The Infinite Zenith

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The Story of One Summer Night and a Confession: Amanchu! Advance First Episode Impressions and Review

“Fun is infinite!” –Futaba and Hikari

During a beautiful summer’s day, Futaba meets up with Hikari, Ai and Makoto. When they arrive at the beach house, they find Kino swamped from the lunch rush and decide to help her. In the quiet moments after, Hikari invites Futaba to scuba dive for the next day, but Futaba decides to help Kino out instead. She arrives to find the beach house empty, and wonders how Hikari would go about making the most of the moment. Meanwhile, after their scuba diving excursion, Hikari enters a hot springs, leaving her swim top in the open. Mortified, she calls her friends for assistance – Futaba arrives to provide a distraction, and Ai retrieves Hikari’s swim top before anything can happen. Hikari decides to have a summer barbecue for the evening, and afterwards, Futaba shares with Hikari her fears about what would happen if they were to separate. Hikari assures Futaba that fun is infinite, encouraging her to simply make the most of the moment and enjoy the present. With this first episode, Amanchu! Advance marks a triumphant return of Amanchu! – the first season was characterised by a superb exploration of the growing friendship between Futaba and Hikari, and how this introduced gradual but profound changes on each. At the opening of the second season, it becomes clear that Futaba’s come to treasure her friendship with Hikari, Ai and Makoto as dearly as she does with Akane and Chizuru, and Amanchu! Advance follow what occurs as Futaba continues to spend time with her friends, as well as what occurs when new individuals are introduced.

With its opening episode, Amanchu! Advance submits to audiences that Futaba is someone who treasures her memories very greatly; the first season illustrated that Futaba was troubled by the prospect of not being able to store all of her photos, and Futaba’s monologues show that she’s very nostalgic. Further to this, once Futaba settles into a new environment, she finds it difficult to entertain the notion of readjusting to a new one; the first season depicted Futaba slowly easing into her new life with Hikari and scuba diving. Having grown accustomed to the energy and adventure that Hikari brings into her life, Futaba becomes worried that these experiences will end should they two ever separate. In conjunction with the addition of new characters into Amanchu!, which will act as the catalyst for pushing Futaba to embrace living in the moment and finding joy in everyday things, I would therefore imagine that Amanchu! Advance‘s main goal will be to present the journey that Futaba and Hikari experience together; their opposite personalities will doubtlessly allow the two to continue learning from one another, especially considering the strength of camaraderie that Futaba and Hikari share (to the tune of both girls openly expressing their feelings as love). These learnings will be set against the backdrop of scuba diving, and consequently, I’m very much looking forwards to seeing what directions that Amanchu! Advance will cover.

Screenshots and Commentary

  • This is why I watch anime – fluffy cumulus clouds rising high into the sky on a summer’s day evokes a sense of adventure, inviting hikes into far-flung forests or lying in an open field as a breeze introduces relief from a comfortably warm summer sun. Summer weather of this sort usually gives me a sense of melancholy; summer is when I would consider to be the most romantic season, and relationships that blossom during the summer in anime are characterised by equal measures of closeness and distance. Of course, being Amanchu!, the melancholy element is absent, leaving only the feeling of infinite possibility that accompanies summer days.

  • The weather of Amanchu! Advance‘s first episode is a world apart from the miserable, dreary and cold, grey weather my area’s experiencing. While it’s remained -10ºC and snowing, at least the weather in Amanchu! Advance is beautiful, and here, Hikari races Futaba to the viewpoint, remarking that she enjoys trying to find fun things to experience in common, everyday activities. It typifies Hikari’s character to live in the present. Here, at the beginning of my journey into Amanchu! Advance, I will note that this first episode post will feature the standard twenty images, and that I will likely continue to write about Amanchu! Advance as I did for Yuru Camp△.

  • Scuba diving is now second nature for Futaba, who spent a majority of Amanchu! easing into the activity and earning her certifications to be able to dive with Hikari and the others. The journey to the destination was meaningful, and the conclusion was a well-deserved one. In my review for the first season, I gave the series a recommendation – it’s an excellent anime and fell short of “strong recommend” only on the basis that Amanchu! moves very slowly, and the chibis might be a bit distracting at times. Anime I give “strong” recommendations to are the cream of the crop: these are the shows that even the most seasoned and perhaps, jaded viewer might enjoy.

  • After hearing some guests speaking about this being their last scuba diving trip for the present, Futaba begins wondering about what would happen once she and Hikari go their separate ways. She helps the guests take a group photograph, and subsequently, the crowds begin thinning. It’s not often that Kino’s beach house is this busy – it’s generally quite quiet in the anime, bringing to mind GochiUsa‘s Rabbit House, which was similarly quiet.

  • Once things settle down at the beach house, Hikari and the others settle down for lunch: Kino’s pork soup and ice cream. After Hikari mentioned making fun in every moment to Futaba, when Hikari invites her to go scuba diving with her and help with a programme she’s teaching, Futaba declines, trying to make her own path and feeling that helping Kino out would be a fun experience in its own right. Futaba’s decision leaves Hikari a touch disappointed.

  • I do not believe that I have any screenshots of Kino, Hikari’s grandmother, up until now: with a laid-back personality, she’s voiced by Kikuko Inoue (Ah! My Goddess!‘s Belldandy, Sanae Furukawa of CLANNAD and Megu’s mother in GochiUsa). I live in a land-locked place, and as such, views such as these are completely unattainable to me except during travels: Cancún was one such destination, and I still remember the mornings where I strolled along the beach and marvelled at the warm, turquoise waters.

  • The last time I wrote about Amanchu!, it was the OVA that I’d long waited to see. It accompanied one of the BD releases and released in March, although circumstances meant that I did not have a chance to watch it until August, after coming home from a hike to the Lake Agnes Teahouse and Beehives in Lake Louise. The uncertainty of OVAs and movies means that I prefer second seasons to shows that I greatly enjoy: having a known schedule makes shows much easier to write for.

  • Hikari’s main shortcoming is that, in living in the moment, she occasionally fails to consider the consequences of her actions. After hopping into a hot bath, Hikari realises that she’d left her swim top slightly out of reach, but before she can retrieve it, some older gentlemen occupy another bath nearby, preventing her from getting out. She finds herself in a bit of a quandary, blushes in the style that is unique to Amanchu!, and then decides to call her friends for assistance. While they’re initially away from their phones, they end up receiving Hikari’s message and immediately move in to help

  • Futaba ends up giving the gentlemen some pork soup to focus their attention away from Hikari. Spending too much time in the hot springs causes blood vessels to dilate, lowering blood pressure and inducing feelings of nausea. By the time Ai and Futaba reach Hikari, reach her, she’s beginning to overheat, and Ai is so focused on getting Hikari out of the water that she forgets Hikari’s got no top, resulting in a hilarious funny face.

  • Hikari cools off with Ai and Futaba by her side, quickly returning to normal after a dangerous situation. Here, I remark that the translations I’ve seen use a colloquial phrase associated with wardrobe malfunctions: Hikari’s original dialogue on her phone reads “SOS ポロリ” (romaji “porori”). This phrase is slang for “slipping out” or “nip slip”, and consequently, the choice of translation ends up being spot on. I further remark that I certainly don’t write with this set of vocabulary because it’s not the sort of things this blog covers, so unless there is another need for it, you won’t be seeing this phrase elsewhere.

  • Evidently, recovery from overheating and the effects of a prolonged stay in warm water is much quicker in anime than it is in reality. After a few moments, the effects have worn off, and Hikari hops up with a new announcement. Prompted by Futaba’s coming to the rescue, Hikari decides to throw a barbecue by way of thanks. Folks wondering why I don’t ever refer to Futaba as “Teko” and Hikari as “Pikari” will be disappointed to learn that it’s because it’s for clarity. As a bit of digression, I note that Pikari (ぴかり) refers to something brilliant, shining, mirroring Hikari’s high-energy presence. Futaba’s nickname stems from Hikari finding her eyebrows to resemble the tenten strokes, so Teko is the combination of te– from the tenten and ko is “girl”.

  • As evening sets in, the girls and their homeroom instructor, Mato, have a fantastic barbecue by the seaside.  Besides the assortment of meats and corn on the cob from Hikari, Ai and Makoto bring shellfish (prawns and scallops). Mato’s brought snow crab, and Kino provides onigiri. Anime such as Amanchu! are why I would suggest to bloggers not to write on an empty stomach, and is actually one of the reasons why I’m so fond of sharing food pictures in some of my anime discussions.

  • Having good food is precisely what is necessary to ward of the miserable winter days, and so, yesterday, while the world remained a dreary grey, I sat down to a home-made fish burger with a side of two kinds of fries, which was delicious and also a sight more colourful than the landscape around town. The weather’s begun warming up slightly, and we’re expected to see more seasonal temperatures soon, but expedite warming from within, we had prime rib with a salt-and-pepper thyme rub, mushroom gravy, loaded mashed potatoes and seasonal vegetables. Tender, tasty and warming, it’s the perfect thing for when the weather has remained quite miserable.

  • Futaba and Kino share a conversation: audiences have been aware of Futaba being uncertain of her directions in life until she met Hikari, but Kino reveals that Hikari had a tendency to lose track of things when living in the moment until she’d met Futaba. A strong indicator of the strength of their friendship, both Futaba and Hikari have helped one another grow. There’s a subtle detail in this conversation: Ohime blows through her food and manages to eat some of Aria’s too, but Aria isn’t too bothered by this, and later settles down with Ohime.

  • There’s one another anime that immediately comes to mind when the preparation of and enjoyment of food is depicted to this level of detail, and that’s Yuru Camp△. The sizzling of crab on a grill is a sound for the ears to enjoy, and one can imagine the aroma that the cooking process produces. The cooking process isn’t actually too difficult: the crab legs should be brushed with a thin layer of olive oil, and after the grill is heated, they can be placed around 12 to 15 centimeters from the coals. Crab legs will cook in around four to five minutes, and should be flipped once during cooking.

  • Having eaten their way through the grilled meat, corn, shellfish, crab, pork soup and onigiri, everyone’s feeling the effects of the food wall, although not yet reaching a point where they get the legendary meat sweats. Both are encountered by Adam Richman in Man v. Food: the former is simply a consequence of beginning to fatigue from eating too much, but the “meat sweats” specifically refers to the phenomenon where one begins sweating profusely after eating excessive meat. This arises because proteins take a considerable amount of energy to digest, and the increased energy corresponds with increased heat production, which in turn results in sweating.

  • As their dinner winds down, Futaba receives a message from Chizuru, who shares her evening’s events with Futaba. Having eaten enough to impress the likes of Adam Richman, Futaba squeals in response to Chizuru’s photo of meat on a grill. Chizuru and Akane later call Futaba: it was a pleasant surprise to see Akane and Chizuru again. They’re essentially ARIA‘s Akari and Aika in the real world, sharing their respective voice actresses, and in this moment, some call-outs to ARIA can be seen. The Orange Planet emblem is seen on a pillow, and Akane is holding a Maa doll.

  • Today’s page quote comes from this moment. When Futaba voices her worries to Hikari about the possibility of them parting ways, Hikari reassures Futaba that even if this was to happen, then the only thing to do is to live in the present and make the most of the now. Both Hikari and Futaba represent the extreme ends on a spectrum, and in reality, people will find that they fall on a continuum between the two. I personally am more similar to Futaba; it takes me a bit of a kick to get me out of my comfort zone.

  • Because I’m now familiar with Amanchu!, watching the characters revert to chibi form is no longer a bit of a surprise to me. Hikari and Futaba more or less do a mutual kokuhaku here, although given the nature of Amanchu!, I would tend to believe that these feelings are more strongly tied to mutual trust, respect and the understanding that the two friends complement one another is what draws the two to one another, rather than anything associated with romantic love.

  • With the first episode in the books, I say with confidence that Amanchu! Advance is going to be this season’s Yuru Camp△, fulfilling the role of an anime that puts a smile on my face, helps me relax and also prompts me to take a look back and appreciate the simpler things in life. This is the main reason why I continue to watch slice-of-life anime, and I imagine that others of Amanchu!‘s ilk continue to be produced in Japan primarily because there is a market for shows that help people kick back after a day of hard work.

Right out of the gates, Amanchu! Advance is a visual treat on top of introducing new narrative directions. As the first episode progresses, I was superbly impressed with just how vivid the colours are. The deeply azure skies and verdant landscapes create a contrast of colours that fully and completely capture what a summer properly feels like. Kino’s beach house and its surroundings are rendered immaculately. Lighting is expertly applied to breathe life into the world that Hikari and Futaba live in. All of this comes together to create an unparalleled sense of immersion: Amanchu! Advance is quick to remind audiences that a vast ocean awaiting exploring, the endless summer calm and heartwarming characters of Amanchu! have returned in full force for another season. However, this is a continuation that will explore new directions, and a subtle reminder of this is found in the rather unfortunate and embarrassing situation Hikari finds herself in; audiences are to infer that Amanchu! Advance will be more bold than its predecessor. Amidst the cathartic atmosphere and valuable life lessons depicted, Amanchu! Advance will very much be this season’s equivalent of Yuru Camp△Amanchu! might have a dramatically different setting, premise and art style, but like Yuru Camp△, Amanchu! masterfully utilises dissimilar personalities and the resulting interactions to create stories that calm, warm and induce a sense of ease amongst viewers that entice them to return each week to follow the adventures and learning that Futaba and Hikari partake in.

