The time for me to bundle up against the cold and take on another highly treasured anime property is here! That’s right, we’re back at it again this year, but the flavor is a bit different for 2025. As the early part of any year tends to put me in the mood to bite down on some sci-fi anime, I can usually call this the “Sci-Fi V-Day Special.” However, after gazing at my options of interest, it seemed that I wouldn’t be able to make room for anything huge this year. In the interest of time, I was forced make a swift pivot, yet trust me when I say that I’m still excited for what 2025’s special holds.
BUT, before I make the announcement, let’s look back on the history of this homegrown tradition. Here’s a refresher for those in need!
2013 ~ Steins;Gate
2014 ~ Kokoro Connect (I think . . . )
2015 ~ Neon Genesis Evangelion
2016 ~ The Rose of Versailles (It’s not always a sci-fi watch, I know!)
2017 ~ Ghost in the Shell
2018 ~ Haikyuu!! (Again, not sci-fi!)
2019 ~ RahXephon
2020 ~ Gunbuster (PANDEMIC)
2021 ~ Gunbuster
2022 ~ *SKIPPED* (I did watch Heroic Age, though.)
2023 ~ Evangelion: 3.33 You Can (Not) Redo (REWATCH)
2024 ~ Trigun
This annual advent always emphasizes classic anime, those which have proven the test of time and are still beloved across many circles. With full knowledge of the time restraints AND the desire to try a slice of the easy life (or cake, whichever is served first), I’m happy to announce that this year’s V-Day Special will be . . .
2025 ~ K-On!
After the Trigun watch poster turned out so nicely, I put similar effort into designing the watch order “roadmap.” Hope y’all like it!
While K-On! hasn’t been one of those titles lingering in my physical collection amassing a thick layer of dust on its case for too long, it’s one every anime fan from the dreamy 2010s era remembers fondly. I’ve admired these silly girls and their light music club from afar for YEARS, and it’s time I sat down and truly gotten to know them.
Over the next few days, I’ll be hibernating before the TV and munching on the sweet treats. In fact, what makes this marathon so much swifter is that I purposefully chose a title I’d already started to serve as the V-Day Special. Sooo, my actual “starting point” for the holiday will be in the middle-ish of the second season. Call me a cheater, that’s fine! I’d like to think of it as being proactive!
As I spend this time recollecting myself and appreciating all the things I’ve accomplished within the past few weeks, I hope you, too, will be spending this season of love doing that which makes you happy. Whether that means enjoying time with family, friends, or a loved one, what matters most is that you find and embrace that warm, tingly feeling that makes our hearts flutter. Of course, eating something sweet is a must as well!
When next we meet, I hope I’ll be able to muster the energy to organize my thoughts on the K-On! franchise, be it in the form of a review or a more casual reflection post. Either way, it’ll be a retrospective glance at a 15-year-old anime gem. Look forward to it with passion!
“. . . I think trees represent something I inherited from far, far in the past. There is something psychological here, for I obviously feel that a landscape with trees is preferable to scenes without them . . . There is also a big difference between realizing and not realizing that the trees alive today have been living on this earth far longer than we humans can even imagine.”
(Hayao Miyazaki, Starting Point: 1979–1996, p. 163)
I’ve Been Lost in the Woods
My 2023 summer screening experience of Nausicaä of the Valley of the Wind (1984) was perhaps one of the most probing watches of a Studio Ghibli film ever. This was not my first go-round with Nausicaä (my family has owned a DVD copy of it since my childhood), but I’m willing to call it the viewing where I actually understood more of what was happening than not.
Nausicaä is neither a convoluted film nor a particularly difficult one to understand. Anyone who watches it generally takes note of themes like compassion for the other, exploitation of natural resources, and struggles for ecological balance to name a few. And many, many viewers become sucked in by the gravity of Nausicaä’s glowing forestscape, which is exactly where I’ve been wandering since that 2023 theatrical showing. At some point, I felt compelled to order a dinged up yet discounted copy of the Nausicaä manga courtesy of VIZ and RightStuf (R.I.P.), yet I shelved it upon arrival for future me to explore.
Flash forward to the following summer and I find myself this time at a showing of Princess Mononoke (1997). Now, GKIDS has been graciously offering “Ghibli Fest” screenings for several years. What brought me to see this Miyazaki masterpiece specifically one year after the previous? I’m blaming it on the trees, for when I walked out of the theater and warmly beheld the setting summer sun, I felt a burning resolve to learn more about forests in Japan. As soon as I returned home, I ordered books, cleared off my table, and let the stacks grow until they toppled over.
It’s now January 2025, and after procrastinating on writing something blog-worthy to encapsulate “where” I’ve been the past year and a half, I’ve decided that I’m ready to turn the leaf and confront the forest head-on. Here is how I learned more about the history and geography of Japanese forests through Hayao Miyazaki and Studio Ghibli.
Why a “Guide” Instead of an Analysis?
In an age where we have access to anything we could ever want to know, right at our fingertips, we have become consumers who seek only the answers to surface-level questions and some of life’s greatest dilemmas alike, and we have neglected the vital process of learning through experience and reading. By my handpicking these films, essays, and excerpts and organizing them in a methodical and practical way for you yourself to learn what these works are doing and how they are doing it, you will walk away with an immensely richer and profoundly deeper understanding of forests in Ghibli works—that, I promise you. Hard work offers fulfillment. Miyazaki himself says it best: “To want to work is to want to live” (Turning Point: 1997–2008, p. 240). If you truly want to get in the weeds of this topic like I did, then it’s time to roll up your sleeves.
The subject of this post is not what I learned, but how I learned. There are countless reviews, both formal analyses and informal reflections, written posts and published videos, that cover what we can learn from Ghibli works. I might contribute to that discussion, but that’s for a different post. My intent here is to show you how I stumbled into this topic, hence this diary of an opener. I want to document how I became lost in the forest’s vastness and offer you a guide to staying above the treetops (or more of a thread to trace) should you find yourself also wanting an invitation to this little party in the woods. (No weird stuff, unless you count the clattering kodama.) Just know, though, that life starts on the forest floor—down in the weeds, the burrows, and the soil itself. It’s a little more fun there, anyhow.
If you know of other supplemental materials to this broad topic of “Ghibli forests,” leave a comment below. If it’s knowledge you’re willing to share, I welcome your recommendations.
So, Where to Start?
I’m no forest ranger (nor much of an outdoors person, really), but I do know that most if not all forests have multiple entrances. Naturally, so do we, too, have many options for embarking on our journey. Of course, whenever “starting” is concerned, I will never fault one for defaulting to theatrical release order. Much insight can be gained by tracking how a writer or director progresses through their career. However, given the universality of Ghibli these days, chances are high that you’ve seen one of their films already; you already have memories and visitations with one or more of these titles, and a truly “ blind chronological viewing” may seem less attainable.
To me, it’s more fruitful to consider the scope of each major Studio Ghibli film that centers “the forest” as its setting. Three major films come to mind: Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), and Princess Mononoke (1997). While most materials I fold under each major film are directly related to said film, some works are ancillary. So, I want you to consider this method of organization as well:
To humanity, from the past
To humanity, from the future
To humanity, living in the present
As I’ve read more essays and speeches by Miyazaki, I’ve come to see him as a man of many contradictions. Publicly, we perceive him as a genius who gripes endlessly about how miserable life in present-day society is—whether in the 80s, 2000s, or now—which consistently leads to further disgruntlement with matters concerning our bleakening future. At the same time, he remains optimistic about children, their innocence, and their ability to make positive impacts. (I wonder how much this has changed since his interviews in the early 2000s . . .) In private, Miyazaki has devoted much time to unraveling the mysteries of Japan’s ancient past. And, while a childlike fascination pokes through his musings on what life must’ve been like during the Jōmon, Heian, or Muromachi periods, he openly confesses that life “back then” also had its abundant misfortunes. Wherever there are people, there are problems, it seems.
What I’m trying to get at is that Miyazaki’s intentions with communicating timely issues are also informed by the genre types his works resemble: historical fantasy (period drama, specifically jidaigeki style), post-apocalyptic fantasy, and rural fantasy. This is where I derive the aforementioned past-future-present structure from.
Thus, let me then offer you the roots, bark, and branches for this method of attack, starting with what can only be described as one of anime’s most compelling and cinematic experiences to date. That’s right. We first head off to industrial Irontown where the fierce Lady Eboshi wages a one-sided war with the creatures of the forest—and the forest itself.
