi’s matured since then, and the things that would terrify her back then are now merely another problem to deal with.

  • Hearing Daisuke offer words of support for MusAni, however, does prompt Aoi to think back to that day when it was announced that they’d be halting all work on Time Hippopotamus. It turned out that because the company who’d contracted MusAni to produce Time Hippopotamus was undergoing restructuring, and as a result, the new company president determined that the Time Hippopotamus series wasn’t likely to justify the cost of producing it. Because this company held the rights to the characters and concept, it was impossible to finish the project and have a different company air the product.

  • While making a delivery to Masato’s curry shop, Aoi decides to have some curry, as well; the familiar taste brings tears to her eyes, as she remembers all of the times the MusAni team had spent together, hashing out projects and enjoying the curry Masato had made. Olfactory memory is something I’ve made mention of in previous posts, with tastes and smells being able to evoke very strong memories in our mind. For Masato, the flavour his curry had was also deeply engraved in his mind, associated with the times he’d spent with MusAni: after he resigned and opened his curry shop, he tried everything he could to create a new flavour, one that wouldn’t remind him of these memories. That Aoi feels it still tastes as it once did now suggests that Masato has found his way and accepted what’s happened, acknowledging that there were good memories alongside the bad.

  • Because Masato had been president of MusAni at the time, he felt that the responsibility was his to bear and resigned: MusAni had accepted the contract and diverted all of their resources into production before anything was even signed. As a result, MusAni had begun work before even receiving payment, and so, when the project was cancelled, the resources that were spent could not be so easily recouped. This is why work never begins on something until a written contract can be produced and signed. With this being said, I do occasionally spend some free time conceptualising on projects so if they are to go ahead, I can hit the ground running. While getting some air, Aoi runs into Seiichi, who attempts to stoically take the blow, but was impacted by the news as everyone else had.

  • While Time Hippopotamus proved to be MusAni’s breaking point and sent the company in a downward spiral, Aoi also felt that for that project, everyone had been at the top of their game, finishing episodes three months ahead of their scheduled deadline. In spite of what happened, the team at MusAni had demonstrated they were capable of moving heaven and earth to accomplish their goals, and while circumstances been against them that day, Aoi promises to right the ship and turn things around. Promise of working on SIVA has her pumped up and ready to go, and Masato’s words encourage her: he reminds Aoi that her motivation for making anime, to reach the hearts and minds of those who watch it, will doubtlessly inspire others to follow in her footsteps.

  • Thus, as Aoi heads home for the night, she begins singing a song to lift her spirits and encourage herself. In her mind’s eye, Mimuji and Roro join her, along with characters from Andes Chucky, Exodus, The Third Girls Aerial Squadron and Jiggly Jiggly Heaven soon join her, putting on a performance worthy of any musical. It was here that Shirobako: The Movie really proved itself as being worthy of a movie: the challenge that all anime movies based on a TV series face is scaling things up for the silver screen experience. At the heart of Shirobako: The Movie is the fact that this is a movie about making a movie, but to really make the experience unique, Shirobako: The Movie has gone the extra mile to produce a musical number that really speaks to Aoi’s optimism.

  • The actual musical presentation was impressive because it combined different art styles together and seamlessly brought them to life. Aoi’s song, beginning as a minimal set of lyrics, eventually develops into a full-fledged musical number, mirroring how life is often a game of momentum. When things don’t swing in one’s favour, finding the motivation and courage to get started can be tricky, but with a bit of momentum, the impossible suddenly appears possible. With SIVA now a reality for MusAni, Aoi promises to do her best, taking a meeting with Western Entertainment’s Kōtarō Katsuragi, a producer who had worked extensively with MusAni in the past.

  • It turns out that Kōtarō had been working on SIVA, but after another production studio, GPU, absolutely failed to deliver even after two years, GPU’s president had decided to leave Kōtarō to deal with the mess, suggesting that they might be able to work faster if Kōtarō could convince his higher-ups to send them a little more money. Kōtarō attributes his passion for the project to Aoi, and expresses his hope that MusAni will be able to pull things off. To this end, Kōtarō leaves the competent Kaede Miyai with Aoi. Kōtarō and Shun send Aoi and Kaede on their way so they can iron out remaining details to the arrangements.

  • While the odds are stacked against Aoi and MusAni right from the start (MusAni is short on staff and only has ten months to complete a movie that would normally take two years), it appears that Western Entertainment is quite ready to foot the bill. Kaede notes that Aoi basically has free reign in picking her staff, leaving Aoi free to choose a crew she’s comfortable working with. Since Kaede was brought in to sort out the problems the previous production assistant had left behind, and the project is finally moving forwards, it stands to reason that Kaede is competent in her work. To get to know one another better, Aoi accepts a dinner invitation from Kaede, and the two promptly get smashed at what appears to be half the pubs around town.

  • Aoi and Kaede immediately bond over shared work experiences and grievances – with the alcohol talking, both complain vociferously about various aspects of their jobs and industries. I’m impressed with how Aoi manages to keep up with Kaede throughout the evening and still manages to sleep it off for the next morning. This is a feat I can’t pull off; after one drink, I’m struggling to stay awake, and two is enough to give me the emperor of all headaches. For this reason, I don’t really drink, especially not to drown my sorrows. The problem for me is that my sorrows have learnt to swim, and alcohol simply leaves me feeling worse later down the line. Conversely, I have no qualms about a small glass of champagne during celebrations.

  • SIVA admittedly feels like Space Battleship Yamato in concept, with a Phantom Thief Lapin twist to it and a name that simultaneously reminds me of both the SHIVA-class nuclear missiles from Halo, as well as Skyfall‘s very own Raoul Silva. I’d been watching this with a friend, and he’d remarked that the choice of name for a space-faring vessel is deliberate: vessels of special significance are often given cool names: USS Enterprise from Star TrekBattlestar GalacticaStar Wars‘ Millennium Falcon, the Endurance from Interstellar and Halo 4‘s UNSC Infinity come to mind. This makes sense; I highly doubt that something like “UNSC Miporin” would strike a sense of awe into viewers.

  • The aspect of Aoi’s character that I liked most is how pushy she can be without overstepping: when she attempts to recruit Seiichi back to MusAni, Seiichi is reluctant, fearing yet another failure. In the four years since, he appears to be inactive, and it takes some pressuring to get him to accept his old position as a director. Aoi ends up chasing him out the front door, and he collides with Yutaka, after which Aoi notes that she’s inspired by Masato’s words. Seiichi eventually relents, promising to pick up his work again on the condition that Aoi persuades screenwriter Shimeji Maitake to also join the project.

  • It turns out that asking Shimeji to come on board took no effort: like Aoi and the others, he hadn’t been happy with how everyone’s efforts with Time Hippopotamus were so callously discarded, and sees this as a chance to both redeem himself, as well as MusAni’s reputation. With Shimeji on board, Seiichi is happy to report for duty. However, his old tendencies soon begin manifesting, and there are points where he is confined to a caged room in order to force him to focus on storyboarding. Old habits die hard, and there are several points where Seiichi attempts to escape, just like in the days of old.

  • Aoi finds Yumi at an art gallery, and while she’s up to her eyeballs in work with her current company, she’s more than happy to lend Aoi a hand; after the Time Hippopotamus failure, she ended up leaving MusAni to pursue other opportunities, but it is clear that she and many of the staff only left for practical reasons. That Aoi is able to gather everyone up with little resistance speaks to their respect for her and the company – while poor working relationships are a common reason in why people move between jobs, that so many of MusAni’s former staff still have fond memories of working here continue to suggest that the Time Hippopotamus incident was a one-off, but catastrophic enough as to put the company on the verge of collapse. That Aoi’s helped to keep things alive after all this time is a reminder of her own skill as a production manager.

  • During the events of Shirobako, Rinko had always stood out from the other characters for her distinct preference for Gothic Lolita fashion; it turns out she adopted this style because it reminded her of a character she was inspired by. When Aoi encounters her on a run, Rinko is embarrassed and asks for a moment to change into her usual outfit before speaking with her. Like Yumi, Rinko has no qualms about lending her skills and time towards MusAni’s project. One of the biggest challenges about watching Shirobako was the fact that the series had such a large cast: beyond Aoi and her friends, there are forty characters at MusAni alone.