Girls und Panzer Das Finale Part One: Review and Reflection

“On ne passe pas.” –General Robert Nivelle

While using telemetry to search for additional tanks in the Ooarai, rumours that Momo might be held back circulate. It turns out that she was not accepted to an university; this coincides with a Winter Cup, which was re-instated in preparation for the upcoming World Cup. Aiming to leave her legacy for Miho and her juniors, Momo resolutely led the search for new tanks so Ooarai’s future was assured, and when it is mentioned that some universities accept students based on extracurricular merit, Ooarai’s Panzerfahren team decide to make Momo commander, banking on a win at the Winter Club to help her with post-secondary admissions. Miho and the others decide to descend into the bowels of Ooarai’s ship. Sodoko refers area to this as the “Johannesberg of Ooarai”, and after she’s abducted by a pair of students, Mako follows in pursuit, leading them to Bar Donozoko. Miho and her friends liberate Sodoko and explain that they’re searching for a tank, but the bar’s patrons challenge them to a series of contests. Miho’s crew come out triumphant, earning the respect of the group’s captain, Ogin. It turns out that Ogin and her friends were indebted to Momo, who saved from some expulsion some years ago, and after learning that their smoker is the tank that Miho was seeking, Bar Donozoko’s crew decide to man the tank, introducing themselves and swearing to help Momo. At the opening draw, Momo draws for the first match, which will be against BC Freedom Academy. Beyond the knowledge that BC Freedom is typically eliminated from round one, Miho remarks that nothing is known about them, prompting Yukari to perform her usual reconnaissance, learning there is a deep division that runs at BC Freedom. On the day of the match, Ooarai’s Panzerfahren team is introduced to their newest group, the Shark Team and their Mark IV. BC Freedom is late to the party, but once they arrive, the match begins. They split up, leading Momo to keep her main column together and determine where BC Freedom’s armour went. Deducing BC Freedom’s flag tank location, Ooarai advances to the suspected position to engage, but when when crossing a wooden bridge, they suddenly find themselves being shelled. Surprised at the exemplary coordination BC is exhibiting, Yukari apologises for having failed in her reconnaissance duties. With the bridge beginning to fail, Miho proposes using the Mark IV as a ramp, allowing all of Ooarai’s tanks to safely leave the bridge. BC Freedom orders a tactical retreat while Miho and her forces regroup.

The opening act of Das Finale is functionally equivalent to two standard episodes, so after forty minutes of play, Das Finale’s first instalment follows in the same manner as its predecessor; circumstance dictates the recovery of an additional tank, and a match begins to set the tone for the remainder of what is upcoming in Das Finale. Das Finale is motivated by rather different reasons than the TV series and Der Film, with more senior students considering what their futures entail. With Momo in a difficult spot, Ooarai’s students rally to help her out: all of this is only possible because of the strong bond that everyone shares. Momo has long been presented as a person who has a remarkably tender spirit despite her tough exterior, and so, Das Finale‘s choice to focus on her gives an opportunity to weave a different narrative than what viewers had seen previously from Girls und Panzer. While Das Finale also retains a familiar, tried-and-true story, there are enough novel elements to keep Das Finale fresh. The comedy of watching Ankou Team somehow manage to kick the asses of everyone at Bar Donozoko is amusing, as is Ooarai’s clever use of the Mark IV as a makeshift ramp to escape a collapsing bridge. In its execution, Das Finale‘s first act is conventional, setting the stage for what lies ahead for Ooarai and their Panzerfahren team: Girls und Panzer has traditionally excelled in depicting the journey, rather than its destination, and so, while the first part moves in a highly foreseeable manner, Das Finale introduces enough new elements while returning to the skill-based roots of the TV series to result in a highly entertaining start for Das Finale. While off to a solid start, one element to keep in mind for new-coming viewers is that Das Finale is set after Girls und Panzer and Der Film: mission-critical elements are explored in earlier instalments, so in order to fully appreciate where Das Finale is going, one should take the time to ensure they are familiar with events of both the 2012 anime and the 2015 movie. The plus side about this is that Girls und Panzer isn’t particularly long, and with the second act’s theatrical screening date unknown, there is plenty of time for interested viewers to do so.

Screenshots and Commentary

  • Because Das Finale is releasing six movies, it stands to reason that each movie is equivalent to two episodes. From this, I will be doing what is essentially an episodic review; each post for Das Finale will feature forty screenshots, and I will attempt to ensure a reasonable distribution of screenshots for all of the critical moments in each part, or act. We open up this discussion with Momo reacting to headlines in the school newspaper about her repeating a year while on the hunt for new tanks; of all the characters, Momo is the most prone to being depicted with what I call “funny faces”.

  • Understandably concerned for her, the entire Panzerfahren team shows up to learn the truth from Momo, who is shaken. While she and Anzu were among my least favourite of the characters when Girls und Panzer‘s first few episodes aired, they quickly earned my respect in their respect for Miho and dedication to Ooarai. A subtle sign of their commitment is that during their tank selection, they went with the Panzer 38(t), a light tank with thin armour and a weak primary armament. While they would upgrade later to the Hetzner, that the student council willingly took the weakest tank illustrates that they have faith in Miho and her abilities.

  • One of Girls und Panzer‘s great strengths was being able to adequately flesh out all of the secondary characters despite only having twelve episodes to work with. By Das Finale, Miho, Yukari, Saori, Hana and Mako’s personalities are well-established, and second to Ankou Team, Turtle Team’s members figure prominantly in Girls und Panzer. Anzu and Yuzu’s characters are relatively straightforward compared to Momo; both get into their preferred institutes and performed reasonably well in matches. As such, the choice to have Momo leading Ooarai for Das Finale is a chance for audiences to see her shine, having been given the short end of the stick in Girls und Panzer and Der Film.

  • More insight is provided on Ooarai’s school ship: during the third OVA (which I wrote about a shade more than five years ago), the school ships of the Girls und Panzer universe were presented as well-maintained, orderly facilities where girls learned practical skills. Besides the default general studies group, there are also students dedicated towards the maintaining of the ships’ basic functions. Most of these folks are well-kempt and disciplined, but Das Finale shows that the sheer size of these vessels gives rise to the slums phenomenon that plagues large urban areas, as a result of inadequate resources to maintain law enforcement in all areas.

  • The depths of the Ooarai school ship are known as “Johannesberg”, a city in South Africa affected by serious urban decay, but when I see this side of Ooarai’s school ship, it bring to mind the likes of Hong Kong’s Kowloon Walled City and Útulek Complex in Deus Ex: Mankind Divided. The girls’ pensiveness is evident here, especially Miho, who’s contracted in fear. While a fearsome tank commander and strategist, on foot, Miho and her diminutive 5’2″ frame is not particularly intimidating. Miho reminds me a great deal of Slow Start‘s Hana Ichinose, whom I’ve long felt to me what Miho might be like in the absence of Panzerfahren, and seeing her body language in this side of Ooarai’s school ship definitely reinforces this.

  • After falling into a wine cellar while in pursuit of Sodoko, Miho and the others find themselves in Bar Donozoko. Unfamiliar with the setting, everyone orders something with milk in it, leading the patrons to mock them. While long seen as a drink for children, nutritional experts recommend that adults continue to drink milk because it’s got a variety of compounds that make it a healthy option, and bodybuilders consume it precisely for this reason. I admittedly prefer it over coffee, and where possible, I try to have two glasses every day.

  • Each of Yukari, Saori and Mako manage to hold their own against Bar Donozoko’s challenges: Yukari’s expertise in knots allow her to quickly unknot a rope presented to her, Saori has become very versed in communications and is able to work out the semaphore message given to her, while Mako bests Rum in a thumb war. Goaded beyond endurance, Murakami makes to kick Miho’s ass, but Miho demonstrates a hitherto unseen side to her: she dodges all of the strikes and bows in apology, lifting Murakami into he air and throwing her behind the bar. Hilarious and surprising, it seems Miho is much stronger than her slender frame suggests; besides being relevant in Panzerfahren, hip strength also has other uses.

  • Frustrated by Miho and her friends’ resilience, weapons are drawn as Bar Donozoko’s patrons prepare to escalate things. Yukari readies a M24 Stielhandgranate. While there’s no white marking or relief texture on the handle to indicate thus, I imagine it is a smoke grenade variant, since it would be outright obtuse to use an explosive grenade at this range: using it would almost certainly flatten Miho and her friends along with Bar Donozoko’s patrons. Ogin steps in and says that a drinking contest, rather than an all-out fight, seems more appropriate; she’s visibly impressed with what Miho and her friends can do.

  • Because the consumption of alcohol by minors isn’t exactly sanctioned, when the drinking contest comes, a non-alcoholic rum is used. The challenge comes from it being spicy, and I imagine that it’s likely using ghost chili extract, otherwise, the taste of rum would be defeated. Hana holds her own against Ogin, who is no novice, managing to put Ogin on the floor. While presented as a gentle and polite girl, there’s a sexy quality about Hana when she becomes more serious.

  • While bearing the characteristics of delinquents, once Ogin is aware that Miho and her friends are aiming to help Momo, Bar Donozoko’s patrons immediately become more friendly and more in line with how girls from all of the other teams are. They might be a tough-talking, rowdy bunch, but they also possess a sense of honour and respect. Ogin is voiced by Ayane Sakura, better known as GochiUsa‘s Cocoa Hoto, Akane Isshiki of VividRed Operation, Tsubaki Sawabe from Your Lie in April and Kantai Collection‘s Nagato. She reveals the location of the tank and recruits her friends to help Momo out.

  • Now that we’ve got everyone in the frame in lighting conditions that throw each character into sharp relief, from left to right, we have Murakami, Cutlass, Ogin, Rum and Flint. They respectively become the gunners, commander, driver and radio operator for the Mark IV. Momo reacts in joy to seeing them here, pleased to see them again after all this time, and that Momo once saved them from expulsion provides further insight into her as a tough-but-fair individual who is actually quite driven by emotions: of everyone in Girls und Panzer, she cries the most.

  • Glimpses of other schools can be seen during the Winter Cup’s ceremonies, including the rather interesting team just ahead of Ooarai, whose dress style is evocative of the Spanish Legion. Girls und Panzer has hinted previously that there are a very large number of schools, and that Panzerfahren is an international sport. While I wager that the series was created as a one-off, the world-building has been handled well enough so that the series is very scalable: keeping things fresh is as simple as adding more schools and ensuring that they’re properly written. I’ve mentioned this somewhere at another point in time, but to re-iterate, I’d love to see a Canadian-style team featuring all of the Canadian stereotypes.

  • Should a Canadian team be featured, I expect to see stereotypes including: a love for the winter matching Pravda’s, non-stop chatter about ice hockey (so, the girls would argue about whether some goals should be waived off for being offside mid-match), adding Maple Syrup to bloody everything and apologising for every kill, even more than Miho. Such a team would also fight with the ferocity of a beaver: mirroring our actions at Vimy Ridge. Back in Das Finale, Momo’s draw sends Ooarai into a match with BC Continuation school. Looking back on Das Finale‘s first act, while Yukari will later believe that it’s an act, the animosity at BC Academy is quite real according to supplementary materials.

  • With their opponent known, Yukari sneaks off to BC Freedom Academy and learns that the school has two distinct factions as a result of a merger. This setup is based off the divide in France during the Second World War, with the BC faction being more relaxed and easygoing than the strict, disciplined Freedom faction. The division in ideology means that brawls are common on the BC Freedom Academy school ship, and during her excursion to BC Freedom, Yukari is caught in one such fight, learning very little about their opponent beyond a seeming lack of unity. The video she presents includes a knockoff of the LucasFilm™ logo; to quote Bubblegum Tate from Futuama, “Hello, lawsuit”.

  • Yukari is distinctly woebegone after returning from her reconnaissance mission, but is in fine spirits; a school such as BC Freedom would be at a disadvantage during Panzerfahren matches owing to their division, similar to Mao Zedong’s Communists and Chiang Kai-Shek’s Nationalists, who nominally cooperated to repel Imperial Japanese forces, but otherwise, considered one another worse enemies than they did the Japanese. The implications of BC Freedom’s factions could lead to the impression that they are a pushover, but par the course for Girls und Panzer, it’s more likely that BC Freedom has a few tricks up their sleeves.

  • Many familiar faces make a return in Das Finale‘s first act; each of the schools previously seen discuss their future directions in Panzerfahren, and audiences learn that Darjeeling plans to study in the United Kingdom, while Maho’s gone to Germany for her post-secondary education. I’ve chosen not to feature all of those moments here, since doing so would drive the screenshot and figure caption count above what I’m willing to commit to writing this post, but on the topics of time and the future, it’s been five years since Girls und Panzer first aired. A lot can happen in five years; I finished my Bachelor and Masters’ degrees, began working and I’m a ni-dan now.