Forest of Historical Fantasy
“There is a religious feeling that remains to this day in many Japanese. It is a belief that there is a very pure place deep within our country where people are not to enter. In that place clear water flows and nourishes the deep forests . . . The forest that is the setting for Princess Mononoke is not drawn from an actual forest. Rather, it is a depiction of the forest that has existed within the hearts of Japanese from ancient times.”
(Hayao Miyazaki, Turning Point: 1997–2008, p. 88)
WATCH: Princess Mononoke (1997)
I fancy beginning with a watch of Princess Mononoke because it packs a whole lot into its 133 minutes while feeling complete on its own. You are introduced to conflicts that form the epicenter of the whole reason why we feel this disconnect with nature to begin with: nature vs. industry, humanity vs. spirit, tradition vs. change. With its sweeping visuals and epic scale, the film invites the viewer to explore what it means not only for one person “to live” but for tribes of people, races of creatures, and forces of nature to all “live” within the same world, even if they exist so in cyclical conflict.
SUPPLEMENT: The Art of Princess Mononoke (VIZ Media)*
After enjoying such an incredible film, re-experience the magic of the forest with its art book! Notice the contrast in surroundings between Emishi Village and the Tatara Ironworking Clan. Most of those lush forest backgrounds can be found in the “Forest of the Deer God” section (pp. 83-115). VIZ has released English editions of these art books for each Ghibli film by Miyazaki, so check out the art books for the other films mentioned in this guide too.
*At some point before or after the film, be sure to read the director’s statement “The Battle Between Humans and Ferocious Gods” dated April 19, 1995. You can find it online or printed in various locations: The Art of Princess Mononoke (p. 12), Starting Point: 1979–1996 (p. 272; slight differences due to being a planning memo), Turning Point: 1997–2008 (p. 15), and the GKIDS Blu-ray release insert (p. 5). I always enjoy reading statements like these prior to watching a film, but I can respect wanting a 100% blind experience for first-time viewers.
READ: Starting Point: 1979–1996 (VIZ Media)
The two essay and interview collections by Hayao Miyazaki are DENSE but fascinating to read, whether by section as needed or straight through like I did. I recommend the entire publication, but relevant passages and starting pages are as follows:
Princess Mononoke Planning Memo (p. 272)
About Period Dramas (p. 132)
The Power of the Single Shot (p. 158)
READ: Turning Point: 1997–2008 (VIZ Media)
Unlike Starting Point, which describes many of the early ventures leading up to some of Miyazaki’s biggest works of the 2000s era, Turning Point goes all-in on five distinct and classic titles. Princess Mononoke starts the ball of this 450-page book rolling with nearly 200 pages dedicated to it and other social happenings as the film was being made. Really, it’s all insightful knowledge, but the following excerpts especially set a solid groundwork for the next leg of our forest journey.
The Battle Between Humans and Ferocious Gods—The Goal of This Film (p. 15)
The People Who Were Lost (p. 20; poem)
Kodama Tree Spirits (p. 24; poem)
The Forest of the Deer God (Forest Spirit) (p. 26; poem)
The Elemental Power of the Forest Also Lives Within the Hearts of Human Beings (p. 27)
Those Who Live in the Natural World All Have the Same Values (p. 38)
You Cannot Depict the Wild Without Showing Its Brutality and Cruelty: A Dialogue with Tadao Satō (p. 42; comments on the tagline “Live” on p. 54)
Princess Mononoke and the Attraction of Medieval Times: A Dialogue with Yoshihiko Amino (p. 60)
Forty-four Questions on Princess Mononoke for Director Hayao Miyazaki from International Journalists at the Berlin International Film Festival (p. 79; comments on how “The kodama came from the eeriness and mysteriousness of the forest” on p. 82; comments on the “depiction of the forest that has existed within the hearts of Japanese from ancient times” on p. 88; comments alluding to biocentrism vs. anthropocentrism debate on p. 90)
Animation and Animism: Thoughts on the Living “Forest” (p. 94)
We Should Each Start Doing What We Can (p. 276)
WATCH: The Man Who Planted Trees (1987)
This 30-minute animated short film directed by Frédéric Back (based on Jean Giono’s 1953 short story) is a source of personal inspiration for countless animators, Hayao Miyazaki and Isao Takahata included. At its core is the simple ethos of “paying kindness forward by hard, consistent work,” yet the film’s animation of plants is constantly vibrant and full of motion. Back was a master of the craft, no doubt, and while viewing it online in 480p is far from ideal, you can watch his work HERE on YouTube for free.
After watching this, return to Starting Point: 1979–1996 and read “Having Seen The Man Who Planted Trees”(p. 143) for brief comments by Miyazaki himself. Ghibli director Isao Takahata’s love for the film is mentioned in other documentaries as well, namely Journey of the Heart: Conversations With The Man Who Planted Trees. Traveler: Isao Takahata (1998).
And now, to get to the heart of these matters concerning the forest, we actually head out to a valley. A valley of the wind.
Forest of Post-Apocalyptic Fantasy
“I’m sometimes asked what it is about trees that I find so attractive. But it seems to me that even the question represents the height of irreverence. After all, our lives depend on trees, and we exist at their mercy. For example, I believe that we will one day pay a terrible price if people arrogantly and indiscriminately destroy forests, simply because they want ‘a more profitable use of the land.’ In fact, we’re already paying the price.”
(Hayao Miyazaki, Turning Point: 1997–2008, p. 276)
WATCH: Nausicaä of the Valley of the Wind (1984)*
For people unacquainted with Nausicaä in any form, I will almost always fight for a film watch prior to reading the manga. Hear me out. The film is a good one. It has spellbound literally generations of aspiring artists, animators, and anime fans, and you will never regret being able to say “The manga was better” over “The movie was terrible.” Because it’s not, and now you know.
Personal opinions aside, a watch of the film before a read of the manga might also be wise since the manga didn’t conclude until 1994 with over 12 years in the making. Miyazaki’s editor paused the manga’s serialization several times to allow the writer/director/artist to clear his head by working on films. (Or maybe it was the other way around; Starting Point provides the full picture.) Although the final theatrical product reflects characters, ideas, and setting details from only the first part of the manga, it remains historical in its effect of inspiring all who witness the flurry of forest life bursting forth from the Sea of Corruption.
*Don’t forget to read the statements from Toshio Suzuki (2010), Hayao Miyazaki (1983), and Isao Takahata (1983) before OR after watching the film. The only format I presently own these in is the GKIDS Blu-ray release insert, though I’m sure they can be found online or in print elsewhere.
READ: Starting Point: 1979–1996 (VIZ Media)
We’re back to reinforce our film watching with essays, interviews, and other tangents from the director himself. Because this is the only Miyazaki film with a manga adaptation penned by the director, the dual perspective is fascinating to read up on from a creation standpoint. Read any of this before, while, or after reading the manga. Then, focus on the forests, which I’ve done for you by selecting these particular passages:
On the Banks of the Sea of Decay (p. 165)
About Ryōtarō Shiba-san (p. 211)
On Nausicaä (p. 283)
On Completing Nausicaä of the Valley of the Wind (p. 390; about the manga)
Earth’s Environment as Metaphor (p. 414)
READ: Nausicaä of the Valley of the Wind (VIZ Media)
Of course, if you start with the film, you’re more likely to appreciate what the animated story has going for it. If you’re in the manga-first camp (a rare breed), then you probably don’t bat an eye at the film, and that’s ok. The Nausicaä manga is one of the most significant achievements in comics, but I probably didn’t need to tell you that. As someone who only finished reading it for the first time at the end of 2024, I was stunned by the piece. Through the Daikosho, we see how reclamation of forest land can be both a natural process and one that’s artificially engineered. And with the theatrical tagline of Princess Mononoke sharing the same word as the final line of the Nausicaä manga—that we must “live”—I surrender to the hope that no matter how much of the forest we take, the forest will find a way to live on—to outgrow us, even.
Forests of Rural and Urban Fantasy
“We Japanese have changed our environment so much that we must either change ourselves or, clinging to our memories of the past, try to regenerate the trees that once functioned as our mother. That doesn’t mean, of course, that we should think of protecting the environment to the exclusion of all else, because we do ride in automobiles. We must live with contradictions . . . [A]s with films about trees, I hope I can maintain the perspective that the midges in the ditch near my house are just as important as the prized sweetfish in the clean waters of the Shimanto River.”