  • Shirobako: The Movie, on the other hand, only has a handful of central characters, although even then, there are enough people such that the film continues on in the style of its predecessor and names the characters, along with their roles, for the viewers’ benefit. I certainly found this useful, and it helps that some of the characters have uniquely identify traits that make them much easier to remember. Seiichi, Kōtarō, Erika, Tarō and Ryōsuke are some of the easiest characters to remember for their distinct personalities, for instance. With the old MusAni team starting to take shape again, work can finally begin on SIVA itself.

  • When Shizuka learns that Aoi and MusAni are producing SIVA, she decides to audition for a role in the movie, and here, speaks with her friend and mentor, Mari Tateo, a veteran voice actress who is in the same company as Shizuka. With Mari’s encouragement, Shizuka decides to at least give things a shot and attempt to land a secondary role in SIVA. However, when the directors are interested to have her voice a central character, they find themselves impressed with Shizuka’s range and decide to cast her in the larger role. For Shizuka, the wait is a bit of an excruciating one, since she long desires to do the things that she sets her sights on.

  • On Aoi’s request, Misato heads off to try and get Ryōsuke on board – the directors and staff have decided that his exceptional ability to design ships would be valuable for SIVA. Misato finds Ryōsuke at an arcade and delivers a verbal beatdown, wondering what he’s done with his life since he left MusAni. Things escalate into an argument, and Misato is ultimately unsuccessful in convincing him to return. The two are technically rivals, striving to improve their own craft as to keep up with the other, and while Misato’s continued to work as a freelance key animator, it appears that Ryōsuke’s been unable to pick himself up after the Time Hippopotamus incident. That he retains his passion and energy, however, suggests that he’s willing to do what it takes to right himself.

  • While Misato was unsuccessful, a conversation with 3D director Yuichiro Shimoyanagi causes Ryōsuke to pause and reconsider – despite the two working in different fields, and Ryōsuke’s distaste for CG, the pair get along very well. Yuichiro is able to convince Ryōsuke to consider returning to his old post at MusAni: realising that there’s a chance to pull himself out of a slump, Ryōsuke ends up accepting. The two visit an aquarium, where Yuichiro is watching how aquatic life moves in water to gain a better sense of how to capture their movements in an animated fashion.

  • Ryōsuke’s wife, Mayumi, unconditionally supports him, and even after he quits his job with MusAni, she takes on a cashier job at the local supermarket to help make ends meet, believing in Ryōsuke’s potential and that he will return to his old self. As such, when he brings news of his return to MusAni to her, she decides that a celebration is in order – while rough around the edges, Ryōsuke demonstrates that the love the two share are mutual. He passes her his freshly-opened beer after she chips her nail opening hers. People like Mayumi, who are totally supportive of their partner’s dreams, must be rare, and it shows that the two’s feelings are genuine, since Mayumi has been willing to endure the bad along with celebrating the good.

  • One aspect about Shirobako: The Movie that has not been discussed is the soundtrack, which is composed by Shirō Hamaguchi, best known for his work on the Girls und Panzer and Ah! My Goddess soundtracks. Influence from the former is immediately noticeable in Hamaguchi’s music for Shirobako, which has the same spirited marches as Girls und Panzer does, and therefore, is well-suited for the energy that Shirobako strives to convey. While Hamaguchi excels with creating marches, his incidental music for more contemplative or calm moments are just as enjoyable as the more energetic pieces. On the topic of Girls und Panzer, it is not lost on me that Das Finale‘s third installment had released two days earlier. The gap between the second part’s première was eight months and twelve days, and the first part required a much more reasonable three months and sixteen day wait.

  • Assuming we use an average to estimate six months and four days, it means that part three will be available to overseas viewers in late September or early October. My original estimates put the theatrical screening of Girls und Panzer: Das Finale‘s third part in December 2020 and using the three month gap between the first part’s première and home release, the BD was supposed to come out this month. While the ongoing global health crisis might’ve pushed production back, one hopes that they take a route that sees the BDs available as soon as possible; readers have my word that I will be covering Das Finale to completion, whatever it takes. Back in Shirobako: The Movie, Shigeru makes an appearance. An animator of legendary skill, he continues to assist MusAni even now, and also runs workshops on the side to pass knowledge on to the community. He invites Aoi and her friends to help out with a class he’s running for children.

  • With the whole team back in play, Shirobako: The Movie returns to the style and pacing the TV series presented as MusAni works towards producing an entire movie. The usual impediments show up, with Shimeji struggling to best determine how to bring everything together in SIVA‘s conclusion. Rather than let the problem manifest, Seiichi suggests that a late meeting could still prove valuable, and Aoi sets up a meeting, bringing everyone in to help out. Although the meeting isn’t particularly fruitful, Shimeji will come to work out something for SIVA with help from Midori, whose words help him determine how to best handle SIVA‘s conclusion as the two throw a baseball around and catch some fresh air. The point of this scene was really to give a glimpse into MusAni’s process and show while that the road to SIVA isn’t a smooth one, the combined efforts from the team will allow them to find success, and that sometimes, taking a step back is what one needs.

  • Things quickly escalate when director Masashi is accused of being involved in a scandal. MusAni’s team is shocked: having worked with him for years and knowing the sort of person he is, they suspect that something is off. In the immediate aftermath, Aoi remarks that if Masashi is unable to do a live-streaming event, then he might be able to use this time and help the SIVA project out. MusAni is understandably nervous, since in this day and age, such accusations can have devastating consequences on one’s career regardless of whether or not said accusations had any basis in truth. This is one of the worst excesses of social media, and I’ve long held that while people must be held accountable for their decisions, the court of public opinion should have absolutely no say in the matter whatsoever: the public, by and large, are uninformed and lack the qualifications needed to make fair and accurate assessments that should be left to professionals in a court of law.

  • Despite improving in the four years since Shirobako‘s original run, Ema’s key frames end up feeling too stiff; despite capturing the artistic style of the originals, they lack fluidity. Ema begins to question her abilities again. I understand that setbacks are very much a part of life, and have been guilty of this mode of thinking myself: there are days where I wonder if I’m even a passable iOS developer who could code a path out of a paper bag. The key here is to focus on the task at hand and not let the setbacks get the better of one. Besides to Aoi, I’ve always had a soft spot for Ema’s character because she illustrates the doubt that exists in all of us, and in spite of this, finds the courage to continue anyways. That she worries about the trade-offs between quality and speed even now shows she remains passionate and willing to improve.

  • When Masashi shows up at MusAni’s office one day, it turns out he’s come to seek help from the team, claiming that the scandal he was involved in was a setup. Within a few moments, the truth is out: during a celebration with another company he’s working with, Masashi had his photo taken, but this photo was later altered to remove any context. On Tsubaki and Sara’s suggestion, Masashi releases an official statement to his website surrounding the event, explaining what really happened, and when his website times out, it suggests that people are at least reading things. This bit of drama passes shortly after, allowing Masashi to focus on SIVA: Aoi manages to get in touch with Tarō and Daisuke to help with production.

  • Assertive, confident but also kind, Erika Yano played a major role in Shirobako, mentoring Aoi wherever she could. She left MusAni to look after her father, and by Shirobako: The Movie, it appears that her father’s health has stablised, allowing Erika to return full time. Despite the time that’s passed, she’s clearly lost none of her edge: with four months left to launch, she returns to MusAni and her first act is to set Seiichi straight when he experiences a writer’s block. Erika’s unique way of dealing with Seiichi pays off, and his storyboards are finished with time to spare, allowing the team to push on ahead. Erika notes that they need one more unit director, and heads off to speak with Hiroshi Iketani, who does decent work, but more often than not, attempts to shirk his duties.

  • The day that Aoi and her friends are to help at an animation workshop arrives, and while their students, young children, initially prove to be quite a handful, even hostile, towards the idea that animation could be fun, things turn around with Misa’s help: she quickly realises that Aoi’s introduction to animation is a little too dry, and with children, a more hands-on approach is what’s needed. She’s able to motivate the children by challenging them to out-do one another in making something cool, and soon has enough frames to make something. Two young girls take an interest in Misa’s scanning of the frames and decide to help out despite being disinterested in things earlier.