  • The higher-ranked delegates and officials prepare for the match’s opening. A St. Chamond tank is visible on the table: only four hundred were manufactured, and lacking a turret of modern tanks, it nonetheless is considered as a development in armoured warfare. With a 90 HP gasoline-electric hybrid engine, the St. Chamond could reach a maximum speed of 12 kilometers per hour despite its mass, and later models were armed with a 75mm cannon. Its design made it unwieldy and unsuited for crossing trenches, but its Battlefield 1 incarnation is surprisingly fun to operate: it’s my second-most used tank after the Mark V.

  • BC Freedom Academy’s late arrival to the match leads Saori and the others to wonder if they can win by default; while Ooarai remains hopeful for such an outcome, from a narrative perspective, this approach is impossible (I formally define impossible from a mathematical perspective as “this event is not in the set of events that can occur”), as it would cause the story to end too quickly and lead to a large number of disgruntled viewers. Indeed, BC Freedom Academy arrives fashionably late to foreshadow that they are not necessarily what they seem.

  • The patrons of Bar Donozoko are made operators of the Mark IV tank that Miho and the others found in the bowels of Ooarai, giving their tank a pirate theme. The predecessor to the Mark V, which is seen in Battlefield 1, the Mark IV is the most iconic tank of World War One, being the fourth model in a line of vehicles designed to smash through fortifications and break stalemates. Battlefield 1 presents the Mark V is a superb platform for offense, and while it’s the slowest tank in the game, it’s got the best offensive options for anti-armour engagements. By the time of World War Two, the Mark V and IV would have been woefully inadequate, with its low speed, outdated armament and armour making it vulnerable to period armour. In Girls und Panzer, it is appropriate that the pirate-themed crew helm the Mark IV, whose lineage is informally referred to as “Landships” in Battlefield 1.

  • Compared against the immaculately clean uniforms of Ooarai, Oshida (closest to the viewer, blonde hair) and Andou (between Marie and Oshida) are visibly beaten up, having been seen fighting with one another on the way in. Marie displays a degree of flippancy in refusing to bow (like Gōjū-ryū, we bow to our opponents before beginning a competition), and with the formalities out of the way, the teams are off. Unbefitting of this blog and its usual manner, I remark that Miho’s seen some “character growth” since the events of the first season and movie, being a subtle sign that time is passing.

  • The faded grey skies and yellow-green terrain is a reminder that this battle is set during the winter; while the match against BC Freedom is set in a temperate grassland with some woods as cover, one cannot help but wonder if we’ll see more winter combat in later instalments of Das Finale. The setting admittedly reminds me of Battlefield 1‘s Somme Map from the Apocalypse DLC; I’ve been playing Battlefield 1 only intermittently as of late thanks to The Division running a series of global events, but while working on some community missions, I’ve seen a dramatic improvement to my performance, and have really enjoyed the upgraded SMG 08/18, which is nigh-unstoppable.

  • Based on information from Duck and Leopon teams, Miho deduces that most of BC Freedom’s forces will have taken the high ground. Because the aim of a flag tank match is to kill the flag tank, the match can be concluded in a very decisive manner very quickly. Miho is seen drawing on a Magna Doodle-type device, which operates by using a magnet in the stylus to align magnetic particles. While unsophisticated compared to an iPad, Magna Doodles do not require dry-erase markers, ink or graphite, making them a powerful reusable tool that reduces the need to carry writing equipment into the field.  Miho’s choice of equipment underlie her personality: while she can seem quite childish, Miho is also remarkably practical, making use of the best tools for the task at hand.

  • Despite being quick to bark out orders under normal circumstances, Momo is unaccustomed to fulfilling the role of commander, and is seen constantly asking Miho for advice. Miho encourages Momo and provides feedback to ensure that Momo makes the calls for Ooarai that will lead to victory.

  • The artwork in Girls und Panzer‘s original run was of a high quality, but with the release of Der Film and Das Finale, the amount of detail that’s gone into landscapes and lighting effects have much improved. From crisp blades of grass on the ground to details in the trees and volumetric lighting effects, Das Finale looks and feels amazing. While the improvements are not as pronounced as the jump from Battlefield 3‘s Frostbite 2 Engine to Battlefield 4 and 1‘s Frostbite 3, subtle differences nonetheless indicate that that Actas is constantly improving the visuals to ensure they are eye-pleasing.

  • The number of World War One tanks in Das Finale‘s first chapter brings to mind DICE’s return to World War One for Battlefield 1; one of the most challenging aspects that Girls und Panzer faced following the TV series’ conclusion was designing an enemy more potent than Black Forest. Der Film was somewhat unsuccessful, falling upon an enemy that was superior in terms of equipment alone, and with Das Finale, the introduction of BC Freedom Academy has allowed the series to return to its roots in a skill-based battle over sheer spectacle alone.

  • The volleyball team move into a deserted urban area in pursuit of BC Freedom Academy’s tanks. The urban combat in Das Finale‘s first part is minimal, and they manage to locate a part of the BC Freedom armour before coming under fire. The small number of enemy armour encountered and light combat insofar serves to build the suspense. I experience the same in any shooter; when the map becomes too quiet and I’m given a great deal of resources, I prepare myself for a massive engagement.

  • While scouting ahead, Momo and Yukari locate BC Academy’s main force. Yukari is seen using the same Entfernungsmesser EM 1M R36 binoculars that she used in Der Film. They spot BC Freedom’s students playing games and relaxing on the hill. Some viewers will note that the images cannot be expanded to be viewed in greater detail: I’m treating Das Finale like an episodic review rather than a special movie review, and so, won’t give this series the silver screen review treatment.

  • While attempting to traverse a rickety wooden bridge, Miho’s forces find themselves under heavy fire from the BC Freedom Academy tanks. They begin targeting the unstable wooden support columns and manage to trap a majority of Ooarai’s armour on the bridge. A plunge in the river would spell certain doom for Ooarai here, and the situation looks quite dire for Ooarai, who have walked into a trap of sorts. It’s a bit of a callback to the second episode of the TV series, when Miho finds her tank caught on a bridge between their classmates’ tanks during training, and the first sign of trouble is optics glint that the Student Disciplinary Committee spot. This is why I do not run with high-powered optics in Battlefield 1 unless necessary: seeing scope glint prompts me to immediately take cover and find a different route, so as a sniper, I could stand to lose kills once the opposing team’s players are alerted to my presence.

  • The flag tank that BC Freedom Academy selects for the match is the Renault FT-17, a revolutionary light tank that formed as the predecessor to modern tanks. With its revolving turret, rear-mounted engine and front crew compartment, its design forms the basis for all tanks as we know them. The FT-17 was successfully deployed in 1918 against German forces, and continued to be used into World War Two, but they were completely outmatched by period armour. In Das Finale, it remains to be seen as to whether or not the FT-17 that Commander Marie is fielding is outperformed, or if it is as capable as the FT-17 seen during Battlefield 1‘s open beta, during which I managed a 20-streak with it. The FT-17 has since been re-balanced, with a lower ammunition capacity and longer self-repair time to counter the fact that it was nigh-unstoppable during the open beta.

  • Realising that this is probably the first time she’s let Miho down with her intelligence-gathering, Yukari is seen with tears in her eyes, and even with Miho’s reassurances, the fact remains that elimination could very well be imminent. BC Freedom Academy’s execution here is what motivates this page quote. French for “They shall not pass”, it’s an idiom for expressing determination, and the sustained shelling has a noticeable moral impact on Ooarai’s crews. Miho retains her calm and begins working out a solution, asking Momo to pass on the orders for the option that she’s devised.

  • When Marie realises what the Ooarai tanks are doing, she recoils in shock. Rarely seen without a cake in hand, Marie is a call-out to Marie Antoinette, a rather infamous figure who personified the ills of the old French monarchy. Marie’s cakes are likely a reference to the phrase Qu’ils mangent de la brioche, better known in English as “let them eat cake”. Commonly attributed to Antoinette, there is actually no record she said this; the misconception comes from a line in Jean-Jacques Rousseau’s autobiography.

  • BC Freedom employs a hybrid style between Napoleon I’s manoeuvre warfare to disrupt the enemy, and a defensive approach inspired by the Maginot Line. While BC Freedom Academy had such a difficult time getting the different schools to cooperate, both approaches were formed into a “Marriage Approach”. It is this that Ooarai squares off against during its match, but even BC Freedom cannot anticipate the innovative methods Miho applies towards Panzerfahren.

  • In Das Finale‘s first act, BC Freedom is seen fielding the ARL 44 heavy tank, which was designed off older heavy tanks, such as the Char B1. They were intended to trade blows with the Tiger II, but saw no combat during World War Two, only making it into production in 1949. The model proved underwhelming, and only sixty were produced; their role would be fulfilled by the American M47 Patton. Besides the ARL 44, BC Freedom also uses the SOMUA S35, a cavalry tank that could fulfill both anti-personnel and anti-armour roles. Historically, the S35 proved effective in battle, but were also expensive to produce.

  • Working with Miho means an acceptance of the unorthodox; while each of the other schools (save the University team) retain a structured, well-known strategy based off their historical equivalents, Ooarai’s approach to Panzerfahren has become one of improvisation, actively attempting to understand the environment and determining how to best utilise it to gain an advantage. Through Miho’s examples, each of the tank teams have since adopted a penchant for improvisation, and it speaks volumes to Ooarai’s capacity for improvisation when using the Mark IV as a ramp to escape the stricken bridge does not qualify as one of the most outrageous things they’ve done.

  • A glance at the calendar shows that March is very nearly over, which is bewildering. This month has evaporated, and things at work are turning around as spring returns to the world. This post comes right as the winter anime season draws to a close, and after a lunch of garlic-herb breaded sole fillets with fries, I turned my attention towards getting this talk on Das Finale live: nowhere near as large as the post on Der Film, it’s nonetheless taken upwards of four hours to assemble.

  • While Das Finale predominantly makes use of incidental pieces from Girls und Panzer‘s original run and Der Film, there are some new songs that accompany the BC Freedom Academy’s moments. No news of a soundtrack has yet reached my ears, so we return to the actual combat: on the topic of aural elements, Das Finale performs much better than Der Film did. The sounds from each tank firing their main armament sounds much beefier in the former, whereas in the latter, some of the cannons sounded like a marksman rifle from Battlefield 3.

  • Seeing that the hunter has become the hunted, Marie orders all of her tanks to make a withdrawal. Inspection of the exchange of shell fire finds that Ooarai’s gunners hit a few of their marks, but deal glancing damage. The fact that both teams still have their armour suggests that the narrative is going to go in a direction where it’ll be a showdown between Ooarai and BF Freedom’s flag tank, and I wager that Momo will finally land her first kill, having spent the whole of the TV series and movie missing even the most trivial of shots.

  • Having driven off BC Freedom Academy for the present, Miho apologises for having put everyone in such a situation. Thankful everyone’s alright, she rallies her forces and states that they will regroup. Ending the first act of Das Finale on a cliff-hanger and no known release date for part two means we’re likely in for a long wait before seeing how Ooarai manages to best BC Freedom Academy. Having said this, we know now that there will be a three-month gap between theatrical screenings of Das Finale and the subsequent home release, so once the opening date for act two is known, we can reasonably estimate when the attendant home releases (and subsequent opportunity to talk about the different acts) can occur.

  • Retreating to the plains, BC Freedom Academy’s students begin singing a variation of the French song, Chant de l’Oignon (Song of the Onion). A funny-sounding song, it’s thought that the song came from Napoléon, who saw some of his soldiers adding onions to their bread and remarking on its taste. Napoléon replied that this was the taste of victory, and so, the march was born. This brings my Das Finale post for the first part to an end, and with the learnings from this writing this post, I think it’s safe to say that I will try and have Das Finale talks out within two to three days of the home release. Posts coming in the near future include a talk for Slow Start‘s finale and A Place Further Than The Universe‘s finale, but for now, it’s time to take a bit of a breather.

Consequently, with the first act of Das Finale in the books, it would not be surprising to anticipate that the remaining instalments will likely play out in a similar fashion. However, as we are only the equivalent of two episodes in, it is not appropriate to consider thematic elements that apply in Das Finale just yet; the journey is just getting started. With this being said, I will take the time now to note that I’ve got a bit of a love-hate relationship with Girls und Panzer; a technically superb series in characterisation, animation and sound engineering, Girls und Panzer is simultaneously stymied by a production challenges and a release pattern as uncertain as that of Half-Life 3. The long release time and decision to release Das Finale as six movies rather than a weekly programme makes it superbly difficult for the narrative to retain its momentum and draw anticipation in viewers. Similarly, one of Girls und Panzer‘s greatest strengths is the incredible attention paid to depicting the tanks and their engagements in a plausible manner, but the emphasis on detail also has created unrealistic expectations for what Girls und Panzer ought to be. For me, a credible advancement of the story and presentation of entertaining, logical stages in the narrative is more critical than whether or not the tanks and their operators behave precisely as they should in the real world. This particular perspective is not shared by everyone, and there have been some interesting situations where I’ve run into folks who believe that realism is paramount, to be favoured above all other elements in a show when determining its worth. Numerous disagreements about the characters’ behaviours and actions have surfaced over the years, and it’s a bit wearing to deal with individuals who are unwilling to look past this and consider Girls und Panzer as a whole. Summing this up, I love the series for what it is, but I’m not big on its release pattern and some members of the community. Overall, as Das Finale continues, a part of me would prefer that Girls und Panzer would have concluded with the film, sparing me both the long waits and the occasional lecture on why my beliefs make me unfit to count myself as human, but on the flipside, I am reasonably confident I’ll continue to enjoy Das Finale – the opening is off to a good start, and while the second act will release at an unknown date in the future, it will invariably deal with the outcome of the match between Ooarai and BC Freedom Academy.