(Hayao Miyazaki, Starting Point: 1979–1996, p. 163-64)
WATCH: My Neighbor Totoro (1988)*
By this point, we’ve relived the violent past and taken a glimpse into the war-torn future. What is left of the forest in the present? Well, one could definitely say it’s facing a “quickening end” of sorts. As we continue to permit rapid urbanization, expanding cityscapes, and reckless waste, we trade off forest life for our own proliferation. After Nausicaälearns the truth of the Daikosho, who’s to say what the real virus is: a biological toxin born of natural processes and synthetic manipulation, or unchecked human greed. Both stink, that’s for sure. At least we still have Totoro, right?
Although My Neighbor Totoro was released almost a decade before Princess Mononoke, I find its optimistic spirit a far more pleasant cushion for facing the end times. Part of this motivation circles back to Miyazaki’s own fondness for the children growing up in society. Even when we grumble at a weed poking through the pavement, children can still find beauty in the bramble. The forest trees loom large over Mei and Satsuki’s heads, and their joyous wonder is both amusing and contagious. In a way, the forest and its Totoro give the girls energy and awe out in Japan’s quiet countryside.
*Don’t forget to read the statements from Toshio Suzuki (2012) and Hayao Miyazaki (1986) before OR after watching the film. The only format I presently own these in is the GKIDS Blu-ray release insert, though the director’s statement can also be found in Starting Point: 1979–1996 (p. 255; project plan with more details) and The Art of My Neighbor Totoro (VIZ Media).
READ: Starting Point: 1979–1996 (VIZ Media)
You saw this coming. Flip open your mangled, marked-up, sticky-noted copy of Starting Point and get to readin’! Oh, does only mine look like that? Huh.
Project Plan for My Neighbor Totoro (p. 255)
The Type of Film I’d Like to Create (p. 148)
Things That Live in a Tree (p. 162)
Totoro Was Not Made as a Nostalgia Piece (p. 350; there are also comments on Kazuo Oga’s artwork)
WATCH: Pom Poko (1994)*
Remember when I said that several Ghibli works approach themes of nature and environmentalism? Pom Poko (1994) is Isao Takahata’s highly beloved crack at the topic, and he does more than snap a few branches. Takahata’s tale of tanuki going “over the hedge” is a landmark in showcasing the modern plight of Japanese forest conservationists. Through depictions across changing seasons in Japan, the film paints over pastoral forest life as urbanity creeps over the canopies one concrete apartment complex at a time. “The forest is magical” is oft cited by Ghibli fans. Between whimsical Totoro, whispering kodama, and wild tanuki, perhaps the forest’s denizens possess equal ability to charm us.
*Don’t forget to read the statements from Toshio Suzuki (2013) and Isao Takahata (1994) before OR after watching the film. The only format I presently own these in is the GKIDS Blu-ray release insert, though I’m sure they can be found online or in print elsewhere.
SUPPLEMENT: Kazuo Oga Art Collection I & II (Tokuma Shoten)
We’ve spent so much time admiring the forest through text and animation, but we’ve labored little in studying the foliage up close. Kazuo Oga is not only a famed background artist but also a brilliant art director. His art directorship notably includes My Neighbor Totoro, Only Yesterday, Pom Poko, Princess Mononoke, and The Tale of Princess Kaguya—all Ghibli works where nature plays a star role. Oga’s background art spreads across too many masterful canvases to name here: Panda! Go, Panda!, Kiki’s Delivery Service, Porco Rosso, Whisper of the Heart, Spirited Away—You get the picture. He’s one of a powerhouse team that has fueled the “Studio Ghibli aesthetic” for decades. And for Princess Mononoke, he traveled far out to the Shirakami-Sanchi mountains to draw inspiration for the Emishi village.
Kazuo Oga’s art collections aren’t available under a U.S. license, but if you can get your hands on at least one of them, you’ll have a friend for life. Let’s spend some time soaking in his legendary forestscapes. If you’re not sure what to “look” for, consider starting with this note, a reflection from Kazuo Oga himself when Miyazaki first critiqued his forest artwork (p. 53):
“I gradually came to understand that I would not be able to achieve the picture that Miyazaki was looking for unless I paid more attention to the relationship between light and subdued colors. Until then, I had drawn trees rather symbolically . . . But I began to feel that I needed to carefully incorporate the many other trees and plants that we don’t usually notice, and the colors of the walls and pillars inside a room . . . The color of the pillars also changes depending on how the light hits them . . .”
Isao Takahata on Oga’s art direction (p. 88):
“Each plant and object is modest, neither standing out nor blending in, but each one exists properly, alive and well. And how charming it is to see them all blend together in a modest way.”
(Quotes are rough translations from Art Collection I via Google Lens.)
Other Ghibli Works to Support Your Forest Expedition
“Even though we [Japanese] have become a modern people, we still feel that there is a place where, if we go deep into the mountains, we can find a forest full of beautiful greenery and pure running water that is like a dreamscape . . . Deep in the forest there is something sacred that exists without a perceptible function. That is the central core, the navel, of the world, and we want to return in time to that pure place.”
(Hayao Miyazaki, Turning Point: 1997–2008, p. 36)
WATCH: Castle in the Sky (1986)
The woes of unchecked technological achievement displacing natural biomes forms a fictional historical backdrop in Laputa. Forests aren’t the center attraction per se, but once you consider the resource tradeoffs an ancient civilization made to create high-flying machines and castles . . . Plus, the overgrowth on Laputa is positively wild, almost as if the trees are reclaiming the castle itself.
WATCH: Kiki’s Delivery Service (1989)
Have you ever felt the urge to escape into the woods, to lose yourself in a place of quiet and sort out all of life’s troubles? Kiki’s retreat to Ursula’s cabin is perhaps one of the most convincing scenes of nature (particularly the forest) offering sanctuary for someone who’s lost their motivation AND rediscovered their creativity—their drive, their spirit—through nature. And I’d fight to keep the film on this “forest guide” if only for an illustrative moment like this.
WATCH: Only Yesterday (1991)
Taeko takes Kiki’s night journey to another level when she decides to revisit her relatives in the countryside. Nature and nostalgia weave together unexpectedly, and past memories bubble forth as Taeko reconnects with the mundane joys of outdoor living. There are many, many flourishing fields and flowers (in no small part thanks to Kazuo Oga), but it’s those majestic mountain forests that give Only Yesterday its sense that love can be expansive, at times arresting, yet always on the horizon.
READ: Shuna’s Journey (1983)
Miyazaki’s only standalone emonogatari (illustrated story) book is a moving work on its own, and it’s an even stronger thematic supplement to Nausicaä and Princess Mononoke especially where nature is visualized. The forest center as a mysterious paradise or “heart” which is home to the collective pulse of all ancient life is a frequently revisited motif in Miyazaki’s works. Given Shuna’s early 1983 publication date, it’s no wonder that the story sowed the creative seeds for many other recurring images, themes, and setting details.
SUPPLEMENT: Hayao Miyazaki (Academy Museum)
Such a dense archival book (both for information and artwork) is worth looking into for forest matters if only because the publication itself highlights Miyazaki’s forests in specific sections. These bits are of special note for us:
Creating Worlds (p. 121)
Totoro and the Mother Tree (p. 151)
The Forest, Kodama, and the Deer God (p. 157)
Nature and Nostalgia (p. 200)
Magical Forest (p. 250)
SUPPLEMENT: Studio Ghibli: Architecture in Animation (VIZ Media)
Wait, what does architecture have to do with nature? If you’ve watched any Ghibli film, then you’d know that the two come hand-in-hand. Architectural historian Terunobu Fujimori has put together a way to absorb and analyze Ghibli backgrounds that transcends the traditional art book experience of awe and admiration. His commentaries on the “Point of Contact Between Nature and Artifice” and “Forestry Society” (p. 25) are especially insightful.
Towards Greener Pastures: Ghibli-Adjacent Works
“The major characteristic of Studio Ghibli—not just myself—is the way we depict nature. We don’t subordinate the natural setting to the characters. Our way of thinking is that nature exists and human beings exist within it.”
(Hayao Miyazaki, Turning Point: 1997–2008, p. 90)
READ: The Easy Life in Kamusari (Shion Miura)
This slow-going, slice-of-life novel follows Yuki Hirano, a fresh-out-of-high-school bum who is sent out to the remote mountain village of Kamusari to earn some income through a forestry training program. Although he’s distanced from technology, friends, and popular society itself, Yuki eventually takes on the natural and practical challenges the mountain poses and comes to appreciate the forest for the trees. Shion Miura (The Great Passage, Run with the Wind) pens a teenage boy’s point-of-view with all its growing pains, even referencing a certain Ghibli film to describe the reverential movement of snow-like spores floating above the forest range.