  • Boredom soon turns to excitement when the children’s drawings are brought to life. With Shizuka’s voice acting skills, the children finally feel connected to their creation, and break out into song, another musical that adds a great deal of life to their experience. The complete turnaround here acts as a visceral indicator of how things can change in a heartbeat so as long as one has the skill and passion for what they do, being a scaled-down reminder for Aoi and her friends as to what can await individuals who make an honest effort to do their best. The engagement level in this class shows that the event was a complete success, and in the aftermath, Shigeru has some words of wisdom for Aoi and her friends.

  • At the heart of all artwork is conveying joy, and being able to work with children is a constant reminder of this. Each of Aoi, Ema, Midori, Shizuka and Misa gain something from the experience, and in particular, Ema is able to find her footing again. Their conversation is set under a warm sunset, with red and orange hues giving the scene a very welcoming feel. Prevously, I’d felt that Shirobako‘s background artwork felt a little flat and uninspired, especially when compared to what was shown in Hanasaku Iroha and Tari Tari, which looked on par with anything from KyoAni or Makoto Shinkai in quality. Looking back, I believe the background art is deliberately simplified in Shirobako, since the emphasis is on the characters and their work, but for Shirobako: The Movie, P.A. Works has gone the extra mile in creating rich, vivid backgrounds. The film looks amazing in this regard, and this is one of the things that Shirobako: The Movie does to scale the series up for the silver screen.

  • Shigeru’s words to the girls bring to mind my own reasons for volunteering as a science fair judge, during which I get to assess what youth are doing these days for science. Earlier this month, I did virtual judging for both a prestigious private academy and the city-wide science fair. Projects were largely impressive, and with the former, I had a chance to speak with students in a Google Hangouts call to gauge their understanding of their work. Seeing brilliant, young minds with a passion for science is always uplifting, and I am always pleasantly surprised with what youth are capable of with the right encouragement. This is uplifting and reminds me to also continue with my own work with the same level of vigour. For Aoi, Midori, Misa, Shizuka and especially Ema, they are motivated to put in that final effort to make SIVA a success.

  • With time passing in the blink of an eye, the whole of MusAni’s staff begin seeing the finish line and express joy that things have come together smoothly. When the last recording session is over, however, Kōtarō receives a message that threatens to send the entire project the way of Time Hippopotamus again. He decides not to share this with everyone for now and deals with it himself, speaking with GPU’s president. When the president reveals that GPU technically owns the rights to Silva, Kōtarō blows at least three fuses. He makes such a commotion that he is escorted off GPU premises and prohibited from returning.

  • Once he’s had a chance to cool down, Kōtarō acknowledges that what GPU is claiming is true. Shun notes that this is a delicate situation and that acting rashly will only reflect poorly on MusAni, as well as resulting in legal trouble. Kōtarō says that he has people working on things to see what can be done. Copyright can be a nasty process when not handled properly, preventing intellectual property from being utilised when abused or creating trouble for those whose aims are fair use. The existence of copyright laws, however, is necessary, as it protects those who create, and one of the challenges in this area is ensuring that copyright laws succeed in protecting creators, while at the same time, not being abused to punish people arbitrarily.

  • For Aoi, this news is probably the lowest point for her in the whole of Shirobako: The Movie: as snow begins falling under a grey sky, she collapses in the middle of the crosswalk, utterly defeated. In this moment, even more so than when Aoi had began tearing up at Masato’s curry shop, I really felt the feelings that were being conveyed to viewers: a chill stole through me, and I found myself wondering if Aoi needed a hug here to regroup. While cheerful and optimistic for the most part, a series of setbacks had left Aoi vulnerable to her circumstances. However, the night is always darkest before the dawn, and while the SIVA project appears to be in jeopardy, the fact is that Kōtarō’s company does have a legal team with which to look over things.

  • Aoi looks a bit like Miho here, again bringing to mind the Girls und Panzer connection that Shirobako has. In the darkest of moments, Mimuji and Roro appear to lift Aoi’s spirits, asking her why she’s a producer at all. Aoi answers that beyond the technical elements, it’s about delivering a finished product. The rationale is that as long as Aoi fulfils her duties completely, she can look back without regrets.  She subsequently returns to the office and runs into Yuka, who has a special assignment for her. Since Kōtarō isn’t allowed to return to GPU, Yuka sends Aoi. It turns out that the legal team at Western Entertainment did find something, and Aoi is briefed on this. She meets up with Kaede, who is here to support Western Entertainment on Kōtarō’s behalf.

  • Shirobako: The Movie excels in its over-the-top portrayals of what certain actions feels like, and while Kaede and Aoi are simply walking through the front doors of GPU’s offices, it does feel like they’re squaring off against an entire army, ninjutsu-style. The two don kimono and set off with fire in their hearts, determined to sort things out with GPU. While the president of GPU is uncooperative and cites the contract as being absolute, Aoi and Kaede have identified a clause that forces GPU to relinquish their rights to the project owing to the fact their other studio completely failed to deliver anything as agreed upon.

  • This was a bold moment, even for Aoi: I imagine that the Aoi of four years earlier would’ve been willing to go to such lengths for her work, and while perhaps a little dramatic, her undressing to reveal a tattoo (likely a temporary one) of a SIVA character serves to indicate the lengths Aoi will go to ensure that her projects are finished to a satisfactory extent, whatever it takes. It typifies Shirobako‘s ability for conveying the gravity of a situation through theatrics, and Shirobako: The Movie follows in its predecessor’s footsteps. Thanks to the clause within the original document, and in conjunction with the fact that GPU’s president never signed the contract, there is enough here now for Western Entertainment and MusAni to take GPU to court. I imagine that GPU’s president subsequently stands down, lest he face a costly legal battle that he is likely to lose.

  • With the dubbing now complete, SIVA appears ready for release. Some of the staff head back to the MusAni offices to celebrate, or otherwise begin making their way home. Having been so enraptured by the work, everyone’s ignored the catered lunch that was provided, and Seiichi remarks that the meal was a bit of a special one, consisting of grilled eel on rice. Eel is a Hamamatsu specialty, and as seen in Yuru Camp△, can be quite pricey. In the aftermath of the first screening, a melancholy sets in: while the team had doubtlessly achieved an impressive feat, picking up and finishing a movie in ten months where it normally takes two years, even sorting out a copyright claim issue, things don’t quite feel as exciting they when MusAni conquered their deadlines in the TV series: something still feels like it’s missing.

  • After Aoi learns that Seiichi was feeling unhappy about the abruptness of SIVA‘s ending, she pressures him into following his heart so he has no regrets. When she brings up the matter with the other staff on the project, they agree about how SIVA‘s ending feels rushed, and moreover, consent to change it. The end result is a film that Seiichi is proud of, and this brings Shirobako: The Movie to a close, with Aoi and her friends preparing to experience SIVA anew in the theatre. The payoff in Shirobako: The Movie is immense, and Aoi has certainly earned her ending, which came about as a consequence of hard work and perseverance. However, not everyone thinks this way: an old nemesis from Anime News Network asserted that “realism that this series had when depicting the grueling workflow of anime production gets thrown out the window in favor of pursuing a fairy tale ending” on the grounds that “it’s [not] satisfying for the characters to achieve their goals so easily”.

  • This is a disingenuous argument, to say the least: Anime News Network’s reviewer evidently missed the fact that Shirobako: The Movie is set four years after the original series, and in this four years, the characters have only had time to hone their craft further. Aoi is more than capable of running the show now than she was in Shirobako, and those who gather to work on SIVA, were already skilled in their areas. Coupled with the fact that everyone has an idea of how their teammates work, they’re able to work more efficiently together, as they had during Time Hippopotamus‘ production. Moreover, assets left over from Time Hippopotamus were reused, further cutting down production time. From a logical standpoint, there is nothing remotely “fairy tale” about the ending: the sum of hard work and skill is what allows MusAni to make its deadline. It is a recurring trend that Anime News Network’s writers struggle with understanding narrative choices in anime, especially where hard work and the corresponding payoffs are concerned: while this may seem like a novel concept for Anime News Network, the reality is that hardworking, skilled and competent people have pulled off what appears to be miracles before. The Mars rover Perseverance is one example of such a feat.