Two Shadows: Revisiting Nagisa’s Arc in CLANNAD At The Ten Year Anniversary

“We didn’t give up on our dreams! We changed our dreams into your dream. That’s what parents do. That’s what family does.” —Akio Furukawa

Tomoyo signs off on the drama club’s authorisation to share advisors, and with instructor Toshio advising the club, Nagisa and the others can finally begin their preparations. However, Tomoya becomes disgruntled when his homeroom instructor visits is residence and speaks with his father about Tomoya’s future. Realising that Tomoya’s relationship with his father is rocky, Nagisa offers to have him stay with the Furukawas. Nagisa decides to perform a play she’s only vaguely familiar with, and while hunting for more clues about this play, enter a shed that houses Akio’s old performance recordings. He later explains to Tomoya that Nagisa very nearly perished as a child, and that he and Sanae have since discarded their original aspirations to ensure Nagisa’s future. At a picnic with the Furukawas, Nagisa reveals that she has feelings for Tomoya. Preparations for their play are under-way, with Kyou, Ryou, Kotomi and Youhei pitching in to work on lighting, sound, stage directions. Their rehearsal proceeds smoothly, but later, when Nagisa attempts to find a flashlight, she stumbles upon her parents’ old diaries, learning that they’d given up their careers for her sake. Falling into a melancholy, Tomoya and the others attempt to help her lighten up, but ultimately, feelings of guilt and doubt overwhelm her – on stage, Nagisa dissolves into tears. Akio and Tomoya intervene, declaring respectively that their dreams are now to see her dreams succeed; with her motivation re-kindled, Nagisa delivers a solid performance. In the aftermath, the drama club celebrates in full, and the next evening, Tomoya decides to confess his love for Nagisa, who returns his feelings under a vivid sunset in the drama club room.

After the drama club is restored and preparations have begun in earnest for Nagisa’s play, the central conflict of CLANNAD’s final arc (in the season) is Nagisa’s own back-story and the events that led her parents away from their dreams to be with her. In giving up their chosen professions, Akio and Sanae demonstrate the strength of their commitment to Nagisa’s well-being. A status quo was thus created, lasting until Tomoya set in motion the events to change things; by introducing the disruption, Tomoya inadvertently brings out Nagisa’s stubbornness, as well. Her kind and gentle nature is already established, and CLANNAD has already illustrated that Nagisa is willing to put others ahead of herself even when it is at her own expense. It illustrates her respect and love for those around her, although to a fault; Nagisa’s insistence seemingly prevails even when it jepordises the efforts of her friends and parents. Culminating in her bursting into tears on the day of her performance, the sum of Nagisa’s guilt and regret manifests in full. With encouragement from her parents and friends, however, she manages to summon the courage to continue. Owing to the strength of her negative emotions, it stands to reason that the connections she’s formed, and the positives, have far out-weighed the negatives. It is a powerful reminder of the impact that Tomoya has had on Nagisa’s life and world-views, that she is able to overcome her past doubts and embrace the present. In doing so, Nagisa successfully puts on her performance, marking a triumphant return of Hikarizaka Private High School’s drama club.

CLANNAD‘s final arc serves as the culmination of the experiences and learnings Tomoya has up until this point. Each of the past arc served as a primer to Nagisa’s story: because of the developing connections between Tomoya and Nagisa, Tomoya’s path to helping Nagisa make her first-ever play a success faces additional challenges. Succeeding also becomes a more personal matter for Tomoya, who has come to realise that his own persistence and resolve in helping her stems from his trying to make one final opus magnum before his time in high school ends, staving off having spent most of his days in complacent idleness. Progressing through each of Fuuko, Kotomi, Kyou and Tomoyo’s stories, Tomoya’s efforts become increasingly focused around making Nagisa successful. As he pushes towards helping each of Fuuko, Kotomi, Kyou and Tomoyo, he engages in activities he never would have considered at CLANNAD‘s beginning, and he displays aspects of his personality that make him less of an enigma, and more of a friend, to Nagisa. Over time, Tomoya and Nagisa grow to understand one another very well, having committed such a monumental effort towards restoring the drama club, and in the aftermath of a highly successful performance, both come to understand that, far beyond a friendship that’s developed along this journey, the feelings that each feel towards one another are the consequence of having spent so much time being open, genuine and trusting towards one another. It is therefore a fitting conclusion to CLANNAD‘s animated adaptation, that Tomoya and Nagisa accept one another’s feelings at the conclusion of one milestone in CLANNAD, paving the way forwards for its successor, CLANNAD ~After Story~.

Screenshots and Commentary

  • With Tomoyo’s support, the drama club gets their go-ahead to begin operations. The student council, under her leadership, has no objections to the unique arrangements that Nagisa required to restart the club, and with a critical juncture resolved, the major objective driving CLANNAD up until now has finally been settled. Before we continue too much further into this post, I note that this post is a bit special, and so, there will be forty screenshots rather than the usual thirty.

  • Wasting no time after being formally accepted as a club, the drama club immediately begin preparing for their performance, to be set during their high school’s culture festival. While its existence is only official towards CLANNAD‘s end, the drama club was really revived the day that Tomoya and Nagisa found a disused classroom, and when Tomoya encouraged Nagisa to rebuild the club in her choosing, leading her to create a Dango Daikazoku poster. I do not believe I’ve mentioned thus, but I’ve long found that だんご大家族 is somewhat phoenically similar to the Cantonese 蛋糕大家族 (jyutping: daan2 gou1 daai6 gaa1 zuk6), and so, when I began watching CLANNAD, I thought Dango referred to “cake” rather than a small dumpling more similar to mochi.

  • When things sound phonetically similar but have radically different meanings, they are counted as false friends. These can lead to some hilarious results for folks who are just learning a language – when I began learning German back during high school, one term that threw people off was “Gymnasium”: in German, it refers to an academic-focused institution (known in British English as a grammar school), but for most English-speakers, it is a place of exercise. One of the most amusing false written friends between Chinese and Japanese is 湯 (jyutping: tong1, romaji: yu): in Hanzi, it means “soup”, but the Japanese see the Kanji as “bath”. Similarly, 刀 for Chinese people is “knife” (jyutping: dou1), but the Japanese read it as “katana”, which corresponds with the Chinese character 劍 (jyutping: gim3).

  • When Chinese people go to a Japanese restaurant and order 焼肉 (jyutping: siu1 juk6), it therefore may come as a surprised that they get yakiniku beef rather than crispy skin pork. This topic could go on forever, so I return things back to CLANNAD. As the spring gives way to summer, the vivid azures of the sky begin making their way into the town, which is based off the town of Mizuho. The depiction of summers in anime has left me with a permanent impression of what a summer proper should look like, and I often feel that the long, warm days of summer is the time of year when one’s heart may begin wandering in search of adventure, accommodated by a sky that is inviting of exploration.

  • It’s quite rare to see Nagisa so motivated and determined: after Tomoya escapes an instructor who wishes to talk to him about his future, Nagisa chases him across campus and manages to exhaust Tomoya, who cannot figure out why Nagisa is doing this. She later sees him off, and does her best to make sure Tomoya does not peace out a second time. This is done purely for comedy, but the mood soon transitions once Tomoya reaches the street where his house is.

  • Tomoya’s father explains to the instructor that Tomoya’s decisions are his own, when the instructor visits to speak with him about Tomoya’s future. The dramatic contrast between the relationship Tomoya and his father share, against the dynamics of the Furukawa family, serve as a constant reminder to Tomoya about why he hates his situation and constant longing to be anywhere else. From CLANNAD alone, the backstory for Tomoya’s father is not explored; audiences do not know much about him beyond his fight with Tomoya.

  • Nagisa’s motivation and determination wilts away after Tomoya explains to her what his situation is, and what he makes of it. She subsequently invites Tomoya to stay with her until he’s settled down. Motifs associated with light make a return: Tomoya and Nagisa’s brief chase happen during the bright summer afternoon, but as the light begins fading, the mood turns more melancholy. Tomoya accepts Nagisa’s invitation, and retreats to the warmly-lit Furukawa residence, mirroring his consent to regroup and deal with things another day.

  • Against the dark of night, the Furukawa residence is very welcoming indeed. The drama playing out between Sanae and Akio here is prima facie to lighten the atmosphere for audiences, but it also foreshadows the two’s past. Akio remarks that Tomoya’s harem has evaporated with this action; by this point in time, it is evident that Tomoya and Nagisa are going to end up together. At the Furukawas’, a flute variation of Nagisa’s theme can be heard.

  • After Youhei messes around with the synthesiser and sets up some unusual scenarios with the synthesiser’s more outlandish sound options, the time has come to decide on a play, and Tomoya recalls that Nagisa had a performance in mind. While Nagisa’s vaguely got an idea of what the play entails, she’s not in possession of a script, which would make it difficult for the drama club to properly prepare. Tomoya figures that finding a copy of the script will be useful.

  • Upon arriving back at the Furukawas’, Tomoya finds the place filled with small children, one of whom kicks his ass for frightening another child. Sanae arrives and explains that she runs a private tutor program to help children study, hinting at her background. On the topic of tutors, I remark that on the maternal side of my family, every single one of my aunts is involved in education, and almost all of my cousins are likewise engaged in education.

  • Looking back on this whole CLANNAD series of posts at the ten year anniversary, it’s a little crazy to think just how much time has elapsed even since I started considering doing something for the decade that’s passed since CLANNAD originally aired. The idea was floated back in February last year when I did a simulated date with Nagisa, and a shade more than thirteen months later, we’re on the last of the CLANNAD revisitation posts.

  • Tomoya and Nagisa’s search for the script for the latter’s play leads them to hunt in the shed, where some unusual items are found. Akio dissuades them from hunting in there, and feeling that Tomoya should understand why, spends a bit of time trying to secure some space so the two may talk. They are interrupted at very nearly every turn, finally settling on the roof of the Furukawa residence. While audiences are smiling throughout this scene, especially with respect to the ludicrous image of Tomoya and Akio on the roof, the conversation soon becomes more sobering as Akio explains their past to Tomoya.

  • It turns out that Akio was once an aspiring actor, and Sanae was an instructor. Both led busy lives, and when Nagisa fell ill, they decided to leave her to rest on her own. Nagisa, being ever-concerned by those around her, had decided to stick around outside, awaiting their return in the snow. Over-exertion brought Nagisa to the brink of death, and in a fit of desperation, Akio begged the heavens to spare Nagisa’s life. Since then, both have changed their careers to ensure Nagisa’s future, and while Akio admits that they are happy with the way things are, he is concerned that learning the truth will be detrimental to Nagisa and asks him to keep it as a secret between them.

  • The Furukawas take Tomoya out on a picnic, during which Nagisa accidentally makes her feelings for Tomoya known to him. Throughout CLANNAD‘s anime adaptation, there have been subtle hints as to which way the wind has been blowing: from Fuuko’s insistence that Nagisa and Tomoya refer to one another more affectionately, to adults feeling that Nagisa and Tomoya are a couple, signs of growing feelings between the two become more overt as CLANNAD progresses. CLANNAD represents my favourite fictionalised depiction of how a relationship could start: without any common clichés seen in other series, things happen very naturally in CLANNAD.

  • Kyou leads the drama club tongue twister exercises – while Nagisa might be the president of the drama club, Kyou is the de facto leader, attesting to her take-charge and forward attitudes. The drama club makes considerable strides in getting to the point where Nagisa can perform at the school’s culture festival for the narrative’s sake. Pacing invariably quickens as a story pushes towards its climax, and it is generally seen that this causes stories to lose something in the process. However, in CLANNAD, there is no loss because the drama club has a solid base. We’ve spent the entire season showing glimpses of Nagisa preparing for the club’s reviva, so it follows that she’s able to immediately drive things ahead now that the club is operational.

  • Even five years after I’d watched CLANNAD, the progression of Tomoya and Nagisa’s relationship set the standard I’ve come to expect in fictional relationship growth. Your Lie in April and The Moon is Beautiful are the two other anime I’ve seen that matches CLANNAD with respect to the strength of how well romance unfolds. Watching powerfully-written love stories, however, comes at a great personal cost for me: long-time readers of this site will be familiar with my story about CLANNADthe MCAT and an unrequited love, so when watching these emotionally-stimulating series, I am reminded of these days long past and find myself somewhat melancholy.