READ: Sweet Bean Paste (Durian Sukegawa)
An international bestseller, Sweet Bean Paste might not have anything to do with forests, but it does discuss the misery, stigma, and effects of a certain disease outbreak and Japan’s historical mistreatment of those affected. I offer it here because, while Miyazaki was working on Princess Mononoke, he would frequently visit the sanatorium grounds (which is next to its museum) and ponder deeply and sincerely about those who suffered. This became part of the inspiration for the infected Prince Ashitaka who henceforth embarks through dense forests to find himself a cure. Sukegawa’s book is also flat-out remarkable for its equally endearing, admirable characters.
READ: Once and Forever: The Tales of Kenji Miyazawa
I haven’t actually read this particular collection of Miyazawa’s classic, fablesque short story writing, but I do know two things: 1) the late philosopher Takeshi Umehara (in an interview with Hayao Miyazaki) cites Kenji Miyazawa as one of “two poets of the forest,” the other being Kumagusu Minakata (Turning Point: 1997–2008, pg. 103); and 2) the NYRB publication of Miyazawa’s collected tales features giant trees on the cover. As a follow-up to this forest journey, this book will be one of my next immediate reads.
WATCH: Mushi-Shi (2005)
There are probably a hundred excellent anime out there that make intellectual, philosophical, and spiritual commentary on the forest like Studio Ghibli works do, but few are more patient than Mushi-Shi. You follow Ginko, an investigator of sorts with the rare ability “to peer into the places where the mushi hide in plain sight,” the mushi being the unexplainable, unseen creatures of nature which have silently attached themselves to our lives. For Ginko, exploring dark forest depths is par for the course, and how he conducts himself in nature is a philosophy in itself.
For this recommendation, any Kawase Hasui art book would do, but I really like this one. A printmaker of the shin-hanga “new prints” movement, Hasui combines the ukiyo-e “floating world” style while incorporating Western atmospheric effects and natural lighting (two attributes which Kazuo Oga strove for in his backgrounds for Ghibli). Since Hasui specialized in landscapes, you will find lots of 20th century (or older) architecture and nature depictions across all seasons and weather types. Studying the shift from traditional two-dimensional ukiyo-e to Hasui’s blended Eastern-Western style and all the way up to Oga’s Western style with Eastern subjects is rewarding on its own. The forest has been a world of inspiration for artists of all forms—and of all generations.
SUPPLEMENT: Art Books by Nizo Yamamoto (Various)
I wanted to squeeze one final recommendation that’s not pictured anywhere in this post. Nizo Yamamoto was an art director and background artist like Kazuo Oga who produced nature art for several Studio Ghibli projects (including the background used in this post’s header graphic). Sadly, he passed away in 2023, but his style is timeless. You can find various art books by the late artist still in print.
Planting a Seed (i.e., What’s Next?)
At just over 5,000 words, this is a project that I’m happy to finally see through to completion. I’ve had reference materials, sticky notes, and midnight movie viewings filling up my creative space for some time, and it’s satisfying to return them each to their respective home on my shelves. One thing you may have noticed is that there’s not much for video or online article sources cited here. That was intentional. With so many materials physically published and Blu-rays released, I wanted to revel in the analog for this project. A quick YouTube search on this topic or adjacent ones will likely spit out what you want, anyhow; this was a purely personal journey, and I simply wanted to share my close-reading methods with you.
That said, with the popularity of the video guide format, I might make a video version of this post for my YouTube channel. It could prove equally fun to hop behind the camera and thumb through the pages for y’all, but no promises. As for other Ghibli posts, Hayao Miyazaki made the forest a real character through his films, yet one could argue he’s even more famous for his films depicting aviation and other magical worlds. Until I find a new topic to obsess over, we’ll leave it at the trees for now.
To completely pivot, I’ve got a smaller project on the complete opposite topic currently in the works. Did you guess sci-fi cityscapes in anime? Hah! Think of it as a direct response to this post about life on the forest floor. Throughout fall 2024, I was able to escape into both of these vastly diverse settings. I can’t wait to show you that other half which calls out to me.
Also, I haven’t forgotten about the Makoto Shinkai “revisit” project I started last year! It got shelved for a bit due to other intervening interests, but I do plan to produce something worth reading. Lastly, as February draws nearer, my annual “V-Day Special” anime marathon awaits. More TBA soon.
If you made it to the end, I hope this guide will prove OR has proven helpful to your own understanding of Ghibli forests and nature more broadly. Thank you for your time, and happy reading!
Welcome to the long-awaited continuation of this Sailor Moon light analysis series! Like I did in my overview of themes, motifs, and symbols in Sailor Moon‘s “Dark Kingdom Arc,” I want to try veering off the traditional review path and instead focus on some of the thematic devices and elements in my favorite manga or anime series. These posts will not aim to critically analyze elements of the work but rather provide a leaping-off point to prompt your own discussions. I encourage readers to use this post as they see fit (just be sure to tag me and link this page), and I hope you will find it useful!
The themes, motifs, and symbols discussed here pertain specifically to the “Black Moon Arc” of Naoko Takeuchi’s Sailor Moon manga and the Sailor Moon Crystal anime series. Other themes, motifs, and symbols may also apply, though I plan to save those devices for future posts where they are more relevant in other parts of the franchise (like the use of dreams inSuperS). At the same time, I’ll avoid repeating any items from previous posts because, like most series, Sailor Moon tends to build off of existing groundwork as the story progresses. As such, this listing is by no means exhaustive, but it should help anyone trying to understand how some of the thematic devices function within the narrative. SPOILERS AHEAD!
Themes
Desire as a Slippery Slope to Possession
It’s no coincidence that the classicanime refigures the “Black Moon Arc” as Sailor Moon R, an R which is commonly believed to signify “Romance,” “Return,” or “Rose.” Plights of desire and envy ignite every moment with new layers of meaning to the word “romance.” Prince Demande’s overwhelming desire to capture Neo Queen Serenity and demonstrate his mastery is a clear twisting of the romance shared between the Queen and her King Endymion. Endymion stands behind Serenity as an act of giving love, while Demande, well, demands that possessing Serenity and her Silver Crystal is the only way to effectively communicate his desires. In truth, Demande likely felt “bewitched” by her superiority, and so he tries to place a bell jar over his love out of an unwillingness to accept that her strength—her capacity to love—is greater than his own.
Duplicity Is Deception
Doppelgängers or mirror personalities loom in the shadows of many characters, reflecting both a semblance of repressed desires and a gross exaggeration of said truth. Tiny Chibiusa has bold Black Lady, the Queen of Nemesis cloaked with power AND the man of her dreams at her beck and call. Little does she realize that a more earnest sense of self awaits around the corner in the form of Sailor Chibi Moon. Sailor Moon (or Neo Queen Serenity) has the submissive, altered version that exists in Prince Demande’s evil eye(s). All of the Black Moon members bear desires original to them that are buried beneath Wiseman’s hypnotic effects. And even Wiseman himself masks his true form as Death Phantom, shedding his layers of deception only as the Senshi are able to wipe away each one.
Distance Breeds Love and Hate
They say that the farther we are from the ones we cherish most, the stronger our passion for them—and despise for others—can grow. Sailor Pluto, known for residing at the forbidden corridor between space and time, is living proof that experiencing distance from our loved ones can reinforce that same fondness for them. She views the dedication to her task as a positive way to deepen her bonds with the royal family’s members. In a way, she is a foil to Wiseman, who instead of safeguarding space-time hides within its folds, his hatred for Serenity heavy in his heart. On the other hand, both Usagi and Chibiusa view their rotating separation from Mamoru with frustration and jealousy towards the other girl. When one has her moment with Mamoru, the other is often caught up in worry and vexation, however needless it all seems in hindsight. It’s astonishing how a little separation can so drastically affect us.
Isolation Creates an Echo Chamber
For a series about love and romance, many characters across the “Black Moon Arc” experience aching loneliness and anxious ideation from their isolation. On Planet Nemesis, Wiseman stews in his own depravity and torment as a rebel forever banished from humanity on Earth. Rather than use the imprisonment cast by Neo Queen Serenity to reflect on the error of his ways, he mines Planet Nemesis for the Beguiling Black Crystal, a gem which only furthers his corruption. It’s not just the bad guys damaged by isolation, though. In the 30th century, Chibiusa is ostracized by her classmates for being the Queen’s daughter; her mother has much grander ordeals to attend to than child-rearing, and the Inner Senshi often accompany their Queen. The echo chamber of her perceived isolation is exploited when Chibiusa flees to the shadowy edges of space-time and Wiseman lures out these anxieties within her. Of course, there’s also Sailor Pluto whose sole guardianship over space-time leads her to ever wondering if her work and dedication were truly enough to please her Queen and, in ways unrequited, her King.
