Thursday, December 29, 2022

Suzume—Tamaki’s Story (unofficial translation of 小説すずめの戸締まり~環さんのものがたり~)


This is my unofficial translation of 小説すずめの戸締まり~環さんのものがたり~, a booklet written by director Shinkai Makoto and handed out to viewers of the movie Suzume no Tojimari starting from 24 December 2022. I am sharing my translation so that fans who do not understand Japanese can read it.
 
Note: The rights to the original work belong to the author Shinkai Makoto. While this unofficial translation is being shared under fair use, I will remove it if it comes to my knowledge that this translation is being misused or if there is any infringement of the copyright owners' rights.
 
--------------------------------------------
Suzume—Tamaki’s Story
by Shinkai Makoto
小説すずめの戸締まり~環さんのものがたり~
新海誠
--------------------------------------------

My daughter ran away from home.
Or rather, my elder sister’s daughter, my niece. But for twelve years, Suzume and I have been living together, just the two of us. While I never did the paperwork to adopt her, we are like mother and daughter.
I think.
A loud tune, like one you hear in games, played throughout the train.
“This train, bound for Shin-Osaka via Hakata, will soon be departing.”
When I heard this announcement, I sank into my seat on the Shinkansen, tired from rushing around since this morning. But now that I made it here, it was just ninety minutes to Hakata, and then another little over two hours to Kobe, my destination. Suzume hasn’t replied to my messages on LINE, but she has read them, and I more or less know where she is from her online payments. She is also no longer a child, and once I reach Kobe, I don’t think she will ignore me if I give her a call. I don’t need to be really worried this time. As the train slowly moved off, I pulled out the tray table, I took out my bento and opened a can of beer. The boiled black pork cubes were sweet and savory, and I drained a third of the beer before I knew it. The Shinkansen at lunchtime was quiet and empty. There was not a cloud in the blue September sky, and the hills that appeared in between tunnels seemed to glow with their own green light. The wisteria violet scarf over my shoulders and the pink gold earrings were flashy and not what I usually wear when working at the fishery coop. I may be setting off to bring back my runaway daughter, but it feels a bit exciting. Maybe it is because I have been busy with work of late, but it feels thrilling to take this sudden trip. My heart has been beating noisily for quite a while.
No.
I drank another third of the beer, and let out my breath slowly and deliberately.
I felt a tinge in the back of my nose, and something warm seems to be welling up in my eyes. On their own, my mind and body seem to be recalling that day from twelve years ago.
March 2011.
The Kyushu Shinkansen had just opened, and I was riding it that day too.
 
------------
 
When that earthquake struck, I was still twenty-eight. Ten years had past since I left my hometown in Tohoku to live in Kyushu, but my elder sister Tsubame and her daughter Suzume continued to live there. Their town was right smack in the disaster area. Or rather, it was such a huge earthquake that you could say the entire eastern Japan was a disaster area.
On the day of the earthquake, and for several days after, I couldn’t get in touch with my sister. My sister was a single mother, and we lost our parents early, so she was my only relative. I was so worried I couldn’t sleep well for several days, and no longer able to wait for transportation lines to reopen in Tohoku, I set off without any real plan of how to get there. Back then, the Kyushu Shinkansen had just opened fully, but the mood onboard was heavy. At that time, the entire Japan had been repainted gray. As the Tohoku Shinkansen had only resumed operation up to Nasushiobara, I took an express bus from Tokyo to Morioka. There, I visited several car rental companies before I was able to find a ride with a middle-aged woman headed for my hometown. For the next few days, I was greeted by a scenery that I had never seen before. I smelled smells that I had never smelled before. Everyone was confused. Everyone was scared. Everyone was desperate. When I found Suzume in the debris-covered town under light snow, I thought it was a miracle. Holding her small frozen body, I said, “Come stay with me” without even thinking about it.
In the end, my sister never came back.

And so, suddenly, I came to have a child.
At my modest apartment in Kyushu, four-year-old Suzume and I, a twenty-eight-year-old single lady, started our lives together. Without any resolve or preparation, with hardly any sense of duty or mission, and therefore no excitement nor hesitation. There was no time for any of these. Without any other options, I was frantic. I bought a kids’ bed, tableware, and clothes. Every day, I had to cook proper meals instead of junk food. A ton of paperwork was needed by the municipal office and to get a place in kindergarten. I didn’t know it cost so much for a person to exist in this world. For some time, I didn’t even realize that my boyfriend, whom I had just started seeing, was slowly fading away. I had liked him so much, but before I knew it, my interest had disappeared. I no longer had time for myself, and no longer had the desire to dress up or be loved. It was as if my heart was totally rewritten. My only joy was to see this four-year-old girl—who had unfairly lost her mother—smile.