  • Nagisa gears up for her performance while the remainder of the drama course looks on. Having just spent the past few days looking at Girls und Panzer ahead of Das Finale‘s first instalment, it suddenly strikes me that Nagisa can be seen as being somewhat similar to Miho Nishizumi: while it is clear that knowledge in armoured warfare and theatrics are not shared between the two, watching Nagisa and Miho interact with their respective casts finds that both have very similar personalities.

  • In general, both Miho and Nagisa are quiet reserved and shy, but in the presence of friends, become more animated. Both care greatly for those around them, to the point of putting others ahead of themselves, and oftentimes, do not easily open up to others with their concerns unless asked. Of course, once they do open up in their respective narratives, it then becomes a joy to see new sides to their personalities.

  • A successful dress rehearsal, followed by a near-catastrophic failure, is a staple in fiction, and whenever performances are involved, my inclination is to wait for the progression of events that see a performance threatened. This particular pattern became visible to me only as a consequence of having watched numerous shows since then, including Anthem of the Heart, which was a fantastic film. Similar to CLANNAD in some regards, it was centered around the impact that words can have. In its narrative, disparate individuals came together to put a play together through song that would convey their feelings and in doing so, allowed them to take a step forwards.

  • Now that I think about it, it is a bit strange to be dropping into a talk in CLANNAD mere days before Girls und Panzer: Das Finale will available for viewing; leafing through my earlier posts, it’s clear that Girls und Panzer and CLANNAD require a completely different mindset to write about, and both anime are detailed enough so that one could create a dedicated blog for each respective series alone, and there’d still be enough content to keep it going for a few years. Girls und Panzer requires that I dive into military history and interest in weapons, but CLANNAD necessitates I take a step back and consider my experiences with love, life and everything in between.

  • I count myself incredibly thankful that in reality, there is not a need to introduce additional drama or impediments on the eve of something major. While Nagisa’s want for a flashlight eventually leads her to learn the truth about her parents and their old dreams, I spent the week leading up to the MCAT relaxing and doing nothing in general. On the day of the exam, stress, brought on by a server failure at the examination site and a malfunctioning HVAC system dumping too much heat into the building resulted in my developing stomach problems. Between the physical sciences section and verbal reasoning, I sought out the countermeasures and wrote the remainder of the exam without too much difficulty.

  • After learning about her parents’ sacrifice for her sake, the mood transforms to that of melancholy, and the colours, an overcast grey washing out colour in the environments, serves to reinforce this. Weather and lighting patterns in CLANNAD are now well-established in helping set the atmosphere, and so, viewers will have become quite accustomed to using visual cues, such as colour and time of day, in order to gauge a situation even when the dialogue might imply a situation is better than it is. I do not believe there is another Kyoto Animation title out there that has made such masterful use of environment cues to capture how the characters feel since CLANNAD.

  • It speaks volumes to how close the drama club’s members have become since the start of CLANNAD, as Kyou and the others quickly determine that Nagisa is not her usual self. Ever-mindful of Nagisa, Tomoya tactfully explains that she’s simply nervous about the presentation, steering the conversation away from Nagisa’s learnings from the previous evening and lessening the stress on her. He is careful to give just enough information to Youhei to keep him in the loop without overstepping; Youhei might be lacking in some areas, but he is also loyal, respecting Tomoya’s decisions.

  • Tomoya takes Nagisa around the Culture Festival with the goal of taking her mind off things, and while Nagisa does her best to enjoy things, she’s unable to shake feelings of guilt. The school’s interior, normally of a lighter colour, take on a grey colour, with only the characters being rendered as they normally are to constantly convey to viewers that despite Tomoya’s efforts, things will need to worsen before they get better.

  • After losing sight of Tomoya, Nagisa makes her way to the reference room, where she finds Yukine and asks to see the school’s old drama performances. Finding Akio’s old performances and the passion with which he delivered his performances, Nagisa falls into a melancholy; the old videos seem to reinforce the idea of just how much of an impact that Nagisa’s had in Akio and Sanae’s dreams, and when Tomoya finds her at the reference room, he wordlessly accompanies her to the stage to help her get set up.

  • Nagisa is voiced by Mai Nakahara, (Rena Ryūgū of Higurashi When They Cry, Hai-Furi‘s Mashimo Munetani, Saki‘s Teru Miyanaga and Haruno Yukinoshita of My Teen Romantic Comedy SNAFU); of her roles, Nakahara’s performance as Rena is probably one of her most memorable. Rena is Higurashi‘s signature character, and while normally similar to Nagisa in personality, save for an insatiable desire to take adorable things home, she also has a violent streak comparable to that of B.J. Blazkowicz’s. Here, with her dull eyes and lack of energy, Nagisa reminds me somewhat of Rena, but being CLANNAD, there’s no chance of a bath of blood occurring.

  • The moment has finally come for the drama club’s effort, the culmination of a season’s worth of efforts, to be known. Nagisa stands alone on the stage, but when recollections of her father’s performance enter her mind, doubt and guilt kick in. This scene, even more so than watching Kyou, Ryou and Tomoyo learn of Tomoya’s feelings for Nagisa, is the hardest-hitting point in CLANNAD. While billed as an anime that can make grown men cry, CLANNAD‘s first season is more focused on establishment. As such, no tears were shed while watching through the first season.

  • The sum of Nagisa’s doubts overwhelm her, and with the play threatened, Tomoya prepares to shut things down. Before he can, Akio arrives and declares that Nagisa’s done nothing wrong, and that as her parents, their dreams were ultimately to see her happy. Tomoya chimes in, as well, reminding Nagisa that living in the present is what made her stand out to him and made everything possible. Realising that the past has no bearing on her now, and accepting that her parents’ dreams never really vanished, Nagisa regroups and prepares to deliver her play as planned in CLANNAD‘s climax.

  • Nagisa’s put in a great deal of practise, far more than CLANNAD‘s illustrated; even after crying her eyes out, she continues into the play’s introduction without missing a beat, and as she presents the story of the Girl in The Illusionary World, the scene changes. Audiences have seen this Illusionary World on several occasions before: in a world with only a girl and an animated robot as its inhabitants, this space consists of endless fields of brown grass, signifying the end of all life, and in spite of its desolation, the play seems to deal with hope. The significance of the Illusionary World in the context of CLANNAD is restricted to Nagisa’s play, which is why I’ve not given too much focus on it: it is in CLANNAD ~After Story~ where the Illusionary World has a more significant role to play.

  • The animation style in the Illusionary World is different than that of CLANNAD‘s, being more fluid and ethereal in nature. I’ve heard folks from Tango-Victor-Tango claim that these sequences are animated in 60 FPS, but having run tests on the Illusionary World scenes, I can say that this is not the case. These scenes are 24 FPS, same as everywhere else in the anime, with the effects being accomplished by animation techniques that I am not too familiar with.

  • As evening sets in, Nagisa and Tomoya discuss the play. Tomoya feels it is unusual that Nagisa chose to end with “Dango Daikazoku”, but she feels that it is an appropriate song. While seemingly out of place, considering who the Girl in the Imaginary World is supposed to represent, the choice of song is actually a well-chosen one. It was under similar skies that I walked out of my MCAT some five-and-a-half years ago now, and while I was given the recommendation to have something sweet, I went for a hearty dinner instead before proceeding to sleep the best sleep I’d slept all summer.

  • In the aftermath of the play, the drama club celebrate in full. It’s a joyous event, and I definitely know the rush of finishing a milestone successfully: in the end, my MCAT earned the equivalent of today’s 517, which is considered to be a pretty solid score. My aspirations eventually shifted from medicine to software, and I actually ended up doing what is commonly known as a gap year while trying to figure out my path. Looking back, the MCAT imparted on me some lifelong experiences, both good and bad.

  • One can imagine that Tomoya and Nagisa are dancing in front of a bonfire, as is customary for some high schools in the wake of another excellent culture festival. Youhei’s stuck dancing with Mei here, and throughout CLANNAD, his role is primarily that of comic relief. He does have his serious moments, however, and one would look no further than CLANNAD ~After Story~ for these stories.

  • The question then becomes whether or not I have any plans on writing about ~After Story~: while I say it’s a bit early to be considering this, the fact remains is that time is very unforgiving. October 3, 2018 is “merely” a half-year away, and so, it’s probably not too early to entertain the possibility of writing about what I found to be CLANNAD‘s stronger half. This is saying something, considering how greatly I enjoyed the first half.

  • I think that whether or not I write for ~After Story~ will be determined by a very simple test: reader interest. I hold you, the reader, in very high regards because of the feedback and conversations that can result. As Tomoya steels himself for the greatest challenge he’s faced in all of CLANNAD thus far, I will note that as long as there is even one reader who will enjoy reading about ~After Story~, then I will write about it with the same detail and rigour as I have for CLANNAD once the ten year anniversary arrives for it.

  • As this post draws to a close, I will share another anecdote for readers that I do not believe I’ve mentioned yet. A summer after I wrote the MCAT, I began feeling drawn to the individual who’d supported me through the journey and who had continued to encourage me while I was working on my undergraduate honours thesis. Both our summers were busy, and the Great Flood of 2013 prevented us from meeting up in person. I had planned to ask her out at the top floor of a spot on campus with a fantastic view of the mountains. However, no opportunity presented itself. As the days began lengthening, I felt as though the window was closing to see where things went.

  • On the morning before I was set to leave on a vacation, I decided to walk the same path as Tomoya did. I figured that, having conqured my honours degree and an MCAT, asking someone out should be a bloody cakewalk, right? As it turns out, the MCAT and undergraduate defense had been easier than this, and my heart was racing away. In the five years that has elapsed, I’ve not forgotten the response I received:

That’s very kind of you to say I’m interesting (when really.. I’m not haha) but the thought although the gesture wasn’t done is very sweet. Well, I apologize I wasn’t able to see you before I go. Perhaps asking again when I come back will be better? 🙂

  • There was no opportunity to ask again; being separated by distance and introducing another fellow into the picture tends to do that. If Tomoya had experienced what I did, CLANNAD would end right here, right now, and that wouldn’t make for a very interesting narrative. Fortunately, in fiction, there can be happy endings, and so, considering everything that Tomoya and Nagisa have gone through during the course of CLANNAD, it is very natural that they end up accepting one another’s feelings.

  • Given my advanced age now, I imagine that being able to ask out someone special in a classroom is probably well outside of my reach now. When I first watched CLANNAD, I had yet to experience precisely this, and so, when I return now to provide my thoughts on Tomoya’s kokuhaku, I can offer a bit more insight into things. The brilliant light of dusk casts a multi-coloured spectrum in the room: unlike every other evening shot, when Tomoya asks Nagisa out, the rich, warm lighting suggests the beginning of things, rather than the end. The hesitation, doubt and resolve in Tomoya’s voice is also remarkably well-done. With Nagisa accepting Tomoya’s feelings, CLANNAD‘s first season draws to a close.

  • It would be unfair to give CLANNAD‘s first season a numerical and letter grade score in the knowledge that it is really the first half of a whole, and so, I’ll conclude this talk with a screenshot of Tomoya and Nagisa’s names on the blackboard. With this final post for CLANNAD‘s first season in the books, let me know down below whether or not this you’d like to see more of these CLANNAD posts, what you’d like to see from future CLANNAD posts if the existing ones were worth reading about, and finally, for both the ladies and gentlemen amongst our readers, if you’d ended up rejecting someone, what advice would you have for them? The last one’s a bit of a tall order, so I’m not expecting an answer for that. In the meantime, it’s time to turn my sights to the future: upcoming posts are Yuru Camp△Slow Start, and A Place Further Than The Universe‘s finales. Early in April, I’ll also see if I can write about The Division and Overgrowth.

CLANNAD‘s first season, through the sum of its events and outcomes, is intended to set the stage for CLANNAD ~After Story~ by presenting the theme of family. During its run, Tomoya learns more about and influences the Ibuki, Ichinose, Sakagami, Fujibayashi and Furukawas; each of the families have their own standing points and challenges. This was an intentional decision from the writers; as Tomoya goes through each arc, he gains insight into what other families are like. While it does not help him reconcile his relationship with his father in CLANAND’s first act, Tomoya begins to form an idea of what he desires to have in a family. By the conclusion of this first act, Tomoya’s journey is really just getting started here: with Nagisa, he begins walking on the path towards a family of his own, and its attendant responsibilities. This sets in motion the events of CLANNAD ~After Story~, and also brings what was a six-month series to a conclusion for the present. The masterful balance between the comedic and dramatic, strong characters, even pacing and a top-tier execution from Kyoto Animation allows CLANNAD to entertain and move audiences even to this day. The anime is timeless, as are its messages, and even though it might be a decade since CLANNAD first began airing, Kyoto Animation’s presentation of CLANNAD is so masterfully done that from a technical standpoint, the anime still stands up against modern animation marvels. It should be no surprise that I greatly enjoyed CLANNAD: on its own, CLANNAD‘s first season earns a strong recommendation.