The Futility of Changing History
After becoming disillusioned by the supposed unaffecting ways of Crystal Tokyo’s monarchal rule, the Black Moon Clan joins forces with Wiseman, a terrorist exiled to the far reaches of space, to travel back to the past and erase the possibility of a new Silver Millennium being created in the 30th century. As the Sailor Guardians thwart every one of the Black Moon Clan’s missions, however, it becomes apparent that history is a fixed constant, one that is futile to change. Even if the Inner Senshi become detained or incapacitated, the lone Guardian of Space-Time can be called upon in their darkest hour.
Critiques of Monarchy and Singular Authority
When the Sailor Guardians make their way to 30th century Crystal Tokyo, they find that Neo Queen Serenity had bricked herself up in the Crystal Palace as a final act of self-preservation. Granted, this decision safeguarded the one hope that could be used against the Black Moon, but it’s this same singular dependance on one figure to constantly save the day that landed Crystal Tokyo in so much trouble when the Black Moon first invaded. According to their account, Neo Queen Serenity only graced the public to protect her people against rare acts of terrorism. She was, to the renegade Black Moon (who were once citizens of Crystal Tokyo themselves) a leader in name only—a concept, even. With all vestiges of celestial power sealed within the slumbering Neo Queen Serenity, it almost begs the same question that the Black Moon propose: Why does a superior 30th-century human race still rely on the crown, and why can’t the radiance of the Silver Crystal—the symbol of monarchal authority—be shared by more than one individual?
Motifs
Blackness
Black Moon. Black Lady. Beguiling Black Crystal, black as the abyss of space. The “Dark Kingdom Arc” introduces a similarly vague word to express the forces of evil, but whereas darkness exists on a spectrum of light, black connotes just that: stark, opaque, dense, and without dimension. The evil present in the second arc of Sailor Moon is far more sinister in scale, and its shadows are twice as black. Interestingly, the notes in the manga describe that the Black Moon Clan members Crimson Rubeus, Verdant Esmeraude, and Azure Saphir unite under Prince Demande as the primary colors found in light (red + green + blue = white). When they are removed from the picture, the light is gone; in their stead, “Black Lady” reigns supreme.
The Future
Anxieties about what the future will bring swirl in the hearts of many. For the girls living in the present, it’s mostly concerns with studies, extracurriculars, and friendships. For all of the “aliens,” this worry is retrograde. Having lived to see 30th century Earth, the Black Moon looks to the past to weed out their future enemies. Likewise, Chibiusa fears the reality that the legendary Sailor Moon of the past may be unable to protect her family in the future. After weighing her future against humanity’s, Sailor Pluto makes the desperate call to stop time in the ultimate showdown against Demande. The future is always at risk, ever slipping between characters’ grasps. Simultaneously, it is that which everyone is living through—a stage of possibility that fluctuates on every whim, breath, and pulse shared by the actors. Regardless of the consequences, it’s Mamoru’s comment that closes out this clash for romance, dominance, and the future: “It wasn’t a dream. It was the story of a future that will be here before we know it.”
Acts of Motherhood
This arc, which is devoted to exploring love and its many different forms, does not neglect the mother-daughter relationship in the slightest. Usagi and Chibiusa’s relationship starts out rough, but the edges start to smooth once the two develop a routine: waking up, going to school, playing at the arcade with friends, fighting over Mamoru’s attention, combatting the forces of evil, and then returning home to sleep and start all over again the next day. In particular, it’s moments when Mamoru is present that Usagi feels the conflict of love, for his caring gaze seems split between the two girls. When Usagi heads to Crystal Tokyo and learns more of Neo Queen Serenity, she starts to adopt a more motherly tone with her future daughter. Furthermore, Usagi’s mother begins to feel the gravity of the cosmos pulling her daughter away from their little home in the Juban District. Even Luna must accept that her daughter Diana knows more about the future and what’s best for everyone than she does (which is a RARE occurrence indeed). It’s the willingness of mothers—Usagi, Ikuko, Luna—to relinquish their daughters and let them experience the world that allows trust to strengthen on both sides.
Spectre and the Supernatural
Between fortune tellings gone awry, UFO sightings on the rise, and urban legends spiraling out of control, the Sailor Guardians do their best to combat the bizarre. The iconically named “Spectre Sisters” adorn the first half of the narrative with poltergeist-level misdemeanors and serial phantom kidnappings. It’s not until a literal “Death Phantom” (AKA Wiseman) conjures stranger images that the whole of space-time becomes at risk of collapse. Even with the anime-original “Doom Tree Arc” included at the start of season two, Sailor Moon R‘s expanded exploration to the dark corners of the solar system are entirely connected under the motif of supernatural happenings. There are some forces out there that simply can’t be explained . . . apparently . . .
Exiles, Outcasts, and Alien Invaders
Along with alien energies and antagonists, there’s a fair amount of invasion occurring on just about every level of human interaction. The obvious one is the Black Moon Clan appearing in strange, UFO-shaped discs of light to abduct people for their schemes. Wiseman is an exile of the gravest kind, a terrorist who led a rebellion against the Silver Millennium and is imprisoned on Planet Nemesis for his crimes. Chibiusa, too, is an invader upon not only the temporal past (and the Door of Space and Time protected by Pluto) but also Mamoru and Usagi’s relationship. Additionally, she regards herself as a kind of outcast from her class and family’s affection back home. Finally, there’s Sailor Pluto whose solitary role lends itself to the outward appearance of being outcast from the other Senshi. Despite their respective distances, the narratives of these exiles, outcasts, and invaders will intermingle and cause ripples of unimagined proportion.
Planet Power
We don’t often regard our planet as possessing its own kind of power, but in 30th century Crystal Tokyo, Earth shines as a jewel across the cosmos. Planet Nemesis, which apparently went undetected for centuries due to the *rare* gravitational phenomonen surrounding it, emerges as a planet of rival energy due to it possessing its own crystal power. This battle between Planet Earth and Planet Nemesis, Mythical Silver Crystal and Beguiling Black Crystal, centers itself as the arc’s grand climax. In response, the Sailor Guardians are granted “Planet Power” for the first time by Neo Queen Serenity. With Earth’s prosperity secured across 20th and 30th centuries, the stage becomes reset for the next arc to begin.
Doors and Keys
The “Black Moon Arc” begins with Chibiusa’s opening of the doors to space-time, and it ends in the same way. Doors represent barriers to forces which we might not be ready to take on . . . yet, anyway. The Door of Space and Time offers entrance to the unfathomable realm of causality. Hence, it is only discussed in hushed whispers, locked by special spatial keys, and watched by a lone protector. Still, Chibiusa hears the rumors, steals the keys, and befriends the solitary Sailor Guardian. She opens doors left and right, willing to cause trouble at every turn if it offers a new chance for her to find strength—and a savior—for the ones she loves. To Chibiusa, behind every door resides new possibilities; one only needs the right key to open them up.
Symbols
Beguiling Black Crystal
Unlike the Mythical Silver Crystal, which is limited to one (“1”) body and wielded by the Silver Millenium, the Beguiling (or Malefic/Evil, depending on translation) Black Crystal is mined and crafted into different shapes and sizes. High-ranking Clan members are bestowed Beguiling Black Crystal Earrings which can channel the power of the main crystal housed within the Black Moon Castle. Asteroid-sized Black Crystals have been used to decimate and weaken Crystal Tokyo with a nuclear power that is instantly reminiscent of the atom bomb. If the Silver Crystal persists in its namesake mercurial nature, slipping in and out of various grasps yet unable to be controlled, the Beguiling Black Crystal beckons each of its many holders forward. Not like quicksilver in the slightest, the Beguiling Black Crystal is ironically clear in its presentation. The Mythical Silver Crystal is an endless fountain of radiant power; the Beguiling Black Crystal, its one true rival force, draws and drains power from its surrounding in wicked supply. As Wiseman states, “The negative energy of the Beguiling Black Crystal that consumes all things, returning them to nothingness. And the infinite positive energy of the Mythical Silver Crystal that grants power to all things, amplifying it beyond measure . . .” Like their respective users, the two crystals symbolize the way we can love others: by giving and showering love, or by stealing it away.