And Suzume was a child who often smiled.
Negating my worries, she was talkative and endearing, and heartily ate my clumsy cooking. She made many friends in kindergarten and with the neighbors, and ran energetically around the early-summer fields and fishing port. Her lovely voice captivated everyone, but she was not cheeky, and before long, this little girl from Tohoku had become the darling of the neighborhood. Many times, I saw elderly neighbors touched to tears by her sweetness when she was chatting with them.
She’s truly my sister’s child.
Each time, I would think so with nostalgia and amazement. My sister was friendly with everyone, and she was loved by everyone. Thinking back, that was why I left my hometown after graduating from high school, wanting to put some distance between me and her cheerful nature. Seeing Suzume fully using her social skills in this new place even drew out that slight feeling of inferiority from way back in the past.
But, when I think back now, in that first month when we came back together to Kyushu, Suzume and I were far from normal. It was an awkward, crazy situation.

------------

A tune played overhead, as if a game level had been cleared.
“We will soon be arriving at Hakata. Please change here for the Kagoshima Line and Fukuhoku Yutaka Line.”
I put the empty beer can and bento box into a plastic bag. My heart was no longer pounding. Now that I am here, it is just a bit more before I leave Kyushu behind. When the train left the tunnel, I looked out of the window to be greeted by huge buildings and condominiums. Hakata has a sense of splendor unlike other cities in Kyushu. I snapped a photo and sent it to Suzume via LINE, and checked her online payment history.
“What?” I exclaimed. Tokyo? At Shin-Kobe Station, Suzume had bought a ticket for Tokyo. That was about an hour ago.
Even after I told her to stay in Kobe.
The tears I had been holding back felt like they were going to start flowing again. I quickly took a deep breath. “It’s okay,” I mumbled. Things will be fine. It’s only a little over three hours from Kobe to Tokyo. I just needed to get to Shin-Osaka and change over to the Tokaido Shinkansen. It’s not like she has left this world. I will not let that chair take away Suzume.
Chair?
On second thought, I realized that I had unconsciously been thinking about that chair again.

------------
 
It took several weeks after bringing Suzume—who was always smiling—back with me to Kyushu that I realized something was wrong.
When she returned from outside, she would never say “I’m home.”
When I came home, she would not greet me with “Welcome home.”
I knew the reason. Of course I knew. If we became family so easily, even my sister would feel a bit sad. Time will change things. But still, her stubbornness, so unlike her smiling face, was heart wrenching to me.
And there was something else that caught my attention. At home, Suzume was always with that small chair with its missing leg. When I found her in Tohoku, she was holding onto that chair. Behind the snow-covered debris, she was hugging that chair, as if she was shielding a friend. Onboard the Shinkansen heading back to Kyushu, that chair was Suzume’s only piece of luggage. I knew that this chair, painted in yellow, was made by her mother and important to Suzume. I have seen them with this chair in several photos sent by my sister. And so, I thought it was really fortunate that Suzume was somehow left with this chair. There was probably something special between them.
But...
But how did Suzume find that chair? It should have been washed away together with the house that day. In a place where everything was washed out far into the sea, it was unthinkable that the chair miraculously came back. When I asked Suzume about it, she only answered that she did not know.
“Suzume, were you talking to the chair?”
Even when we went to bed together at night, in the morning, she would be out of her futon, with the chair. She would fall asleep holding onto the chair’s legs, or whispered things to the chair. Listening carefully, she seemed to be saying something like “Meow meow” in a small voice. Seeing her like this made me feel sad, and at the same time, a bit frustrated. Somehow, I felt that this little chair was linked to another world that is cold and dark.
“Can that thing talk?” I asked Suzume early one morning while in the living room. She was lying on the sofa, hugging onto the chair.
She sat up and looked at me with her clear, big eyes, and replied “No” as she shook her head.
“But it listens to what I have to say.”
I felt like saying “I can do that too!” But I held it back. I smiled at her with a vague expression on my face.
“It can understand if you talk like a cat?”
“Yup! You can’t talk like a person.”
“I see...”
The back of the chair has two holes carved to look like its eyes. I looked at its face, and tried speaking to it.
“Meow meow meow?”
Who are you?
“Yes, it says its stomach is full,” said Suzume with a serious look on her face. I smiled. She might be a child that was easy to raise, but she was still a child. I decided to buy her a fluffy stuffed toy that is easy to hug for her birthday next month.