Courting Hope: Revisiting Kyou and Tomoyo’s Arc in CLANNAD At The Ten Year Anniversary

“If the results come true, it’s as if there’s only one future. If it fails, we can think that other futures exist…I want to believe that in our future, there are many possibilities waiting.” –Kyou Fujibayashi

With the drama club acquiring the requisite number of members, Tomoya and Nagisa focus next on securing a club advisor, but when they speak with Toshio Koumura, they learn that he’s already the advisor of the choral club. Nagisa decides to stand down after she discovers a letter warning her to back off, and Tomoya decides to visit Yukine. Youhei believes that a basketball game where Tomoya is victorious could get the choral Club to reconsider, but Tomoya refuses. When Youhei’s sister, Mei visits, she worries for him and cleans up his room. As she cannot stay with him, she lodges with the Furukawas, and later, Tomoya agrees to the basketball game. Kyou decides to participate, as well, and the choral Club are brought in to watch. Tomoya’s team is off to a strong start against their rookies, but the basketball team decides to switch in their starting line, who even the scores out. Tomoya manages to score the final basket when he is spurred on by Nagisa, and the choral club consents to share their advisor with them. The Student Council intervenes and states that such an arrangement is prohibited, and later, Nagisa collapses in school, forcing her to rest at home. In this time, Kyou tries to bring Tomoya closer to Ryou and ends up trapped in the equipment storage room with him. Later, Tomoya decides that, if Tomoyo were to become president of the Student Council, the drama club’s fate could be turned around. When he speaks to her after class one day, some thugs appear with the intent of fighting her; to prevent her chances from being jeopardised, Tomoya takes the blame and is suspended. Tomoyo, Kyou, Ryou and Kotomi visit him, and when he returns, he decides that the best way to help Tomoyo is to have her help out with various sports clubs. Tomoya learns of Tomoyo’s reason to become president; she wishes to preserve the sakura trees on the walk to school as a promise to her brother. Nagisa returns to classes and watches a tennis game with Tomoya: Tomoyo is participating, and during the match, Tomoya inadvertently shows his devotion to Nagisa when a stray ball strikes her. Kyou and Ryou are heartbroken with this revelation.

Initially starting his journey out of a selfish desire to stave off boredom during his monotonous days, Tomoya’s quest to revive the drama club sees him investing a considerable amount of effort into making things work. As CLANNAD progresses through its next arc, the source of his determination and persistence begins to shift: evident in Kotomi’s arc, Tomoya is driven by intrigue and a sense of duty to do right by those around him. When he finds himself making a basket during a match after hearing Nagisa’s voice, he begins to develop a greater interest in Nagisa, whom he has regarded as a friend until now. The two seemingly complement one another, and Nagisa’s absence further accentuates this sense of mystery. Tomoya begins to wonder how he feels about her, and while she remains at home, he sets about doing what he can for her. When Tomoya seeks Tomoyo to help out with resurrecting the drama club, he puts his fullest efforts into working out ways of boosting Tomoyo’s reputation amongst the students. He learns from Tomoyo that she wanted to save the sakura trees for her family’s sake, and here, it is significant that he learns of this late in the game: this is intentionally done to show that Tomoya’s efforts are entirely driven by Nagisa, rather than purely by a desire to help and drive off monotony. The extent of his efforts remain strong even without Tomoyo’s exposition to really illustrate who his efforts are for. In this arc’s final moments, where instinct kicks in during the tennis match, what Kyou and Tomoyo have suspected is confirmed: Tomoya’s fallen in love with Nagisa.

Screenshots and Commentary

  • Toshio Koumura is an older instructor at Hikarizaka Private High School. Behind his understanding demeanor lies exceptional wisdom and experience: as a teacher, he is able to motivate even the most disinterested students into turning their lives around and is credited with turning unruly students into people who care about the world around them. At Hikarizaka, he acted as the drama club’s advisor previously, and noticing that Tomoya and Youhei seemed unusual, guided the two along a better path from behind the scenes.

  • A conflict arises when Nagisa learns that Koumura is already acting as advisor to the choral club; Rie Nishina vehemently opposes the proposal to share Koumura between the two clubs. It turns out that Rie was once a talented violinist who had suffered an accident that left her unable to properly grip a violin. With her hopes of performing abroad dashed, she fell into a depression, but Koumura encouraged her to find another path in singing. Since then, she’s helmed the choral club and has rediscovered her happiness, so when Tomoya and the others ask her to consider sharing Koumura’s time, her best friend feels that Tomoya is threatening to take away the dream that Rie had worked so hard to reassemble.

  • Nagisa has a difficult time believing that Rie and her friends could be behind the note left in her desk; ever willing to see the best in everyone, Nagisa is kind to a fault, and in CLANNAD, a different side of her personality begins appearing late in the game. Although normally quiet and reserved, Nagisa can become quite animated and determined when the situation calls for it.

  • When Youhei manages to call out Sugisaka, Rie’s friend responsible for the note, Nagisa steps between the two to defuse an impending physical beating and promises to listen to whatever Sugisaka says. It is here that Rie’s story is made known: Youhei dismisses it as a call for sympathy, but Nagisa is visibly moved and agrees to stand down, leaving Youhei frustrated. Youhei’s remarks, seemingly tactless, mirror the audience’s perspectives that many of CLANNAD‘s moments come from characters with uncommonly difficult or even tragic backgrounds.

  • Tomoya explains to Nagisa that Youhei’s strong reaction to her decision in standing down is a consequence of his own past: he was formerly a soccer player who was forced to quit after fighting with a senior. Recalling Tomoya’s background, Nagisa begins crying, and Tomoya comforts her, feeling it the right thing to do. The golden light of the early evening and volumetric lighting suggests to audiences that Tomoya is touched by how selfless Nagisa is, marking the beginning of his interest in her, but before anything can happen, Kyou shows up and tears Tomoya a new one for having allowed Nagisa to stand down.

  • When Youhei suggests taking the fight to the choral club, Tomoya mentions that the act would further sadden Nagisa: it’s another subtle sign that he’s concerned for her. Youhei decides to slack off, but Tomoya takes him to the reference room, where Yukine suggests a basketball game, and later, runs into Tomoyo, who is accosted by members of the judo club. He extricates her from the situation, and earns Tomoyo’s thanks. In the process, this incident is what allows Tomoya to devise his solution later, having heard from Tomoyo her goals of running for the Student Council presidency.

  • In a bold move, Tomoya takes Nagisa by the hand and brings her outside of campus to evade Youhei, who is quite enthusiastic about the idea of a basketball game to turn the choral club around. When Youhei catches up, Nagisa lies that she’s seeing Tomoya, hence their need for space. It’s noteworthy that this is the first thing that comes to her mind; she’s willing to risk embarrassment to cover for Tomoya. Once Tomoya gets over his initial shock, written all over his face, he is happy that Nagisa is willing to go to these lengths for him. In the awkward silence following, both Tomoya and Nagisa wonder how to best react, showing that the feelings are probably mutual, even if both are too bashful to be forward at this point in time.

  • Things are interrupted when Mei, Youhei’s younger sister, shows up to visit. Mei plays a much larger role in CLANNAD ~After Story~; in CLANNAD, she visits for a few days to check up on Youhei, whom she considers as a bit of a rogue element. After gifting him something he does not need, Mei helps him clear up his room. However, because of the dormitory rules, Mei cannot lodge with Youhei, so the Furukawas agree to have her stay over.

  • Source documents indicate that Nagisa was born in 1984, and Tomoya in 1985. In 1984, the MacIntosh computer was release to the market, and the Sino-British Joint Declaration was announced to outline what would happen when Hong Kong would be handed back to China in 1997. A year later, Calvin and Hobbes began running in newspapers, and Mikhail Gorbachev replaced Konstantin Chernenko as the leader of the Soviet Union. While the Furukawas share dinner with Tomoya and Mei, a glance around the Furukawa’s home suggest that the anime is set in an older time: the dates are closer to the start of the new millenium – mobile phones have yet to be common, and televisions are still of the old CRT type.

  • In a previous comment, I remark that Valentines’ Day is something I am largely neutral about. Last year, I wrote a thought experiment wondering what a hypothetical date with someone like Nagisa would be like, and concluded that it would be possible to make things work. I had planned on doing a similar talk about Miho Nishizumi, but as her Meyer-Briggs personality type is similarly consistent with Nagisa’s, such a talk would have been exceptionally boring, differing only on what a date with Miho might entail. I would lean towards a museum, and given my choices, I suppose it speaks volumes about the sort of personality I’m drawn to. It’s a bit of a surprise as to just how quickly a year’s elapsed: during that thought experiment, I also announced that I would be revisiting CLANNAD. With this series of post very nearly in the books, I look ahead to next year and wonder about how ~After Story~ should best be handled, provided that I’ve still time to write about it.

  • Kyou and Tomoya take great fun in trolling the living daylights out of Youhei when they discuss the organisational structure of their team of three; Kyou mentions the master-slave dynamic, and I’m certain she’s not referring to the cooperation concept that I implemented for a multi-agent rescue robot simulation for my project. The scene is meant to indicate that Tomoya gets along with Kyou rather nicely: for their differences, they share a similar sense of humour, and while Kyou does her best to set Tomoya up with Ryou, she comes to see Tomoya as someone she can count on, a far cry from her initial distaste in him.

  • The confrontation between Kyou and Tomoyo is hilarious – it’s the first time the two clash, and while there’s no physical violence, it’s amusing to see Kyou outmaneuvered when Tomoyo implies that Kyou might have feelings for Tomoya. It is during this arc that Kyou begins trying to put Tomoya into more situations with Ryou, with the aim of helping Ryou bolster her confidence, and as she spends more time with the two, Kyou herself begins to realise she’s in love with Tomoya. The outcome of this is covered quite separately in an OVA, and in CLANNAD proper, is addressed at the appropriate time. Similarly, Tomoya’s efforts in helping Tomoyo secure presidency of the student council leads her to see him differently, and this is also covered in an OVA.

  • When Tomoya, Youhei and Kyou begin making the junior players look bad, the basketball team bring their top line into play. The equivalent of bringing an NHL team’s first line to bear against junior players, it’s deliberately unfair, done to preserve the basketball team’s integrity, and their skill quickly evens things out. When the score reaches a tie, Tomoya manages to make a shot despite his bad shoulder after hearing Nagisa’s voice, allowing his team to take the win. This is yet another sign that Nagisa is Tomoya’s special person; I am reminded of my MCAT and the encouraging conversations I had prior to my exam. In the years following, I’ve since counted entirely on my own skill and experience to carry the day: there’s no one in my corner offering this sort of encouragement, so I fall back on myself to get by.

  • In the aftermath of the match, the basketball team captain compliments Tomoya on his hand-eye coordination and remarks that even with his injury, he might still be valuable as an asset. It seems, however, that this particular competition was unsanctioned, and when an instructor finds them, the players and entire audience make a break for it. Later, Mei remarks that in spite of Youhei’s minimal contributions to the game, she nonetheless respects him for having put forth the effort. She departs on a high note.

  • Nagisa, ever considerate of those around her, has given Tomoya (and audiences) very little insight into her background: when she falls ill for the first time in CLANNAD, audiences do not initially make too much of a deal about it, since occasional illness is a common enough occurrence. Nagisa’s absence, while seemingly insubstantial early on, imparts a noticeable change on Tomoya and his friends. He becomes sullen, while Kyou decides to spur Ryou on in pursuing a relationship with Tomoya, all the while concealing her own accumulated feelings for him. Here, Tomoya, Kyou, Ryou and Kotomi visit the Furukawas, who update them on Nagisa’s status.

  • It pains me to say that, even though I’d bought CLANNAD a year ago during a Steam Sale, I’ve yet to actually touch it. I’ve heard that the visual novel is tougher than Halo‘s Legendary difficulty, and even puts DOOM‘s ultra-nightmare setting to shame: one mistake will send Tomoya to Davy Jones’ locker. One of my readers recommends playing through CLANNAD with a guide, and I’ll probably have to do just this, since I have no intention of dying in a game that can trade blows with Wolfire’s Receiver in difficulty. The timeline for this particular endeavour will likely be when my gaming rig can no longer keep up with contemporary titles – with Far Cry 5Metro: Exodus and Ace Combat 7: Skies Unknown coming out this year alongside a new Battlefield title, I think that my machine’s finally met its match.

  • I’m looking at the housing market at present, so things like a new gaming rig will have to wait until things settle down, and while my current computer might not be able to run the latest and greatest, I still have a backlog I’ll need to get through, so CLANNAD will definitely be on my list of games to get into. Back in CLANNAD The Anime™, Ryou recoils in embarrassment, complete with infrared emissions and even steam, from one of Kyou’s remarks.