UFOs
The preferred method of travel by the Black Moon invaders resembles (by little coincidence) the primary vehicle of stereotypical alien travel. UFO sightings have been a superstitious craze for decades, centuries even, and Naoko Takeuchi’s decision to incorporate their iconic shape into the story takes the girls’ fascination for urban legends to the next level. In reality, these light-shaped discs are not machines but portals created in the vacuum of space-time. While the Senshi are led to believe the invaders are from outer space, the Black Moon members cleverly withhold a second layer of truth: they are travelers from the distant future.
Luna-P
This gift given by Sailor Pluto to Chibiusa means all the world to the budding Sailor Guardian in pink. The way Chibiusa bounces Luna-P around and performs prankish tricks resembles a child playing with a temari, a Japanese handball used for games. Luna-P seems to house many hidden abilities, but one shouldn’t read too much into it as a sophisticated weapon. Rather, the cat-faced ball is a symbol of youthful mischief, joyful innocence, bountiful luck, divine protection, and above all, the bond between two friends.
Crystal Palace
The attempted siege against the Crystal Palace of 30th century Earth began with Wiseman’s acts of terrorism. Following his mission, the Black Moon became consumed with rage against the crown and its opulence. The Crystal Palace still stands after the carnage, a symbol of the royal family’s resilience to change in more ways than one. Until Sailor Moon can save Crystal Tokyo, the palace acts as a safe house for the slumbering Sailor Guardians and the royal family. After all, only the inheritors of Silver Millennium may draw on the power of the Mythical Silver Crystal. The fallout of Crystal Tokyo is still blatant in its chaotic implications, though; the royal family sleeps safely in the palace while civilian bodies lie strewn along ruined streets. Even Usagi herself contemplates the matter of a “divine right to rule” pounding in her soul: “Is it really the Silver Crystal that plants evil in people’s hearts and makes them fight each other? If the Silver Crystal never existed . . . would history never run off course? Should the Mythical Silver Crystal . . . should I . . . have never existed?”
Evil Eye and Bestial Hands
Beauty is in the eye of the beholder, yet don’t confuse Demande’s bewitching gaze as a mere sign of affection. This power to control and subjugate, along with the Bestial Hands, are bequeathed to Wiseman’s most loyal pawns. The Evil Eye, red with irritation, matches the savage cruelty of the Bestial Hands that go with them. While it’s easy to dismiss them as classic features of fantasy antagonists, one will remember that Wiseman draws his power from the Beguiling Black Crystal on top of years of practicing dark arts. Given Naoko Takeuchi’s background studying science, this could be a dramatization of the mutation caused by the Black Crystal’s radiation and a direct allusion to Japan’s own history with radiation poisoning.
Planet Nemesis
Rumors and theories about a distant 10th planet in the solar system were rampant decades before the dawn of superior-powered telescopes. Nemesis is an extension of this astronomical urban legend given nightmarish form. Comprised of Black Crystal, which was capable of absorbing light and energy much like a black hole, the phantom planet would appear and disappear from Crystal Tokyo’s sensors. As followers of Death Phantom also fled to Nemesis, its powers grew, and the planet began to emit large amounts of negative energy. The planet became synonymous with Death Phantom himself, as symbolized by the loss of his physical body and the binding of his will to Nemesis. For all that was righteous, luminous, and pure about the bygone era of Silver Millennium on the Moon, Nemesis offers the opposite—an all-consuming abyss that feeds off its prisoners.
Usagi’s “Reverie” Dress
Naoko Takeuchi is famous for her fashion tributes and passion for haute couture. When Prince Demande kidnaps Sailor Moon, she awakens to find herself dressed in an unfamiliar white gown. The design of the dress is inspired from Alphonse Mucha’s poster for the F. Champenois company, an art piece that was later given the title “Reverie.” The foreign white dress becomes emblematic of Sailor Moon’s current situation, her subjugation, and (after being topped with an unwanted kiss from Demande) the complete invasion of her body. The aliens had succeeded in capturing the enemy queen. While the whole display is gross to watch, there’s no denying the gorgeousness of the dress. Attached to the back of the dress are four wings fashioned from a translucent fabric. Given that Usagi is royalty, the scene may allude to the Amazonian Queen Hippolyta’s forced capture and wed by Theseus who, in Shakespeare’s A Midsummer Night’s Dream (“reverie” meaning daydream, by the way), infamously “wooed thee with [his] sword/ And won thy love doing thee injuries” (i.e., bested her in combat, which is how Sailor Moon also lost). In the play, which is inspired by Greek mythology, the fairy king Oberon commits similar dehumanizing acts against Titania, the fairy queen, in a parallel plot. With white wedding dress adorning her front and fairy wings strapped to her back, the stage almost appears set for Sailor Moon (or Hippolyta, or Titania) to plan her unprecedented comeback.
Moon Rod
A celestial weapon created from the love between Sailor Moon and Tuxedo Mask, the Moon Rod is the manifestation of their partnership. If Sailor Moon’s previous primary weapon, the Moon Stick, represents her destiny as the Moon Princess, the Moon Rod illuminates her future as a wife, a Queen, and a mother. In that way, the Rod could be likened to a royal scepter. When Tuxedo Mask is brainwashed and uses the Rod to hit Usagi, the scene resembles an instance of domestic violence. Sailor Moon internalizes the attack as such: “That rod was born of our combined powers. And he’s using it . . . against me.” Whether wielded with pure or ill intent, the Rod has always represented the unity of their love. Like the Moon Stick, instead of outright “killing” enemies, the Moon Rod specializes in purifying evil. Of course, bodies completely consumed by darkness are likely to disintegrate entirely. As the story evolves across arcs and seasons, so too will the Mood Rod upgrade in its healing magnanimity, physical stature, and legendary light.
Got any themes, motifs, or symbols you think should be on this list? Drop your suggestions down in the comments for all of us to see. Thanks for reading, and ‘til next time!
I realize I said that I’d be coming back and then disappeared for two weeks. (Is it just me or does time fly exceptionally faster for bloggers than any other content creators?) We rang in the new year, then BOOM, it’s already February—
Which means Valentine’s Day is right around the corner.
If you’re new to my blog, let me explain why this is such a spectacular holiday for me. While everyone else in the aniblogger community celebrates “Mecha March” (cause it’s a perfectly catchy name, who wouldn’t is the better question), I have taken the preceding lovely month all to myself to delight in those same mecha and sci-fi titles. It all started when I watched Evangelion for the first time in 2015, during which I blocked out an entire weekend to marathon the entire franchise (all but the final two Rebuild films which had not yet been released on Blu-ray). I have a post floating around here somewhere that breaks down all the titles I’ve watched. Historically, it’s been sci-fi, but I’ve dipped into sports and drama as well. At this point, anything is fair game so long as it’s an “older” title.
Since I’m also in the process of going through seasonal catch-up (see my last post) and working through the physical to-be-watched stack, I figured I’d let my readers decide what I watch this year! I’ve boiled it down to three options:
The Big O (complete series)
Trigun (+ film and remake series)
Patlabor (all of it; TV series, OVA series, 3 films)
You can vote for your top choice through this Twitter/X poll over the next three days. Alternatively, you can leave a comment on this blog with your choice. I’ll tally up the votes and announce the results in an official post sometime after the voting period.
Need to cull the to-be-watched pile. Which throwback anime should I watch this February? You decide!
While the marathon might not occur exactly on Valentine’s Day this year, it’ll still be held within the month of February. I’ll work out a schedule once the voting is done.
From March 1 to March 31 (2022), Takuto’s Anime Cafe partook in the annual Mecha March aniblogger festivities. This year, I decided to write a post every single day dedicated to my favorite anime of all time, Evangelion. This project, “EVERYDAY EVA,” began as a daily reflection over the classic TV series, and it was eventually expanded to include the films of the franchise for the last week. This way, I covered the immense animated history of Evangelion in its totality.
Over the course of 31 days, 31 posts slowly yet steadily trickled in. By the last day, the collective word count reached well over 18k words (including this post), making it the longest project over a single franchise that I have ever done! Seeing all of the posts finished like this almost makes me want to collect them into a single publication for Amazon Kindle or some other easy digital publisher—just for fun, you know?
It’s not often that I have the time to rewatch a 26-episode series and its 5 sequel films, but I’ll always make an exception for Eva. It’s fascinating how I continue to learn new tidbits and gain heightened insight about the world, story, themes, and characters even after having see this series many, many times. I poured my heart and soul into each of these little reflections. While they aren’t always cohesive or even coherent, they are mine, and that’s something I can be proud of. (I do recommend reading them side-by-side with your own watch of the series as a kind of companion piece, though!)
I know I already said it, but special thanks to all those who read these posts live as I published them. Your continued support empowered me to see this project through to the very end!!