------------
 
After passing Shin-Kobe Station, my original destination, by the time I heard the tune signaling that the train has reached its final stop, the sun was already low in the sky.
“We will soon be arriving at the final stop, Shin-Osaka,” said a male voice in an unhurried manner. After the train came to a stop, with the evening sun in my eyes, I squinted as I left the train platform of Shin-Osaka Station. Amid a stuffiness that you find in large cities, I made my way to the gate to pay my outstanding train fare. Then, I ran to the ticket office to buy a ticket for Tokyo.
“Ochanomizu...” I mumbled as I looked at my phone. When I checked Suzume’s payment history, she had reached Tokyo four hours ago and went out from the gate of Ochanomizu Station. Then, she bought a bento from a convenience store with the name “Ochanomizu Store.” And so, my destination shall be Ochanomizu. It will be night by the time I get there, and I guess I will have to spend the night at a hotel in that area. If things go well, I may even be staying with Suzume at a hotel tonight and on our way back to Kyushu tomorrow.
Now that I knew what needs to be done, I calmed down a bit. I went to look for bento, and bought a Kobe beef sukiyaki and steak bento along with two cans of beer. I need to eat well, and maybe even sleep a little, to prepare for the battle ahead.
Battle?
I gave a bitter smile at this word that came into my mind. I am not going to be fighting with anyone. It’s not like I am fighting with someone over Suzume. But I can’t help but think about that chair. It wasn’t in Suzume’s room. Three days ago, when I bumped into her as she was dashing out of the house with shock on her face, she did not have that chair with her. Even so, that chair has disappeared from her room. What happened? Had someone came and took that chair away? Did Suzume ran away chasing after that someone?
I don’t know. I don’t know, but somehow, there was this image in my mind, of that chair taking Suzume away. It was a childish thought, and in the first place, Suzume was only fixated by the chair for a short when she was young. Still, I couldn’t help but feel that her running away from home this time had something to do with this chair made by my sister. Will I be fighting with that chair? What a silly thought.
The last time I felt this way was on her birthday, many years ago.
With this thought in mind, I walked back to the train platform, with a heavy bag of bento in hand.

------------

Suzume’s birthday is in late May.
Her first birthday in Kyushu was when she turned five. Two months had gone by since we started living together.
“Happy birthday, Suzume!”
On the weekend of her birthday, my tiny apartment was overflowing with people coming and going. I don’t know how they knew about it, but there were her friends from kindergarten, university students staying in the same block, my landlord who was also the owner of the land around this area, our elderly neighbors, and my colleagues. They brought with them presents, big and small, for Suzume, and lots of vegetables, fishes, and alcoholic drinks for me. The small kitchen was stacked full of boxes, and it looked like we would not need to do grocery shopping for a month.
“Suzume-chan, these dumplings are really nice.”
“Draw lots of things with this set of crayons.”
“I brought a ukelele, what do you want me to play?”
“Suzume-chan, I have tuna, shrimps, and abalone.”
“Tamaki-san, what do you want to drink next? Wine? Shochu? I brought along all of them.”
Suzume greeted everyone with a smiling face, and properly thanked them for the presents. She laughed loudly and heartily attacked the food laid out on the table. Seeing her like this, many adults had tears in their eyes, exclaiming what a good child she was, telling me I had to do my best to raise her properly and that they would be giving me their support.

But that night, Suzume threw up.
After clearing up and putting Suzume to bed, I was sipping shochu while watching TV in the living room. Suddenly, I heard the sound of her vomiting coming from the bedroom. I rushed over and opened the bedroom door to find that she had threw up badly on the tatami floor.
“Suzume! What happened? Are you okay?”
There were tears in her eyes as she kept saying sorry.
“Sorry auntie for the mess...”
“Leave that for now. What’s wrong?”
She explained that she had forced herself and ate too much. She seemed to feel better after throwing up, and by the time I brought her a change of clothes for her dirtied pajamas, she was already smiling. I rubbed her chest, and felt ashamed for not noticing anything wrong with her during the party. I had naively assumed that Suzume was so much more sociable than the socially awkward me.
“Sorry, Suzume.” I was holding back my tears. “Can I sleep here with you tonight?”