  • To suggest the happy ending was undeserved would be akin to saying that Frodo should have failed in his quest at Mount Doom, and that forces should not have resulted in Gollum plummeting into the lava below. Had this happened, J.R.R. Tolkien would’ve undermined the themes he’d striven to convey in The Lord of The Rings. Tolkien later stated that Ilúvatar himself intervened, causing Gollum to trip: Frodo had exceeded all expectations and took the Ring thus far. After such a journey, Frodo was completely spent, so another power took over to finish things. Frodo had certainly deserved all of the honour because he’d completely given himself to the task, and to deprive him now would simply be unfair. Similarly, in Shirobako: The Movie, foisting a “realistic” ending on viewers would undermine the film’s themes entirely and absolutely defeat the purpose of having a film: in both The Lord of The Rings and Shirobako: The Movie, the individual characters took things as far as they could together and overcome numerous obstacles, which made the ending satisfying.

  • To put things in perspective, four years ago, I struggled to get push notifications working, put a working credit card checkout system together using the Stripe SDK and hadn’t any idea how Autolayout worked. Four years is a lot of time to improve, and at present, I’m quite comfortable with putting an entire iOS app together: push notifications, checkout and autolayout are old friends now. This is why I not only accept, but expect, MusAni to succeed in their endeavours. We are dealing with professionals with both drive and pride, so it only makes sense for them to come together and work hard for their success. Aoi, Ema, Midori, Misa and Shizuka have certainly earned their chance to enjoy SIVA with their signature doughnuts in hand.

  • Aoi, Ema, Midori, Shizuka and Misa close the film a lot happier than they did entering, and I was all smiles throughout this entire movie. It speaks volumes to how well emotions are conveyed: when Aoi began tearing up in frustration or smiling in success, I felt those emotions as clear as day. Any movie that can hit those notes right and keep me engaged to this level has definitely done a good job. This is why I have no qualms giving Shirobako: The Movie an A+ and counting it a masterpiece: the movie has taken everything from the TV series and scaled it up successfully for the film, with the end result being something that Shirobako fans will definitely enjoy, and something that folks who’ve never seen before will still find entertaining. With this in mind, I do not recommend this film to the latter: having that additional context and background will greatly augment one’s experience of Shirobako: The Movie.

  • To visually indicate Aoi’s mindset at the film’s end, when she steps out into the night this time around, the Seven Lucky Gods‘ pirate ship soar into the skies, signifying that Aoi’s lifted herself out of her slump and is ready to take on new challenges. When it comes to anime movies, my primary expectation going in is to see if the film is able to scale up the things that the series did well and apply it to the silver screen: I cut slack for anime movies of a TV series because they already have an established premise and setting, so for things like K-On! The MovieGirls und Panzer: Der Film and High School Fleet: The Movie, I enter knowing that aspects of the TV series will be revisited, and this never impacts my assessment of a work.

  • Shirobako: The Movie has a somewhat open ending: in the aftermath of their success, Aoi prepares to lead her team on The Third Girls’ Aerial Squad‘s third season, suggesting that success from SIVA had allowed MusAni to retain some staff and take on larger projects again. No one knows how the future will turn out for Aoi and MusAni, but the accumulated experience means that Aoi is better prepared to deal with the future. If Shirobako ends here, it will have been a very decisive and satisfying conclusion to the series. However, the ending doesn’t shut out the possibility of Shirobako getting another continuation; in the event of such a continuation, I’d be more than happy to give that a go.

P.A. Works is not known for doing sequels, so to have them revisit and continue Shirobako was a bit of a surprise. The finished product is as much of a film version of the TV series as it is a chance for P.A. Works to strut their stuff; the highlights in this movie are in the technical elements, allowing P.A. works to really bring thoughts and emotions to life through animation. If Shirobako: The Movie had been intended to bring some of that joy to us viewers, the film has definitely succeeded in this area. Altogether, Shirobako: The Movie was a superbly enjoyable watch from both a story and technical piece, making use of sight and sound to really immerse viewers in this movie about creating a movie. The messages of effort and persistence in the pursuit of one’s dreams remain as relevant now as they did six years earlier, and seeing this aspect of Shirobako: The Movie was a reminder of my own career choice: the reason why I’m in iOS is simply because I believe that whatever skills I possess should be put to use in a way to benefit people, and since apps are ubiquitous, it means that I can lend my skill set towards making someone’s day a little easier, helping them to get what they came for with a given app. When Shirobako ran in 2014 and 2015, I’d not yet decided on my career choice. By now, having had almost five full years of iOS Development in Swift and CocoaTouch under my belt, returning to see where Aoi, Ema, Midori, Shizuka and Misa are now, and their remarks about their own career advancement, allowed me to appreciate Shirobako from a new perspective. The questions that they each face in their careers, namely, what they enjoy about it and why they each wish to continue, is a question I find that viewers with careers will find particularly worthwhile to consider. Shirobako shows that Aoi enjoys her line of work because producing anime and delivering a high-quality products to thousands of viewers, and being able to bring the pictures in someone’s mind’s eye to life is immensely rewarding. Shirobako provides a rock-solid reason for why Aoi is able to put on a smile every morning and go to work, and it does much to keep her taking the next step forwards even when that next step isn’t clear. Exiting Shirobako: The Movie, the future of MusAni is uncertain, but with a new project to take on, one hopes that hard work here could help the company to build its reputation back up and allow Aoi to continue pursuing her dream of one day bringing anime to life together with her best friends.

Non Non Biyori Vacation: A Movie Reflection, Full Recommendation and Perspectives from Travelling to Okinawa

“I feel that as long as the Shire lies behind, safe and comfortable, I shall find wandering more bearable: I shall know that somewhere there is a firm foothold, even if my feet cannot stand there again.” –J.R.R. Tolkien

After Suguru wins plane tickets to Okinawa in a shopping mall lottery, Renge, Hotaru, Komari, Natsumi, Kazuho, Kaede, Hikage and Konomi prepare for a vacation in the southern islands. Upon arrival, the girls set off for their inn and check in. Here, they encounter Aoi, the eleven-year-old daughter of the inn’s managers, and after settling in, spend a day on the azure beaches of Okinawa. That evening, the whole group enjoys a delicious Okinawan-style dinner at the inn, and after dinner, Natsumi encounters Aoi practising badminton on her own later, and the two strike up a friendship. Before turning in, Natsumi suggests grabbing some instant noodles, saying that the absence of adults makes things taste more intriguing. The next day, the group splits up for their activities. Renge and Kaede see a stingray, while Hikage is stricken with motion sickness when snorkelling. When they go canoeing, Komari and Hotaru are ensnared by a branch; Kazuho rescues them, and later, they climb up to a waterfall. On the spur of the moment, Kazuho jumps into the pond and is soaked. Later, the girls take photographs by a lighthouse as evening sets in, and spend time with Aoi, who mentions that she is available the next day. To help her out, the girls clean their room that morning, and Aoi’s mother gives her permission to spend time with the girls, since it’s to improve their guests’ experiences. They end up visiting Aoi’s school, and she takes them around lesser known spots around Okinawa, including an ice cream shop, a secluded beach and a viewpoint providing a beautiful view of the island. When night falls, Aoi brings the girls to the beach, where they admire the star-filled skies and frolic in the phosphorescent waters. When their vacation draws to a close, Natsumi is saddened to leave, and she bids farewell with Aoi, asking her to stay in touch. The group return home as evening sets in, and Renge announces that she’s back. Released on August 25, 2018, Non Non Biyori Vacation brings Non Non Biyori to the silver screen for the first time, and during its seventy-minute-long run, brings back the familiar elements that made Non Non Biyori such an enjoyable run, while simultaneously providing a new setting that broadens the girls’ everyday experiences.