  • The issue of sharing an advisor with the choral club is settled, but with the arrangements in violation of school rules, Tomoya begins putting his backing behind Tomoyo’s campaign to run for the presidency of the Student Council. In exchange, she begins visiting him and Youhei each morning to encourage their punctual arrival to school, as a part of her campaign. While Youhei is constantly trying to fight her and gets his arse handed to him each time, Tomoya treats her as he does everyone else and ends up sharing meaningful conversations with her.

  • While carrying some volleyballs, Kyou runs into Tomoya after classes. Yukine had earlier shown Tomoya a charm, feeling that his feelings for someone is bothering him. It’s surprisingly specific, and it is quite telling that the first person Tomoya thinks of Nagisa. However, in her absence, Tomoya picks Kyou, feeling that the charm’s improbability means that things are unlikely to happen. His choice mirrors prevailing thoughts on the best person for Tomoya, as some find that Kyou’s fiery personality would be a good match for Tomoya’s grounded and practical mindset.

  • The charm ends up putting Kyou and Tomoya inside the storage room. Yukine refers to her spella as a charm, and under J.K. Rowling’s definitions used in Harry Potter, a charm is a spell that alters the properties of an object without changing it fundamentally. While CLANAND largely remains the realm of realistic, there are supernatural elements present to advance the story: how much of it can be accounted for by hard science and how much of it is left to the realm of magic is not particularly relevant, since the strength of CLANNAD always lie within each arc creating a compelling story that immerses audiences into whatever Tomoya is dealing with.

  • Kyou reveals her reason for bringing Ryou and Tomoya together, although she’s also flattered by the fact that Tomoya decided to think of her for the charm. There are numerous conflicting emotions here, as Kyou begins to accept that she may have feelings for Tomoya, but before anything unsuitable for CLANNAD can occur, Tomoya recalls the countercurse that nullifies the charm. He manages to stay hidden and extricates himself from one of CLANNAD‘s most amusing situations.

  • Tomoyo is confronted with a large number of ruffians, and teachers arrive to drive them off. Tomoya subsequently shoulders the blame to ensure that Tomoyo’s record is not tarnished, taking a suspension from school in the process. Tomoyo begins to see Tomoya as someone who cares about her, and she continues visiting him every morning to ensure he awakens on time. However, in the grand scheme of things, helping Tomoyo out really was a means to an end, and Tomoya’s sights are set squarely on helping Nagisa resurrect the drama club.

  • The dramatic changes between the amusing and serious in CLANNAD were one of the reasons why I enjoyed it to the extent that I did: I find that it humanises the characters so that audiences can really empathise with them. Following Tomoya’s suspension, Kyou, Ryou, Tomoyo, Kotomi and even Fuuko visits him, bearing food. What happens next is a food challenge worthy of Adam Richman. However, outside of these moments, Nagisa’s absence is taking a toll on Tomoya, who becomes more silent and grim than before. Kyou and Ryou begin to notice this, as well, and while it cast doubts on whether or not Tomoya might return Ryou’s feelings, as well as Kyou’s unrequited love, Kyou continues holding onto hope. It’s a surprisingly painful place to be, as I can attest.

  • Tomoya’s suspension concludes before Nagisa recovers, and when he returns to school, he learns that the incident has torched off rumours that are harming her chances of becoming the president for the Student Council. In response, Tomoya devises an inspired solution: having long noticed how virtually all of the athletic clubs at Hikarizaka long to recruit her, he decides to have her perform against the athletic clubs, turning her considerable strengths and skill towards something constructive to illustrate her as being a well-adjusted individual worthy of being the Student Council president.

  • Subtle imagery in this scene remind audiences that even the aloof Tomoyo has her tender moments. Stories of this class, with their multiple female characters and lone male lead, often are frustrating to watch because the male protagonist is indecisive and lacks the sort of determined personality that would make them appealing to the female leads. In contrast, CLANNAD presents Tomoya Okazaki as a kind-hearted individual who, despite his cynical views of life, can and will put forth his genuine best when asked of him. In short, he is someone who earns the affection and interest of the female characters around him.

  • As the evening sets in, Tomoyo shares with Tomoya her story: her greatest desire is to make her younger brother happy again, after he fell into a river and nearly drowned as a consequence of trying to stave off their parents’ divorce. The incident left him injured, forced Tomoyo’s parents into re-evaluating their situation, and while things appear to have reached an equilibrium, Tomoyo’s brother had a request to see the sakura blossoms. With the plans to cut them down, Tomoyo feels that her ability to honour this promise is to reach a position where she can influence the decisions of those around her to preserve the things that remind her of what family means.

  • As the evening sets in, Tomoya and Tomoyo spend a quiet moment together on the hillside. By this point in time, it’s apparent that CLANNAD sets most of its most emotionally-charged moments during the evening, when the sun is setting. Casting the landscape in golds and reds long-wavelength light serve to suggest that that evenings, long-associated with endings and unwinding, are the time when people begin relaxing. With their normal vigilance dialed back, people begin opening up, and allow others to learn more about them. It is during the evenings that Tomoya learned of Fuuko’s condition, remembers his friendship with Kotomi, watches as Nagisa yields the drama club to the choral club and hears about Tomoyo’s family: this time of day begins to create a sense of melancholy in viewers.

  • The tennis match in CLANNAD is what I consider to be the turning point of the series: after numerous hints and subtle clues, it is here that the way in which the wind is blowing becomes apparent. Tomoyo and a male tennis player begin their match, and as it increases in intensity, a stray ball hits Nagisa in the ankle. The song “Over” can be heard playing in the background: the lyrics are upbeat and cheerful, suggesting a ceaseless sense of wonder about the surrounding world, as well as the gradual ending of things. It seems to be sung from Nagisa’s perspective.

  • Instinctively blocking the tennis player’s efforts to help, Tomoya helps Nagisa to the infirmary. In this single moment, Tomoya accomplishes a triple kill, shooting down Kyou, Ryou and Tomoyo in one action. While Ryou and Kyou’s reactions make it clear that they are hurt, Tomoyo’s also feeling it. Her reaction is a bit more subtle, and she gazes up at the sky in silence. Kotomi seems largely unaffected, and she looks more concerned for Kyou and Ryou. Having experienced this before, I’m confident in saying that time will eventually heal those wounds, and that it’s definitely okay to embrace the ensuing sadness: that one feels so strongly about the loss shows that they have experienced love.

  • This outcome is what motivates my page quote: Kyou generally is optimistic and believes that there will be another way even when things fail. The outcome of Kyou and Tomoyo’s arc is that Tomoyo succeeds in becoming the Student Council president. With her position, she’s able to accomplish what she’d set out to do and save the sakura trees on the hillside road leading up to their school. As appreciation for Tomoya’s efforts, she also allows for the unique arrangement between the choral club and drama club to exist. With the drama club’s future steady, CLANNAD enters its final act as Tomoya prepares to help Nagisa realise her dreams.

A common criticism directed at narratives featuring a prominent male lead and several female leads is that the story ends up nowhere, but CLANNAD does the opposite, providing audiences with subtle hints that foreshadow which direction Tomoya takes. The love that Tomoya develops for Nagisa is a natural progression, brought on by spending time with her. His initial goal of doing something with his time besides his usual routine transforms into intrigue, and when Nagisa falls ill, he comes to appreciate her quiet and gentle company to greater heights. Never forcibly advanced by the narrative, the development of Tomoya’s feelings proceeds at a plausible pace. Once Tomoya becomes aware of his feelings, and his friends find out, the consequences are similarly portrayed in a natural manner. Tomoyo had begun showing interest in Tomoya for his resolute determination in helping her, while Kyou had been trying to suppress her own long-standing feelings for Tomoya by hooking Ryou up with him. Both see their chances with Tomoya evaporate when Tomoya stands up to look after Nagisa; it speaks volumes to how well both Kyou and Tomoyo have come to know Tomoya, as well, when they’re able to understand who Tomoya’s feelings are directed at. From this simple gesture, CLANNAD decisively settles the heading its story is moving towards. Without lingering doubts to sow the seeds for conflict, the risk for a meandering narrative is struck down. CLANNAD is able to enter its final arc at full force, with the story’s goal clearly in mind, as Tomoya deals with the greatest challenge he’s faced since meeting Nagisa for the first time.

A Theory of Everything: Revisiting Kotomi’s Arc in CLANNAD At The Ten Year Anniversary

“The world is beautiful, even when it’s filled with sadness and tears.” –Kotomi Ichinose

With the drama club still lacking the requisite members to be formally reinstated, Tomoya speaks with Kotomi in the hopes of recruiting her to help out. In the process, he helps her become more sociable, and with Ryou, Kotomi decides to join the drama club. During one meeting, Kotomi becomes drawn to the music club’s violin performance, and when she tries to play for herself, she ends up causing those around her great distress. Hoping to help her improve, Kyou suggests that Kotomi give a live performance. While her performance is abysmal, her friends nonetheless encourage her, although Kotomi grows frightened when a mysterious man appears. Kotomi begins spending more time with her newfound friends and in classes, but one day, she witnesses an accident and becomes withdrawn. Tomoya visits her home and, finding her in a room filled with newspaper clippings, recalls his past with Kotomi: the two had met as children and spent a considerable amount of time together, but when her parents’ university research conflicted with her birthday, Kotomi resented them for not being with her. They later perished in a plane crash, and remorseful at her final words to them, Kotomi had since decided to take up her parents’ work. Tomoya decides to restore the garden in Kotomi’s backyard in the meantime. Nagisa and the others begin helping, as well; moved by this gesture, Kotomi opens up once again. During a small birthday party they host for her, the gentleman reappears and introduces himself to Tomoya and his friends. He reveals that Kotomi’s parents had been thinking about her right up until the end, and their final gift to her had travelled a considerable distance to reach her. The strength of her parents’ love allows Kotomi to reconcile with her past and embrace the future with Tomoya and the others.

After the basics were established, CLANNAD became free to explore different thematic elements related to Tomoya’s story. Kotomi’s arc is the first of the stories explored, and while perhaps better known for Kotomi’s infamous and lethal performances on the violin, the arc itself provides two main contributions into CLANNAD. The first of these is illustrating the extent that Tomoya will put forth his best effort for the people close to him, and while Tomoya did contribute to helping Fuuko make Kyouko’s wedding a special one, it is not until his time with Kotomi where the depths of his concern and caring for his friends become presented. An old childhood friend, Kotomi was born to two well-known researchers on cosmology, and in his youth, Tomoya had visited the Ichinose home frequently, stopping for a spot of tea in the garden with Kotomi. In the years since, the garden has grown decrepit and overgrown with weeds. Wanting to make amends for having halted their friendship, Tomoya feels that it is his responsibility to restore the garden, symbolically restoring his friendship with Kotomi. The other element in Kotomi’s arc sets the standard for what CLANNAD defines to be what constitutes as respectable parents. Long having felt guilty for destroying her parents’ work, Kotomi had zealously pursued her studies with the aim of continuing where they left off, and while it’s revealed that Kotomi had done no such thing, the story that her guardian presents to Tomoya and the others illustrates the love that Kotomi’s parents had for her. In their final moments, they sacrificed their research in favour of their daughter’s happiness – by making the choice to put family above even society, her parents’ decision show that a true parent is someone who is always willing to put their children first. With Tomoya’s help, Kotomi comes to understand and deeply appreciate this message, while Tomoya himself also gains a better insight as to what he himself would want in a parent.

Screenshots and Commentary

  • Because this is the Kotomi arc, this screenshot of the thirty will feature Nagisa and Tomoya alone: Tomoya’s found himself in the path of Kyou’s scooter yet again and is knocked down, but fortunately, no major damage has occurred. CLANNAD is a universe where injuries and harm are dependent on the plot: characters can survive ludicrous amounts of damage without ill-lasting effects during moments of comedy, but when the mood turns serious, they will sustain injuries normally.

  • While Tomoya’s encounter of Kotomi in the library initially seems random, the first indicator that there’s a bit more history comes from the fact that of everyone, Kotomi is able to interact with Tomoya where she is much more bashful and quiet around other characters.

  • When meeting the boisterious and straight-shooting Kyou, Kotomi immediately hides behind Tomoya. Kotomi’s initial limitations in communication lead to some misunderstandings, and of everyone, Kyou takes the most initiative to try and bring Kotomi up to speed with everyone; although the two are off to a comically rough start, Kyou and Kotomi do get along with one another over the course of time. Their dynamics are quite fun to watch, and other folks count it as amongst the more endearing moments in CLANNAD when Kyou initially tries to hold a conversation with Kotomi.

  • I’ve always held a fondness for locations with plenty of books; during my time in middle and secondary school, I spent a considerable amount of time in the library, as my preferred place to hang out and work on various assignments. I continued to make use of library facilities during my early undergraduate career – in the quiet, sun-filled workrooms of an early morning, I reviewed for my MCAT and prepared for many a exam here. It was not until I began my undergraduate thesis that I was granted my own office space. During this time, a new library had opened on campus, and I shunned the location.