Below are links to each post of EVERYDAY EVA. Be sure to read each one if you haven’t yet!
The penultimate 16th Angel fuses with Unit-00, and, in Ritsuko’s tearful outburst, the truth of Rei Ayanami is finally disseminated to Misato and Shinji.
The Angels are finally gone, but Shinji is far from achieving happiness. While he grapples with the truth of his weakness, human instrumentality begins.
Instrumentality continues to unravel Shinji’s narrative, weaving his consciousness with the minds and hearts of others. A discovery is made, and love is found.
The climactic final act of the original NGE plays out on the global stage as prophetic wishes come to pass. The end and the beginning are one in the same.
Shinji Ikari’s story reaches a “break” in the path, and the added drama of new pilots and Angels alike snowballs into his heroic decision to protect the one he loves.
Following the cataclysmic pursuit of his desires, Shinji reawakens to an unfamiliar red world. The only shred of hope to be found lies with the boy from the moon.
Shinji, shocked into despair at Kaworu’s death, slowly starts to move forward thanks to friends both old and new. Finally, his nostalgia, spirit, and tragedy will lead him to joy.
Welcome back to EVERYDAY EVA, the blog series where I aim to cover one episode of Evangelion every single day for Mecha March 2022!
Asuka turns up the heat as the star magma diver—and the humiliation is unforgettable.
Here’s another super fun episode—“Magma Diver,” the part of the show where everyone gets all hot ‘n bothered (due to thermal expansion, of course), and NERV makes its first attempt to strike at the Angels first. Just when Asuka thinks she’ll be joining the other kids on a field trip to Okinawa, she and Shinji are called to be on standby. This would be the worst-case scenario for a girl in her youth, but Asuka finds other places to show off her scuba diving stunts, such as the NERV natatorium—and a volcanic lakebed high up in the mountains. Just when things were getting hot, Eva kicks the action up a notch.
Episode 10 gives Asuka a third chance to show off her piloting expertise. Instead, both the Second Child and her Unit-02 are fitted into large round suits especially designed for the magma’s heat. Rei offers to take on the humiliation for her, but that only charges Asuka up more. Finding out that the U.N. will “clean up” the operation should it fail—and that Commander Ikari set forth these terms—goes to show the lack of faith everyone has in NERV. Almost makes a person wonder if NERV is taking on some kind of improbable, apocryphal, and entirely hypothetical mission . . .
Fortunately, the operation proceeds as planned. “Fear is often worse than the danger itself,” Asuka reassures Shinji in her charismatic overtones. Then, of course, things have to go south again. As the 8th Angel hatches and breaks free, Asuka and Shinji turn to thermal expansion to save the day. Briefly, an endearing side of Asuka is shown, only for her to ridicule Shinji again at the hot springs. “Embarrassment” is a rare theme to come by in Eva, and I always found that if it had to go somewhere, it by far fits this episode best.
As the Action Arc progresses, Shinji tries to understand Asuka as a function of his world. Meanwhile, secrets about the fabled Second Impact are sparingly leaked here and there, providing us with just enough info about the past to predict the horrors that lurk in the future. To this point, things go particularly dark in the next episode. I hope you’ll stick around. Thanks for reading, and ‘til then!
The annual time for me to lock myself in my room and binge anime has finally come again. I love Valentine’s Day, but not for the same reason most do. When I think of V-Day, I value it as a time to love myself, to spend time on me. Really, it can be a day for whatever you want, I just use it to celebrate self-love!
Normally, I like to pick popular sci-fi or sports anime franchises to tackle for the marathon (don’t ask why it’s just those two genres, as I have no explanation). Can’t remember what we’ve done in the past? Here’s a refresher for ya!
2013 ~ Steins;Gate
2014 ~ Kokoro Connect (I think . . . )
2015 ~ Neon Genesis Evangelion
2016 ~ The Rose of Versailles
2017 ~ Ghost in the Shell
2018 ~ Haikyuu!!
2019 ~ RahXephon
2020 ~ [SKIPPED DUE TO HIATUS]
And so, for this year 2021, I’d like to welcome 2020’s attempted title back to the stage for a second try—give it up for . . .
2020 ~ Gunbuster
I failed big time last year, and I wanted to make amends for that by trying Gunbuster one more time. To tell the truth, I didn’t even give the series a first try, as I was in a big anime and blogging slump during this time last year. It never got the chance it should have, which is why I’m excited to dive into this legendary title once again.
I even brought back the roadmap sheet I drafted last year!
This year’s V-Day special will actually take place during next weekend, February 19-21, as I was booked this past weekend by the Manga Love Readathon!
I’ve got all the DVDs and Blu-rays that I’ll need to make this marathon a hit already locked and loaded. Oh yeah, we’re ready for this one. 🔥🔥🔥
So until next weekend, spend these next couple of days with the ones you love most. And if you’re rockin’ it single like many of us are, TREAT YO SELF, and use this holiday for some self-care—you deserve it!
I decided to take a week off following my last Pride Month post to refresh myself after reading and writing for 30 days straight! While on my little holiday, I also filmed, edited, re-filmed, and re-edited a YouTube video recapping my month’s reads and watches for you all. YES, after much exporting headache, WE DID IT, and I can finally rest having delivered on my promises! If you haven’t seen it yet, you totally should! 😉
I’ve had a lot of fun recording videos this past month. To think that 39 people have already subscribed makes me so happy! I put a good deal of work into this one, so if you have watched it, I’m extremely grateful. (Thank you!!!)
What started off as a small feat of tackling my shelves (mainly to validate having bought all this LGBTQ manga) ended up becoming a journey of self-searching and enlightenment. This past month brought with it lots to read, of course, but also lots to learn. These characters and mangaka come from all different walks of life, and as such tackle LGBTQ themes in slightly different lights. No two stories were the same; similarly, I found that all of these reads were worth having on your shelf. Truly, I had an amazing time!
Here is a list of everything I reviewed for Pride Month 2020:
Every like, comment, share, and follow gained over the last month became fuel for me to try my best and to not give up. Some days I just woke up not wanting to write, but it was reading your kind and supportive words that encouraged me to get the next post out. Really, we did this together. THANK YOU for following me on this journey!
Lastly, I want to let you know that I’ll be archiving these works (in addition to their respective review category in the menu) under the “Projects” tab for future reference. (I mean, it is a series of 13 posts PLUS a 28-minute recap video!)
While I’m here, what can you expect next? Well, I’ll be posting my big quarterly update in the next day or two, which will tell you everything that I’ve been doing behind the scenes, as well as what big things I have coming right around the corner. It would seem that now, at the end of a wonderfully long month, new things can finally start to take root. Please look forward to it, as you have my June Pride Month posts! Thank you again for reading this, and ’till next time!
Hello all, and welcome to my fifth and final official entry in The Animanga Festival, hosted by Auri and Nairne over at Manga Toritsukareru Koto!
We’ve come a long way, and here, during the “Best of Blogging” week, I offer you my final celebrations with an inspiring prompt if I do say so myself. Today’s a day for recognition and appreciation as many of us tackling the day’s prompt ask ourselves, “Who is the blogger who motivated us to be great?” That is to say, “Who is the one that brought you to where you are, as well as continues to push you to strive for your best?”
While I personally take inspiration for any person who likes my posts, comments on them, or even just drops by to peep in on things, I would be remissed if I didn’t give extra special thanks to the one who’s been with me since the beginning. I think you all know her quite well by now.
Thank You, LitaKino, for all you’ve done for me!
No surprises there, right? Guys, Lita has been my biggest support system for as long as I can remember blogging here at the cafe. Many will describe her as fun, crazy, goofy, hardworking, and heavily involved in the community—to which you’d be exactly right! But—and not to sound selfish or creepy—what I have with Lita feels extra special. It’s not just surface deep; it’s a genuine friendship.
For one, we both love seaside settings (which is rare) and the mecha genre, sharing a mutual infatuation for shows like Free!, A Lull in the Sea (NagiAsu), and Gargantia. This means that whenever something related to either of those two starts airing or is released, we’re both the first to usually let the other one know about it AND fan the heck out of it.
Naturally, when she initially approached me for a collab idea and we succeeded in churning out our Free! collab just a couple months back, it was and still is a highlight from this year. You could even call it a dream come true, believe it or not! I’m so happy we did that together, and I look forward to the next thing we scheme up.
So, you could say we have similar tastes in shows. We’re also both big on collecting, from buying the latest Blu-rays (or browsing eBay for bargains) to stocking up on manga. (The only huge difference there is that she actually reads the stuff she buys, whereas it seems to take me five months just to read three volumes. I know, I’m workin’ on it!) Whenever she posts pictures of her shelves, it just makes me reflect on my own collection and how much each title in it means to me.