Despite being a slice-of-life series, Non Non Biyori excels with its focus on the subtle details of everyday life that often are ignored or taken for granted. Non Non Biyori Vacation continues in the path of its predecessors, detailing the wonders found in the ordinary. In this film, Non Biyori focuses on the different aspects of a vacation. The girls (and Suguru) first experience the highlights of Okinawa from the perspective of a tourist, relaxing on the beach, as well as joining a group to go canoeing and snorkelling in the warm, inviting waters of Okinawa. Besides these more tourist-oriented activities that showcase the best of Okinawa, the girls also befriend Aoi, a girl roughly their age who helps out at her family’s inn. In doing so, they are able to gain a much more personalised experience of Okinawa from a local. Having grown up in Okinawa, Aoi knows all of the ins and outs of the island, and so, is able to bring Natsumi, Hotaru, Komari and Renge on an intimate tour of spots she’s enjoyed. The ice cream shop and viewpoint would not be on the list of destinations for a tour group; the girls thus learn that life on Okinawa is both quite distinct, but also quite similar to their homes. This is the joy of travelling that Non Non Biyori Vacation aims to convey to viewers: being able to travel means being able to experience for oneself the different ways of life people have in different corners of the world, but also appreciate that there are also many similarities in how people live. At the end of the day, we are all human and therefore, part of a global community; sharing many commonalities while at once, having unique cultural aspects that are all immensely valuable. Non Non Biyori Vacation presents both sides of this coin in a concise package: for Natsumi, Komari, Hotaru and Renge, going to Okinawa shows them both what is special about the southern island long considered to be Japan’s Hawaii, as well as the aspects of their lives that are not so different.

At the end of Non Non Biyori Vacation, the film portrays two conflicting different angles on the conclusion of a vacation: one is simultaneously yearning to stay for longer and continue exploring, while at the same time, also begins looking forwards to sleeping in their own bed once again. Natsumi channels the former, having had a much better time in Okinawa than she had originally anticipated, and having made a new friend in Aoi, feels saddened that they can’t spend more time together. Conversely, the other characters have had a similarly enjoyable experience (except maybe Hikage, who was beset with an unexpected number of minor grievances during the trip), and while satisfied, are also growing a little exhausted. The feelings of travel are captured well in Non Non Biyori Vacation, and at the film’s end, Renge expresses what I’m certain everyone feels upon returning home. The film strives to and succeeds in capturing the different facets of travel – these elements are accompanied by visuals that are incredibly life-like. Non Non Biyori Vacation bears the traits of an anime movie, featuring impressive visuals that are vivid and photorealistic. Audiences feel as though they are there beside the cast as they travel Okinawa, feeling the intense heat of summer, refreshing cool of the ocean and everything in between. The exceptional artwork is complimented by a very well-done collection of incidental pieces: the soundtrack for Non Non Biyori Vacation incorporates elements of Okinawan music into its composition, but at the same time, sounds distinctly like the Non Non Biyori soundtrack. This further accentuates the movie’s theme, that travel highlights both the uniqueness of another region, as well as the similarities despite our differences, and as such, acts as a solid accompaniment for the film.

Screenshots and Commentary

  • Non Non Biyori Vacation opens up in Asahigaoka, a small rural village located in the heart of the mountains and sporting some of the most beautiful scenery I’ve seen in any anime set in the inaka, which is saying something, considering that shows like Ano Natsu de Matteru also have solid artwork. For this post, I’ve given it the full silver screen treatment: besides an extended discussion, I also have sixty screenshots, each of which can be viewed in full 1080p – the movie is gorgeous from a visual perspective, and I absolutely intend to convey this to readers.

  • I’ve opted to spend less time at the shopping mall that everyone visits because this is a post about going to Okinawa, but have chosen to mention it in some capacity: the film establishes for viewers that Suguru manages to win a vacation while the girls explore a local mall. Because Asahigaoka is a small village, going to a mall such as this would be a very exciting experience. The mall itself is named “Weather” (hiyori is also pronounced biyori, 日和 in kanji), and the series’ name seems to be “non non weather”, a reference to Non Non Biyori‘s often nonsensical but genuine humour in everyday life.

  • Character-defining moments are also set early in the film: Komari is very sensitive about her short stature and diminutive figure, being quite jealous of Hotaru, who is seen here looking at belts and unintentionally embarrassing Komari to no end, who is under the impression Hotaru is looking at undergarmets. The dynamic between Komari and Hotaru is a hilarious one, and created some unique humour during the TV series. In Non Non Biyori, such antics are decidedly fewer, being condensed into the film’s opening moments.

  • Natsumi ends up purchasing a game console with Suguru, having pooled some of their saved money to do so. Despite purchasing a last-generation console, Natsumi remains quite excited and is looking forwards to giving it a go. I’ve never been much of a console gamer: the newest consoles I have are a PlayStation 2 and a GameCube. Despite my being a PC gamer through and through, I am well aware of the merits of a good console: for one, being able to play split-screen with friends means that multiplayer experiences are top-tier.

  • Komari is visibly still hot and bothered from the events of earlier, but when Suguru wins a mall lottery, all thoughts suddenly turn towards their impending trip to Okinawa. Non Non Biyori Vacation follows the structuring of the manga faithfully: the events in the OVA “We’re Going to Okinawa” are original and deal primarily with the preparations leading up to the trip, but scenes of the girls and Suguha at the airport are sourced from the manga.

  • It suddenly strikes me that four and a half years has elapsed since I wrote about that OVA, and presently, it’s great to see Non Non Biyori continue along its run. In that time, I’ve flown to a handful of conferences, went out of country for work-related matters and realised my dream of travelling to Japan for the very first time. While the time frames between anime releases are extremely long, and their waits can seem quite unreasonable, individuals with busy, productive lives will find that time passes in the blink of an eye: it only seems like yesterday that I wrote about the first Non Non Biyori OVA while taking a break from developing the Giant Walkthrough Brain.

  • After Renge takes off to grab some food, Hikage begs Kazuho and Kaede to allow her to accompany them on the trip to Okinawa, admitting that she was acting nonchalant to play it cool in front of Renge. Unfortunately for Hikage, Renge saw everything go down. Moments of exaggeration such as these form the joy in watching Non Non Biyori, and it also speaks to the characters’ familiarity with one another when Kazuho remarks that she’s already got a ticket for Hikage.

  • For the remainder of this post, I will be focused on Hotaru and company’s time in Okinawa: the OVA had covered everything up to their flight, so I’ve jumped ahead to everyone’s arrival in Okinawa. The temperature and humidity is immediately apparent: while the skies are precisely the same shade of vivid azure as they were in Asahigaoka, and the vegetation just as verdant, the tropical vegetation and ambient sounds create a sense of warmth that is not seen in Asahigaoka.

  • The long pauses allow Non Non Biyori Vacation to capture the atmospherics and sights around Okinawa: these visual gaps are intentionally chosen to mirror those of the stills from Asahigaoka, reminding viewers what while Natsumi and Renge are in Okinawa, there are some things that are similar to the sorts of things they might encounter back home. This dichotomy forms the basis for the theme in Non Non Biyori Vacation: travel might be about experiencing new things, but it also provides an opportunity to really see for oneself that there are similarities across the globe in how people live their lives, as well.

  • Upon arriving at their inn, Kazuho and the others check in. They are greeted by Aoi, an eleven-year-old who is the same age as Natsumi. Aoi is unique to the film and was not present in the manga. She is voiced by Shino Shimoji, an Okinawa native who previously played Stella no Mahou‘s Marika Shimizu and Aki from Girls und Panzer. Despite being the same age as Natsumi, Aoi actively helps her family run the inn and Natsumi’s friends point out that despite their ages, the two seem quite disparate as far as maturity goes.

  • After settling into their rooms, Renge decides to show the Okinawan landscape her drawing of home. After Natsumi tampers with the air conditioning (this is a perfectly natural choice of action, and I typically do the same while travelling, since unoccupied rooms usually have their units switched off to save power), the girls subsequently don their swimsuits and hit the beach, kicking Suguru out while they change. The manga has everyone lodging at a more modern hotel, but in the film, the choice to go with a more traditional style inn gives a more distinct character to things.

  • The water effects in Non Non Biyori Vacation are top-tier, comparable to the water seen in the Cry Engine and Frostbite. It looks photorealistic and captures all of the warmth that tropical waters possess. Years previously, I was in Cancun for a conference on artificial life, and during mornings, I would walk the beaches, marvelling at the fact that the water was not bitterly cold. I rather enjoyed that experience, and after delivering a pair of successful talks, one of which was for a colleague’s project, I sat down and sipped a lemon daiquiri under the evening sun.