  • Initially, it was because the location was very busy and crowded, making it difficult to find space to work in; by comparison, my old office space was quiet, well-maintained and the perfect place to write software. After a botched kokuhaku during the Summer of the Flood and the revelation that she was seeing someone else a half-year later, I became adverse to seeing young couples in general. The new library was the premiere place where couples on campus went to “study”, so I pointedly avoided the library unless I was there to help give presentations on my lab’s research. Back in CLANNAD, Kyou messes with Kotomi, who is unaccustomed to Kyou’s approach in dealing with people.

  • It is really Kyou who drives the drama club forward, and her decision to join, along with Ryou, brings the total member count up to five. Despite playing an ancillary role in the drama club, her strong personality means that the other members initially have little choice but to follow in her wake: Kyou is frequently seen lecturing Nagisa, Kotomi and Ryou whenever she’s displeased with their bashfulness.

  • Besides Kotomi herself, off-hand references to the works of Steven Hawking, Brian Greene and other great physicists are what I most strongly remember in her arc. However, for most audiences, Kotomi’s abysmal violin playing is probably the most memorable element; Kotomi is blissfully unaware of her poor skills even as those in her vicinity writhe in agony, as though they were subject to the Cruciatus curse. There’s no indicator that Kotomi is deliberately playing poorly, but the Dunning–Kruger Effect could be in play here: Kotomi’s played the violin previously and is a brilliant student by all counts, but years of being out of practise means that her perception of her ability is inconsistent with her actual ability.

  • While dissimilar in appearance, Kotomi’s voice and personality does remind me somewhat of a friend who had been adrift with respect to their direction at the time, and I spent many an hour chatting with them about research, graduate studies and other related materials. Since then, they’ve managed to engage in research and was accepted into graduate school. Outside of those conversations, we talked about things in all manners, and as the flood waters receded towards days dominated by brilliant blue skies, I wondered if I was developing a bit of a nascent crush on them.

  • Under the warm light of a summer evening, Kotomi and Tomoya begin spending more time with one another as Tomoya tries to help her be more sociable. CLANNAD‘s lighting is generally used in a mundane fashion until the defecation hits the oscillation: when things get serious, lighting and colours are used to great effect in conveying what the characters feel to audiences. The universality of colours is such that I prefer using them to define the emotional tenour of a moment, as opposed to symbols – obscure symbols may have different meanings, and some anime analysis erroneously try to fit the symbol with their conclusions.

  • While Kotomi has ostensibly practised in preparation for her recital, her performance on the day of the recital proves to be abysmal, incapacitating the entire audience. Indeed, Kotomi’s violin skills would find application as acoustic weapons, which are being considered as non-lethal area-denial weapons. Such weapons are largely experimental and have also made the news of late: staff working at an American Embassy in Cuba have been reporting unusual symptoms including hearing loss and irregularities in mental ability. While investigators initially suspected acoustic weapons, they’ve since been ruled out.

  • Kotomi endures a lecture from Kyou on the basics of the Japanese manzai routine. Ryou and Nagisa’s looks of horror are priceless, as is Kotomi’s vacant stare. It would appear that Kotomi’s attempted to ask Kyou to teach her how comedy works, and here, Kyou shows that she’s quite spirited, possessing the makings of an actress. Like Zoidberg of Futurama, Kyou feels that Kotomi isn’t cut out for the part.

  • The drama club’s members, certainly en route to counting one another as friends, spend a weekend together. There’s a voice-over during this scene, so I’m not too sure what the context of Ryou and Nagisa’s embarassment are, but the voice-over itself provides a bit of foreshadowing as to what’s happening next; Kyou learns that Kotomi’s birthday is upcoming, and so, plans to give Kotomi a birthday bash worthy of remembrance.

  • After a days’ worth of searching around for a suitable birthday gift, Tomoya and the girls are unsuccessful. Tomoya reassures the others that there’s time yet to find a good gift, but notices that she’s spaced out. CLANNAD excels at making use of foreshadowing that astute viewers will catch onto, especially if they’ve played through the visual novel, and for anime-only folks such as myself, it will take a second watch-through in order to catch these minor but relevant details that contribute to the depth of each story in CLANNAD.

  • At Kyou’s insistence, Kotomi decides to prank Tomoya, whose reaction is immediately of embarrassment. According to the supplementary documentation, Kotomi’s assets are larger than anyone else in CLANNAD, and Kyou is fond of messing with her for this reason. Played purely for the audience’s amusement, it also serves as a dramatic setup for the next scene, when Nagisa learns of a vehicle accident, leading to a bit of a panic as Tomoya wonders if anyone was injured.

  • When Kotomi witnesses a vehicle accident, it induces great panic in her; up until now, Kotomi had been making great strides in interacting with those around her, so to see this happen was quite unsettling. It speaks to Mamiko Noto’s capabilities as a voice actor in being able to convey the sense of pure terror at the scene unfolding before Kotomi, adding yet another piece of the puzzle to Kotomi’s past. Besides Kotomi, Noto has also provided the voice for Sakura Quest‘s Sayuri Shinomiya (Saori’s older sister), as well as Taihō of Kantai Collection. Overwhelmed, Kotomi takes her leave, with the others left to wonder what went down.

  • The man that Kotomi had been frightened of earlier turns out to be her legal guardian, and while Tomoya is initially hostile towards him, he consents to listen to the gentleman’s story after he reveals that he is a longtime acquaintance of the Ichinoses. This fellow somewhat resembles Gary Oldman’s Jim Gordon in The Dark Knight trilogy, and Kotomi’s fear of him is not because of any misdeeds he was responsible for, but rather, because she fears the possibility of bearing direct responsibility for what’s happened in the past.

  • While perhaps not quite as powerful as in Fuuko’s arc, lighting is utilised to great effect in the Kotomi arc to convey a very specific sense during a scene. The dying light of a setting sun emphasises the browns and yellows of the decaying yard surrounding the Ichinose residence, reinforcing the notion that this place has long been neglected. That Tomoya visits by sunset shows that the day is ending; given the situation, there is little he can do now but wait for another day to begin so he can properly begin working on a solution.

  • The strong crimson hues inside Kotomi’s room, filled with newspaper clippings concerning her parents, create a highly unsettling sight that conveys to viewers the emotional intensity that Kotomi feels. Here, in a room illuminated in a surreal manner, Tomoya finally recalls the nature of his relationship with Kotomi – they’d been friends in their childhood. CLANNAD transitions into a flashback to fill audiences in on what’s happened previously, and provides a vivid picture of what’s happened.

  • In 2003, Brian Greene’s 1999 book, The Elegant Universe, was adapted into a three-part documentary for NOVA that outlines his research on string theory and how it could be the solution towards reconciling Newtonian physics at the macro-scale and quantum theory underlying interactions at incredibly minute scales. I found the three-part series to be incredibly enjoyable and wondered just how close we were at the time to a theory of everything. It’s been fifteen years since I first watched The Elegant Universe, and the complexity of these systems means that there’s no satisfactory theory that can really account for everything yet.

  • Greene’s research has continued into the idea that the universe is multi-dimensional, with extra dimensions wrapped up into small structures similar to how a strand of hair might be seen as being one-dimensional from a distance. The theory of everything might not be something we can readily demonstrate to hold true at present, but with continued research into properties of the universe, it is expected that our knowledge in this area of physics will only improve. It is this that forms the name for the final episode of Kotomi’s arc in CLANNAD and by extension, this post. Back in CLANNAD, Tomoya recalls how he first met Kotomi and the time they subsequently spent in her family’s garden.

  • Kotomi became frustrated on the eve of her birthday when a conference came up for her parents; such a reaction is not unexpected of someone of her age, and when they failed to return on account of a plane crash, Kotomi felt responsible for the actions. On the assumption that the gentleman was here to take her parents’ research papers, Kotomi tried to torch them with the hope of preserving it, but has since regretted her decision. This is the reason why Kotomi is studious: she aims to atone for her actions by recovering and rediscovering the knowledge that was presumably destroyed with her parents’ deaths.

  • After appraising Ryou, Nagisa and Kyou of the situation, Tomoya decides to restore Kotomi’s garden to its original state, and the group also takes Kotomi’s violin to a repair shop. Owing to the fact that ten years have elapsed since the original airing of Kotomi’s arc, curiosity led me to take a look and see what discussions were like back when internet speeds averaged 3 Mbps (375 kb/s) and the Kentsfield Core 2 Quad Q6600, one of the earliest affordable quad-core CPUs, had only been on the market for a year. To put things in perspective, my MacBook Pro, an early 2015 model, is armed with the i5-5257U, which is around 73 percent faster than the Q6600, and my current internet connection is twenty times faster.

  • Through his efforts, weeds are removed from the garden, and life begins to fill it once more with colour. Looking back at discussions of a decade past, folks largely agree that the Kotomi arc is quite moving and well-written. Appropriately, period discussions were focused on the emotional impact of the story, and even now, CLANNAD discussions tend to not mention any technical elements of multi-verses because, while they facilitate the story in both CLANNAD and CLANNAD ~After Story~, how they precisely work isn’t important for us viewers.

  • The reason why I’ve made no mention of Kotomi’s quote from Robert F. Young’s The Dandelion Girl is that I’ve done a separate post on the topic already, which dealt with the original short story rather than CLANNAD. In the case of CLANNAD, one can reasonably infer that Kotomi sees Tomoya as a great friend, someone who continues improving with the passage of time. She references this line because the two had read The Dandelion Girl as children and wishes for him to remember the past friendship that they once shared.

  • Some sources of documentation state that Kotomi’s only seen Tomoya as a friend in the anime, and her response when Tomoya’s feelings for Nagisa come out into the open seem to suggest that this is the case, but her choice of words and steadfast hope of meeting him blur the boundaries. When Tomoya fully recalls the full story, Kotomi is finally ready to face the her friends once again, feeling that she’s in the company of individuals who have accepted her.

  • The evening sky is presented again in great prominence, although now, reds are replaced with a gentler carnation pink to illustrate that the mood has softened. To the audience, this is meant to convey the idea that through Tomoya’s efforts, Kotomi has moved past her own inner dæmons. The next day, Kotomi returns to classes; she’s immediately greeted by her friends, who hand her a receipt for violin repairs.

  • The one remaining unresolved element in Kotomi’s arc at this point is the story dealing with her guardian. Having confirmed him to be a friend, Tomoya and the others feel that it’s time for Kotomi to learn of the whole truth about her parents. As the gentleman explains what really happened in her parents’ final moments, when they chose to save Kotomi’s gift over their paper, a warm golden light fills the room. The dominance of gold and yellow denotes that things have finally reached a resolution, and Kotomi makes peace with her past here.

  • The scene dealing with the suitcase that the Ichinoses left behind and its journey to reach Kotomi has long been subject to analysis for whether or not it added any value to CLANNAD and saw attempts by folks to decipher the different languages being used. Neither are particularly meaningful uses of time: as noted earlier, the whole point of Kotomi’s arc is to illustrate the extent to which Tomoya is willing to go for his friends, as well as a more dramatic example of the extent that good parents are willing to look after their children.

  • In short, the Kotomi arc is where precedent is set for Tomoya’s actions upcoming in CLANNAD. This brings my revisitation of the Kotomi arc to an end, and I found that, compared to the Fuuko arc, I’ve deviated a bit more from the Kotomi arc in my figure captions. Here, Kyou and the others bring Kotomi her newly-refurbished violin, and thanks to her involvement, Kotomi is able to celebrate the birthday party that her parents had once planned for her. In their stead, Tomoya and the others have planned a similarly enjoyable day for Kotomi.

  • Concerned with numbers, Tomoya asks if Kyou’s idea is a good one, and Kotomi remarks that she’s got a big garden…for you. This brings my Kotomi talk to an end, and the next CLANNAD revisitation post will cover Tomoya’s journey to help Nagisa rebuild the drama club. To do so, he hopes to help Tomoyo become student council president, feeling that it could help with the process, and invariably draws both Tomoyo’s and Kyou’s eye, leading to an interesting conflict. The gap between this post and the next will not be quite as long: the arc ended on Valentines’ Day, so this is when I will next write about CLANNAD.

Besides a powerful pair of messages with what family is and the sort of person Tomoya is, Kotomi’s arc also introduces the notion of multi-verses. One of the strengths in CLANNAD is that its portrayal of these multi-verses and the Ichinose’s research in such is given the perfect amount of detail to motivate the story, but no further. One of the issues in anime is whenever authors attempt to fit in immensely technical concepts without an inkling of the laws that govern such systems and the constraints within them. Some anime have taken to mentioning technical jargon with the aim of elevating the gravity in a scene, but in CLANNAD, details about M-theory, branes and interactions between dimensions are noticeably absent. Instead, concepts relevant to the story are presented in approachable terms: it is in one such multi-verse that the mysterious robot and girl’s story is set in. Initially, this world is of little more than a curiosity for the audiences, but as CLANNAD progressed, this alternate reality becomes much more significant towards the narrative overall. The inclusion of this element and sufficiently frequent mention of the possibility thus drive the story forwards, and opens up audiences to the idea that miracles are possible within CLANNAD: all of this is accomplished, permitting viewers to enjoy Kotomi’s story without requiring that audiences pick up Brian Greene and Steven Hawking’s publications as background material.