Now, about blogging, Lita writes a lot more frequently than I do—and perhaps that’s why she’s a big inspiration for me as someone who comparatively posts much more sparsely. Whether a series review or a personal reflection, every time she puts something out into the world from her #LitaLaboratory, I am reminded that I should be getting on it too! In her reviews especially, what she writes is quite honestly her opinion about something; she gives it to you as it is, as she feels it, and I admire that honest writing style of hers.
She’s also incredibly supportive—and you all can probably vouch for this about her as well (#ThugLita stans). Lita’s always going around sharing my stuff, bringing in new audiences to my writing, and her comments never fail to put a smile on my face. Back during OWLS’ early years when it was just Kat, Naja, and Lita running the live stream, I always made the time to especially pop in to hear what she had to say about my stuff, as well as thank her and the other ladies in the comments. (Spoiler alert, she’s too kind.)
On top of all this nice stuff she’s done for me, she never once told me not to pursue YouTube, even if she herself was going through a period where she didn’t know what she wanted to do with her channel. I never did get around to starting a channel, but it’s the encouragement that counts. Same for Instagram, but, well, perhaps I should just say “stay tuned.”
Ok, plus, she sent me a LETTER. Sure it was for our OWLS little secret Santa card exchange, but y’all, Y’ALL, I still keep it with my small collection of letters from my dear friends around the globe.
The long and short of things is this: Where Lita goes, good company follows her. I’ve never run into a sour apple who was also a friend of Lita’s, and quite often, I end up becoming friends with the same peeps she does. In fact, I probably met over half of you just through her, and now I consider myself great friends with many of you guys! Her kindness comes in waves, and each time it arrives along the shoreline, I make sure to dip my feet in.
She’s a self-made gal, a good ol’ time, and I honestly don’t know where I’d be without her. Lita, you’re way too good for me—too good for us all!—and I can’t thank you enough for being such an amazing friend!
So if you see her around, be sure to give her a high-five and a hug from me. Lita is one of the sweetest bloggers out there—but I’m sure you already know that by now. If you’re not already following LitaKino Anime Corner and all of the crazy shenanigans she cooks up there, what are you waiting for?? Go see for yourself what this awesome person from down under—who does too many things on the interwebs involving anime—is like. If your relationship turns out to be anything like ours has been, I guarantee that your blogging experience will only go up further from here!
The Festivities Come to an End
For me, that is. Many other bloggers will continue writing for The Animanga Festival throughout these next several days, so be sure to follow them through to the end. But alas, it’s time for me to bid the festivities farewell. This stop is where Takuto gets off—and what better way to end than by celebrating a beloved friend in the aniblogger community.
Below are links to each of the days I’ve written for. I had a blast answering each of these prompts, especially the Trip Itinerary, so please check ’em out of you have a minute or two!
And again, thank you so very much to Auri and Nairne for bringing me out here and inviting me in on all the fun. Participating in The Animanga Festival has reminded me about the joys of blogging, and that not every post has to be a review for it to be fun and engaging. Additionally, I haven’t blogged this much in a single month in years, and so for that reason alone, my gratitude is immeasurable. I sincerely hope everyone had as much fun reading my posts as I did writing them, and until the next one, this has been
Hello all, and welcome to my third official entry in The Animanga Festival, hosted by Auri and Nairne over at Manga Toritsukareru Koto!
It’s totally a coincidence that this post, a collection of my best works, falls on #ThrowbackThursday. Because it’d be waaaay too time consuming to sift through every single post I’ve ever written, I figured I’d keep this list 2019-only. It’s kind of weird to be writing this while there are still three whole months left to go for this year, but oh well, we love a good reflection. Let’s look back on some of the cool posts I’ve written this year! (I mean, I think they’re kinda neat at least. They’re cool, right? RiGhT??)
In no particular order, here are what I consider to be my favorites write-ups thus far, as well as a little excerpt from each post. If the tiny tidbit I’ve included intrigues you, please, consider giving the full post a look if you haven’t already!
Reviews
I’ve written more reviews this year than probably last year and the year before combined. Even still, I merely picked three as what I’d consider “bests” of mine. Hopefully these are titles you might remember me writing about!
Ayato’s complexity becomes the leading force in this very much character-driven story about being useful to others. It sounds simple enough, but it’s much harder to live up to others’ expectations than we give the act credit for.
Whether the old, stale, yet genuine 2001 version or this latest vibrant retelling, watch Fruits Basket. Then you, too, will see what all the ruckus is about in the Sohma household—and why it’s such a heartwarming, endearing little place to stay.
Every step of this journey felt sincere and wholesome, and I absolutely enjoyed laughing with the Aotake guys just as much as I did crying with them. Whether you’re a fan of sports anime or not, a genuinely passionate and realistic series like Run with the Wind isn’t the kind that comes often—so don’t miss it. Otherwise, you’ll be sleeping on what is perhaps one of the best anime to come out in years.
OWLS Posts
Even though I’m a “reviewer” by trade, I consider my OWLS posts to be the bread and butter of my work. Truly, I am so honored to be a part of the OWLS crew, as writing each of these posts fills me with immense emotional satisfaction. It’s something I can’t quite get out of a review, which is designed as an evaluation as opposed to an analysis.
If there’s one big takeaway from Bunny Girl Senpai, it’s that deep down, we’re all just trying to keep the past out of the future, even if that means giving up on some of the things we love. It’s a romantic notion, don’t get me wrong, but that’s not how we should be living our lives—and Sakuta Azusagawa knows it.
Syundei’s Go For It, Nakamura! is a story that loves love, and about loving yourself, too. I was left squealing and stirring in my chair for hours after reading the last page, and if there’s any BL title out there to boast the word “adore,” this is easily the one.
As strong as men—as strong as people—try to be, we’re not all as tough as we seem. Together, however, we can inspire and push each other to accomplish everything that we couldn’t do alone, and that seemingly small sentiment echoes loudly and proudly in the hearts of Kazetsuyo‘s characters
Wherever I gaze, I am transported into another time, another place where another me was living and experiencing yet another story. This mental time travel serves as a constant reminder as to where I’ve gone, how far I’ve come, and even where I’m headed next. It is simultaneously the past, the present, and the future.
Blogging, social networking, and even just browsing the internet in general has transformed me into a person who knows of what the world outside is like, and as a direct result, I’ve learned how to broaden my horizons and accept and appreciate diversity of all things in life. Hermes takes Kino to unimaginable lands and their people, and the internet brings me to all of you.
Seiya draws out the inner passion for their work, and with a little faith, is rewarded with the park’s continual success. It is a belief driven by transformation and grounded by trust. Trust in Seiya’s process, and you, too, will enjoy one of—if not—Kyoto Animation’s most fun creation they’ve ever given us.
What Michiko’s story also tells us about love is that a relationship fueled solely by the “good old days” of the past cannot survive in the future. At one point, Hiroshi was something special to her. But now, at the end of the road, he may not be so special anymore.
Miscellaneous Posts
From collabs to talks and even the start of a new segment, here are a couple more shameless plugs to add to the list. Really happy to have stoked the conversation by writing each of these!
Within Simon, Yoko, and everyone else is this incredible swell of kinetic energy, a rawness that can only expressed through a studio like Gainax. Sometimes this spiral force spills over as a storm of chaotic emotions; other times it is love, a powerhouse which carries the potential to change this simultaneously rational and insane universe we live in.
We watched Kakeru grow from a haughty teenager into a man who exudes genuine compassion and encouragement towards others, and his growth is equal parts satisfying and wholehearted. He finds that talent can get a person far in life, but it’s all pointless if you don’t have friends to share your gifts with. Finally, he learns how to smile around others and not let shadows from the past prevent happiness in the future.
Free! gave me an entire new world to express myself in and meet new people through, and I think it’s that unique combination of personal history and actually appreciating the series as more than a character drama (but as an actual sports anime) that has made me love Free! more than most people I know.
You might’ve noticed that, aside for my year-in wrap-up, I never write these kinds of round-up posts. It’s mainly because I dislike tooting my own horn. Also because I sometimes feel my own stuff is, idk, just mediocre? Bah, who cares. Y’all will have to let me know your thoughts: Are these my bests from 2019, or did you remember something better? I’d appreciate the feedback. Oh man, I only have two more chances to revel in the Animanga festivities with you all. Hopefully between now and the next one I’ll have a couple reviews for ya. ‘Till next time!
Takuto's Anime Cafe 