  • Komari is not particularly skilled at swimming, and while Hotaru is enjoying the water, Komari hesitates to step further out. Everyone is shown as enjoying the beach in their own manner of choosing: Renge sips a fruit cocktail while Kaede watches her, while Natsumi and Konomi play in the waters. Suguha and Kazuho end up resting on the beachside. In Non Non Biyori, the taciturn Kaede is often seen watching over Renge, and despite her disposition, she seems to enjoy keeping an eye on Renge.

  • While it may seem like a paradise that remains confined to the realm of fiction, the beaches of Okinawa do look this nice. Non Non Biyori‘s Okinawa is more vivid and detailed than Harukana Receive‘s Okinawa: here, the setting itself is a character in its own right, while in Harukana Receive, the Okinawa setting was chosen because the warm climate accommodates beach volleyball nicely. Harukana Receive‘s setting is beautiful and well done, but it was secondary to watching Haruka and the others mature – it naturally does not hold a candle to the Okinawa of Non Non Biyori Vacation, whose surroundings are so well done that it does feel like I’m there with everyone else.

  • While it’s a tropical paradise equivalent to China’s Hainan and America’s Hawaii, Okinawa was the site of some of the fiercest fighting during the later days of World War Two. The American forces had advanced via island-hopping to the doorsteps of Japan in 1945, and in April, began a massive offensive to capture the islands. Casualties were staggering, totally some 160000, and by late June, the Allied forces had secured the islands. With ninety percent of the island levelled, and massive civilian casualties, the Allies would convert the island into an airbase from which offensives could be launched against the home islands.

  • Today, the United States maintains an air force base in Okinawa, and the islands have been redeveloped, making it a paradise. Okinawans are among the longest-lived people on earth as a result of their diet and lifestyle, and the karate that I practise, Okinawa Gōjū-ryu originates from Naha. As a result, I would very much like to visit the birthplace of the “hard-soft” style that I practise, and the karate whose principles subtly impacted many aspects of my life. Here, Renge does a sketch of the scene she’s seeing unfold before her: it is pure bliss.

  • This post actually would’ve come out a bit sooner, but this past week has been quite busy, and I’ve had not time to blog: the post about CLANNAD ~After Story~ was written back in mid-February. On my itinerary was a company retreat that saw me visit the mountains with the entire team, and despite being overcast, the weather was very warm. Aside from doing team-building exercises and pushing on with polishing an app for deployment, we visited a frozen-solid Lake Minnewanka, saw more wildlife than I’d ever seen in the National Parks (big-horn sheep and a herd of elk, including one with 12-point antlers), ascended Sulfur Mountain and reached the top as a break in a snowfall occurred, and took a horse-drawn sleigh ride around Lake Louise, where we saw an ice-waterfall.

  • For those wondering, ostrich is quite tough and chewy, with a dull flavour. Kangaroo resembles a very rich, gamy and flavorful steak, while the shark meat I tried is not dissimilar to cod. Alligator meat resembles turkey in texture but has a more fishy flavour overall. The Grizzly House is a Banff institution, although I think that it is only with more adventurous folk, such as my team, that we’d try these: my family would very much prefer a classic cut of AAA prime rib. Tonight, I hit the roads again to visit a local Chinese style buffet, and will need to diligently hit the gym to ensure the food doesn’t defeat me.

  • Following dinner, Natsumi encounters Aoi practising badminton, and then helps Aoi hide this when her mother comes out to check on her. Seeing that Aoi is not so different than herself, Natsumi strikes a quick friendship with her. This particular aspect was absent from the manga, but it adds an additional degree of depth to Non Non Biyori Vacation‘s theme: the story told in the manga alone merely depicts Renge and the others visiting Okinawa for fun, but the movie juxtaposes the differences and similarities of different places to create a much more compelling message.

  • Natsumi decides to pick up some cup ramen after dinner, commenting that no adults around means being able to do the sorts of things they might not normally do otherwise. Her sense of adventure is boundless, and Natsumi is certainly more bold than I am – supervision or not, I tend to be highly rigid, disciplined and quite unwilling to do things that deviate from what I’m used to for the most part. The singular exception is when I am in an environment that allows me to loosen up a little, and I decide that there is no major risk to lightening up a little.

  • Slice-of-life anime prima facie appear to have little by ways of conflict and story, but I’ve found them to be fantastic vehicles for exploring life lessons in a cathartic manner. This is why I have nothing but positive things to say about shows like Non Non Biyori, and why I might be seen as more lenient about such series than most. I particularly enjoy considering personal values and life lessons that these shows bring about: while action-oriented shows might have a more tangible message for its viewers, subtleties in slice-of-life shows make them worthwhile in their own right.

  • Hotaru is ecstatic to be sleeping in the same bed as Komari, but then realises that she always asks her mother for extra time when sleeping in, and then worries Komari might see this side of her. It turns out that she does exactly thus, and then bolts up in embarrassment. Meanwhile, Hikage sleeps on the floor, as they’d run out of beds, and finds herself dissatisfied with the arrangements.

  • For their second day in Okinawa, Kaede and Kazuho take the crew snorkelling and canoeing. They depart the inn under breathtaking weather conditions: the rich colours in Non Non Biyori Vacation give a very visceral sense of being in Okinawa, and I continued finding myself impressed with the artwork, the further I went into the movie. The stunning artwork in this movie is precisely why each and every screenshot can be viewed at full resolution.

  • While Renge and Kaede enjoy the sights of the ocean, even spotting a stingray, Hikage suffers from motion sickness and is unable to explore to the extent that she’d like. It appears that Hikage runs into minor misfortune after minor misfortune during this trip to Okinawa – while this device is employed as a means of comedy, I admit that I am not keen on witnessing people experience low-level problems on a frequent basis: the occasional moment of surprise is what keeps things fresh, and after a while, one would come to feel pathos for individuals like Hikage rather than experience any humour.

  • Inland, the girls in the other group join a canoe trip. Komari immediately requests a two-person canoe, citing the reduced risk of falling into the water, but when she boards the canoe, immediately falls in to the water. Dramatic irony and situational irony are abundant in Non Non Biyori: despite its gentle atmosphere, the series is very fond of placing the characters in a series of unfortunate situations to remind viewers that life can sometimes simply be unfair, but in spite of this, there’s plenty of good things, too. Portraying minor misfortunes as something to laugh off, Non Non Biyori shows that looking past these small ills means being able to enjoy things that are truly spectacular.

  • Hotaru and Komari pair up in a canoe and begin to make their way downriver, but while admiring the mangroves, they lodge their canoe in the roots of one of the mangroves. Canoeing down the river of mangroves is a quintessential experience in Okinawa, and the river’s course is smooth enough so that anyone ages three and over can participate. Hence, viewers cannot help but feel a twinge of pity mixed in with their laughs when Komari and Hotaru get stuck and begin panicking in an adorable manner.

  • Movies oftentimes give characters a chance to shine, and in Non Non Biyori Vacation, Kazuho has such an opportunity. Her students can evidently be a handful, and despite her laid-back, lax manner, as well as her tendency to sleep during work hours, she’s actually quite attentive and is mindful of her students. When Kazuho arrives and hears the pair’s calls for help, it’s just another day at the office: she helps Komari and Hotaru extricate themselves from the branches, allowing them to continue on with their adventure.

  • Despite having left their tea and bread in the car from excitement, Kazuho has noticed this earlier and brought the provisions that Komari and Hotaru have left behind. Being able to see another side of some characters in an anime movie serves to enhance the viewer’s ability to relate to them, showing that everyone is multi-faceted. I find that the joy of slice-of-life anime is precisely in seeing characters react and interact under different conditions, revealing a more complex character than one might have otherwise expected. Over time, these interactions shift gradually and the characters mature, mirroring how individuals in reality slowly change over time, as well.

  • After their canoeing adventure, the girls climb a trail leading to a beautiful waterfall. On the spur of the moment, Kazuho jumps into the water, feeling invigorated. It is here that everyone’s adventure begins transitioning from more tourist-oriented activities into a more personalised, self-guided one: Non Non Biyori has long conveyed that the best adventures are often those that occur unexpectedly, and the beautiful scenery surrounding this waterfall gives the cast a chance to explore on their own.

  • Konomi is a third-year high school student who had limited appearances in the TV series: being a ways older than the others, she’s looked up to as a role model and is voiced by Ryōko Shintani, whom I know for her roles in Saki and Love Lab. She takes a photograph of Komari, Hotaru and Kazuho in the water here. In the manga, Kazuho does not jump into the water, and her energy simply results in her crashing subsequently, whereas in Non Non Biyori Vacation, she tires out from a combination of heat and being soaked.

  • As evening sets in, Renge, Natsumi, Hikage and Kaede enjoy the cooling air and darkening skies by the Cape Zanpa Lighthouse. This thirty-metre lighthouse is located in a particularly picturesque area and is suited for photography. Renge sketches the lighthouse here, before joining Natsumi and Hikage in a photograph. The purples of the sunset convey a unique sense of distance to the day’s end: in Asahigaoka, sunsets predominantly have colours in the oranges and reds, but the Okinawan sunsets feature more purples and pinks. This is likely to hint at the different feeling that a tropical sunset might evoke.

  • The page quote for this talk is from J.R.R. Tolkien, whose perspectives on adventure and travel coherently and succinctly mirror my own personality. Being very literal and straightforward, I rather enjoy Tolkien’s style, and in this quote, he simply means to say that knowing there is a home to go back to makes all adventure and hardship more bearable. I admit that I am not much of a traveller; unlike others of my generation, I do not believe that travelling is the sole means to enrich oneself. Justifications for why people of my generation travel include notions that exploring the world is the single most effective way to become a better person, and to this end, travel frequently. While travel does broaden one’s horizon, it is also an endeavour that requires a time commitment. For me, I would much rather put my time into work, developing my interpersonal and technical skills to positively impact the lives of others in a tangible way.

  • While travelling would help me connect with people better, I still would need to prove it with my work experience, and as such, travel is a lesser priority compared to contributing to something much bigger than myself through my work. At the opposite end of the spectrum, one of my friends ended up moving to Japan after meeting someone there while doing a home-stay program, leaving behind family, friends and a prospective career. I don’t think I could pull off something like this: I’m rather like a Hobbit in many ways, preferring the comforts of home and a good routine. Having said this, I am okay with adventure in moderation, and at any rate, moving somewhere to pursue matters of the heart is not exactly a good ROI if things should go south.

  • After arriving back at the inn after a day’s worth of adventure, Natsumi greets Aoi. The gentle purple-pinks of the evening skies become more pronounced, and gives a magical quality to Natsumi’s growing friendship with Aoi. Despite different backgrounds, Natsumi finds that she shares similarities with Aoi, as well. I was quite surprised to learn that Natsumi is voiced by Ayane Sakura, whom I know best as GochiUsa‘s Cocoa Hoto: if one listens carefully, a bit of Sakura’s kawaii voice can be heard in Natsumi.

  • Another evening in Okinawa means another scrumptious dinner. Entering this month, the weather was still brutally cold, and as the work week began, I sat down to a hot and tasty fried chicken ramen with miso-sesame broth, charred corn and snap peas, plus a soft-boiled egg at a local pub. Their fried chicken stands as some of the best I’ve had, being crisply fried while maintaining juicy chicken on the inside. In moderation, good food during a cold day is the perfect countermeasure, and after a meal such as this, even -20ºC weather is not quite so cold. Of course, things are now warming up again, and I am quite glad to see the worst of winter behind us.

  • After dinner, the girls invite Aoi to hang out with them, where Renge shows her some of the drawings that she’d made. It turns out that Aoi is free the next day, and she offers to take them around different spots in Okinawa that are far removed from tourists. This is the side of the world that Rick Steves promotes in his series, Rick Steves’ Europe: taken the path less travelled, Steves highlights local cuisines and sights that often go missed by travellers in favour of more well-known attractions. Having a local guide who knows the area helps greatly and serves to create a more authentic experience: folk of my generation wish to experience this in particular, and I cannot fault them for that.

  • The next morning, Aoi wakes up bright and early to meet up with Natsumi and the others. Even at this early hour, the Okinawan heat is apparent: with the temperature averaging highs of 26ºC throughout the year, the humid sub-tropical climate of Okinawa is a world apart from the winters in my area. This year, winter came later: January was unusually mild, and then the bitter cold slammed the city with five straight weeks of cold. Forecasts are showing warmer weather incoming, and this will be a breath of fresh air, to finally be able to walk outside without a scarf covering my face.

  • Mirroring Aoi’s thoughtfulness, Hotaru and the others have given their room a cleaning so that she is not burdened with the task, and Aoi’s mother allows her to spend the day with Renge and the others, since it’s improving the customer experience. Simple gestures like these show that for their occasional misadventures, the cast of Non Non Biyori are ultimately good people. Some individuals have stated that this creates the impression that Non Non Biyori has no conflict, and in turn, this prevents the characters from developing. However, I find that exploring characters over time and portraying different sides in an individual is equivalent to character development, so it is inappropriate to dismiss Non Non Biyori on the basis that there are no conflicts in a traditional sense.

  • The soundtrack for Non Non Biyori Vacation is a well-composed one, integrating traditional Okinawan elements (such as the Sanshin) into the incidental music. Familiar motifs from Non Non Biyori also make a return, and together, this is meant to accentuate that Non Non Biyori Vacation is about the fusion of the familiar and unfamiliar. I greatly enjoyed listening to the music for this reason: it evokes imagery of Okinawa in the mind’s eye, while at once being distinctly Non Non Biyori in tone, and as such, the soundtrack is a perfect aural representation of the film’s thematic elements.

  • Aoi takes the girls to her school, where she briefly meets up with a friend before showing them around the grounds. Again, minute details in the environment, such as the stains in the walls surrounding the school and cracks in the pavement, give the environment a more realistic, worn sense. This stands in contrast with the near-flawless infrastructure of Harukana Receive – highly clean environments provide less visual clutter, which is excellent where the focus is on the characters. In something like Non Non Biyori, including these details immerse viewers in the environment.

  • While summer in the inaka often evokes feelings of melancholy in something like Yosuga no Sora, Ano Natsu de Matteru and Please! Teacher, the same colours and atmosphere in Non Non Biyori creates a sense of excitement and adventure. A similar palette was used in CLANAND ~After Story~ to great effect: long days are perfect for adventure, and skies of deepest blue that seem to stretch on forever might be seen as acting for a visual representation of this unlimited possibility. What effect the sky has is affected by the nature of an anime, and seemingly unending skies can also signal uncertainty, as is often the case where romances are involved.

  • Aoi gives everyone a chance to play badminton, and after Natsumi plays Komari, an irate Komari asks Aoi to play Natsumi after she’s beaten. With her experience, Aoi tramples Natsumi without much effort, and Natsumi is utterly exhausted after the fact. However, there’s little time for a rematch, as Aoi’s got an exciting itinerary planned for Hotaru and company. I know the excitement of stuff occurring: things have been hectic as of late, and earlier this week, I had the opportunity to go attend a live-event featuring former U.S. President Barack Obama. In his talk, he emphasised the importance of innovation, cooperation and above all, optimism. I greatly enjoyed the talk, and Obama is a very charismatic, presidential speaker: the reality is that in a world ruled by enmity and discord, we overcome it by showing equal bonds of friendship and trust.

  • This is why I am so insistent about optimism and positivity in whatever I do, whether it be in real life or for my blog. Back in Non Non Biyori Vacation, one subtle touch that I found to be pleasant is the fact that each of Hotaru, Renge, Komari, Natsumi and Aoi have different hats that mirror their personalities. Hotari has a simple but elegant sun hat, while Komari’s hat has a ribbon on it. Both Aoi and Natsumi have ballcaps, and Renge has a bucket hat. Having a good hat is essential in places like Okinawa, where the sun is intense and so is the corresponding UV index. While folks often associate pleasant weather with a high UV index, in places with a higher elevation, there can be a high UV index even when it is overcast.

  • Aoi takes the girls to a shop that sells hand-made Okinawan accessories. In a subtle call-back to Komari’s being perceived as a child, the others notice that a pendant looks sharp on Hotaru, who is more mature for her age. Viewers are largely dependent on dialogue to expose this fact: except for Renge and Kazuho, who have a distinct eye shape, the characters in Non Non Biyori have the same facial features. Barring their hair styles and eye colour, they look very much alike, and I have gotten into the pitfall of mixing characters up. In particular, I find that Hotaru looks very similar to Konomi.

  • After visiting an ice-cream shoppe and savouring sundaes, Aoi brings everyone to an observation point looking over Okinawa. While ice cream had previously not been something I was too interested in, I’ve come to realise that it actually boils down to the hardness and flavour of the ice cream; I’m fond of softer ice cream, and maple ice cream in particular hits the spot. During this past week, I had the chance to try a beaver-tail maple ice cream, which is about as Canadian as ice creams can get.

  • Having local knowledge of an area means being able to take in sights away from the crowds: Aoi brings the girls to a quieter beach, where they enjoy the sights of a calm, rocky beach that is quite far removed from path better travelled. I’ve long had a fondness for exploring the more hidden corners of my homeland and discovering local gems that I normally pass over. For instance, it was taking a second look for holes in the walls that I came across the 514 Poutine in Canmore.

  • In the manga, Renge decides to take a shell home, but in Non Non Biyori Vacation, Aoi suggests that the girls take some white sand home with them, having bought small glass vials with her. This is a wonderful souvenir of what was an immensely relaxing and enjoyable vacation, and also brings to mind a vial of sand from Cancún that I bought. This vial also has a few small seashells within, and the vial is stoppered by a glass ball to keep the sand from coming out.

  • By evening, Aoi takes the girls to the beach where, away from the effects of light pollution, Natsume, Renge, Hotaru and Komari are treated to a stunning view of the night sky, with the Milky Way plainly visible. This is perhaps a more optimistic view of the night skies in Okinawa; most of the island is as bright as Cochrane, which is around 36 kilometres from the city center. While the night skies at this distance are more pronounced than they are in the suburbs of Calgary, it’s still bright enough so the Milky Way would not be easily spotted. As Non Non Biyori Vacation is fiction, this is forgiven.

  • Aoi’s brought the girls here to show them a spectacular phenomenon: Noctiluca scintillans exhibit bioluminescence and when stimulated, will emit a blue light. The girls frolic in the water in a truly magical setting, and similar to a moment in Non Non Biyori Repeat, where Kazuho takes the girls to a pond to watch fireflies, Non Non Biyori Vacation sets one of its most magical moments under the night sky.

  • For me, Non Non Biyori represents a film where, despite the lack of a unifying conflict or an end goal, messages about life are nonetheless present in full. The film is working within the constraints of the manga, which presented the trip to Okinawa as a detour from their routine. There is not supposed to be a conflict or explicit lesson: life simply has breaks in it, and the movie has certainly succeeded in capturing this particular concept, bringing it to life with first-rate visuals and sound. Silver Link has done a phenomenal job on the movie, and presently, with an impressive collection of anime in their profile, I am happy that the studio has continued to find a way.

  • While the manga had Natsumi crying for no discernable reason, the film allows this moment to carry more weight: she’s clearly saddened to leave such a beautiful place, but also is saddened because she’s not able to spend more time with Aoi. The format in Non Non Biyori Vacation allows the film to do things that the manga could not, and this creates a more solid story that can be touching, as well as comedic.

  • For better or worse, the time has come to depart, and Aoi bids everyone farewell. Natsumi promises to write her, and improve on badminton in the meantime. A part of every vacation is the part where one must leave for home, and in my experience, this is usually a mixed bag. On one hand, being in another country engenders a desire to continue exploring, but on the other hand, being elsewhere also amplifies one’s appreciation for their own home. There’s nothing quite like sleeping in one’s own bed after a vacation.

  • While Natsumi is probably the rowdiest of the group, seeing her grow in Non Non Biyori Vacation was probably one of the strongest elements. Despite being unscholarly in manner, Natsumi is shown to have a strong knowledge of the outdoors and is also quite active. She tends to create trouble for others, but at heart is caring for those around her. The film offered Natsumi an opportunity to develop in a manner that the manga did not, and by taking advantage of this, helps viewers like myself warm up to her further.

  • The palm trees and pristine beaches of Okinawa give way to the rolling hills and endless fields of Asahigaoka as the group returns home. The deliberate choice of lighting here, with purples and pinks dominating the evening sky, mirror the sunset of the second day; this was done to remind audiences that while everyone might be back in Asahigaoka, they’re still under the same skies as Okinawa, similarly to how Aoi and Natsumi have commonalities.

  • Having the characters walking apart as they wave goodbyes for the present creates a visual break here. While everyone is parting ways for now, they’re still planning on hanging out in the time that is left before summer is over. I imagine that this film segues into Non Non Biyori Repeat: the manga seems to portray things as taking place after Hotaru arrives in a linear manner, but the TV series’ second season suggests that it’s set in between the episodes seen in the first season. With a third season announced, one wonders where it will fit in the timeline.

  • After arriving home, Hotaru shares her experiences with her parents. Non Non Biyori presents the girls as living in a more old-fashioned environment, and so, do not have access to things like smartphones. I usually communicate with my parents while travelling to inform them that I’ve arrived safely by means of WhatsApp. While I prefer iMessage and Skype in every way, I usually aren’t too picky about the choice of tool I have to use.

  • At the Koshigayas’, Komari recounts her experiences in Okinawa to her mother, while Suguru chills. Natsumi is seen in her room, fondly hanging up the image that Renge had drawn of her and Aoi. Everyone’s gotten something unique out of their experience in Okinawa, and come away with what will be memories to treasure for a lifetime. I note that for the most part, Suguru has not been mentioned to any real extent in my discussions: he’s unique in that he has no voice actor, and his presence is quite minimal.

  • When the Miyauchis arrive home, Renge immediately runs into their house and declares that they’re back. Earlier, Renge wonders if they’ll be able to go back to Okinawa, and Kazuho remarks that such a vacation is too pricey to be doing on a regular basis. Renge decides that in the future, she’d like to go back again anyways. Simple details in conversation give great insights into the characters, and I found that while still having a secondary role in the film, Kazuho was given a few moments that present her as being attentive, mindful of those around her and astute, leaving audiences with the sense that she’s qualified to look after elementary and middle school students despite her lethargic appearance.

  • For my readers, I’m also back in full now: I’ve been writing less so far because my priorities have been on work-related matters. With one major milestone now in the books, I look forwards to continuing on with my work, but for the present, this means that I will be blogging with at least a better frequency than I have in the past several weeks. I’ve long anticipated Non Non Biyori Vacation with enthusiasm, and having finished this post, which is this year’s largest (having some seven thousand five hundred and ten words), I look to the future. I have one final post left for CLANNAD ~After Story~, and will be writing about Ace Combat 7 now that I’ve passed the halfway point. Endro!‘s ending is coming later this month, and I still have one more post on Battlefield V‘s campaign, as well. Finally, I do have (tentative) plans to write about Nagi no Asukara. I would like to thank the reader who’ve stuck around long enough to read this entire post.

Taken together, Non Non Biyori Vacation is an excellent film that capitalises on the silver screen format to deliver a bolder, larger-scale theme while simultaneously remaining very faithful to the structuring and atmosphere seen in the original TV series. Like the themes the film conveys, Non Non Biyori Vacation is both familiar and different relative to the TV series. Watching all of the characters sightsee and experience a more personal side of Okinawa was superbly enjoyable. Non Non Biyori has long excelled at conveying subtle lessons on life in its gentle, cathartic run, and Non Non Biyori Vacation continues on in the same manner its predecessors did. This is a movie that I can easily recommend to anyone who enjoyed Non Non Biyori, and for folks who are looking for something relaxing, Non Non Biyori Vacation fits the bill even if one is unfamiliar with the series. Granted, there are some jokes that require some background in the series to fully appreciate, but the film itself is reasonably standalone such that one could enjoy it even without having seen the TV series or read the manga. It’s been a shade over six months since Non Non Biyori hit the theatres in Japan, and presently, having had the chance to see the movie for myself, I find that this is something that viewers should definitely experience for themselves. Finally, looking ahead into the future, I’ve heard that a third season of Non Non Biyori is in the works, and this is exciting news: Non Non Biyori‘s success comes from being committed to its ability to do more with less. By utilising a simple moment and then drawing the fun from the ordinary, Non Non Biyori shows the merits of taking a step back to smell the roses when the world constantly seeks to accelerate – this is something that is most welcome in my books.