It was in the middle of the night that I noticed the sound of Suzume’s crying.
We went to bed together, but she was not around when I woke up. I faintly heard the sound of muffled crying coming from the next room. The large stuffed bear I had given her as a birthday present was lying alone on her futon.
Quietly, I opened the door.
I could see Suzume’s back on the sofa in the living room. She was hugging her chair and weeping. The moonlight shining in from a gap in the curtains casted a pale blue light on them. It was as if they were surrounded by weightless water.
“Suzume.”
She slowly turned around. I swallowed hard when I saw her face. Her expression looked so much older for her age. The large drops of tears were like cold glass beads. Her pale cheeks were like cold porcelain. Her thick lips seemed pregnant with words beyond right and right. It was the face of stranger, of a person who knows the hopelessly that adults don’t know, of someone who knows feelings that I don’t know.
“It was its birthday too. It is one year old now.”
It took some time before I realized she was talking about the chair.
“That’s why I ate its share too. Sorry for throwing up.”
I said, stuttering, “I said it’s okay.”
“Auntie.”
“Yes?”
“I still can’t go home?”
I was at a lost for words. I wanted to scream out loud. I wanted to cry. I closed my eyes tight. I needed to close them tight, so that tears didn’t come out, so that my feelings didn’t escape. Putting all my strength into my eyelids, I saw fireworks in the colors of the rainbow at the back of my eyes. I slowly took a deep breath, and carefully let it out. I gradually opened my eyes and looked at Suzume.
“Suzume.”
My voice was hoarse, but still gently.
“Can I talk to the chair?”
“Sure.”
I sat on the sofa, up close to Suzume and the chair.
“I can’t talk like a person, right?”
“Yup.”
I nodded my acknowledgement, then took another deep breath. I looked at the “face” of the chair. The yellow “face” looked straight back at me.
“Meow meow meow.”
It’s tough for me too.
“Meow meow meow meow.”
I worry about our lives and the future.
“Meow meow meow meow.”
She probably won’t ever say “I’m home” to me.
“Meow meow meow meow meow meow.”
It’s not like I want to be her mother. But at least, I think I can become her family.
“Meow meow meow meow meow.”
But there are times when I feel she is in the way.
“Meow meow meow meow.”
Hate. Regret. Pity. Love.
“Meow meow.”
Tsubame.
“Meow meow meow.”
Take responsibility. If not.
“Meow meow meow meow!”
Then let go of Suzume!

Someone was patting my head.
It was Suzume. She said, while peering at my eyes, “Meow meow meow.”
Auntie, don’t cry.
Tears were flowing uncontrollably from my eyes. I hugged Suzume tightly. A sob escaped from me. I could no longer think. I no longer cared. I broke down and cried. I felt a small warmth at my chest as tears continued to flow. Suzume also started crying. We couldn’t be adults, but we also couldn’t remain as children. We continued to cry. We kept crying until all our pent-up feelings melted away.

------------
 
“We will soon be arriving at the final stop, Tokyo.”
The nightscape outside had turned into a sea of lights. My view was filled with the lights from countless windows as I passed by colorful streets overflowing with people. The enormity of this city always felt overwhelming.
In the train, I had been recalling the past while snacking on tidbits. It was only two months before Suzume’s spent her first birthday in Kyushu. But those were two long months. While the subsequent twelve years were also long, those two months seemed longer and more packed to me. I can no longer remember when Suzume started saying “I’m home” and “Welcome home.” Was it after I bought that house in the suburbs? Or before? Whatever the case, we subsequently became a typical family. I quarreled with her, but I also doted on her. There are things we understand about each other, and things we don’t. We are a typical family.
That yellow chair with a missing leg may really be linked to another world. Maybe it had returned to Suzume from the other world or a parallel dimension, or some other fantastical place. But it doesn’t matter. Over time, Suzume has grown into a typical girl without the slightest hint of mystery. Your role is done. You have fully fulfilled your role.
The train stopped and its doors opened.
I stepped into the sea of lights.
What shall I do first? Let me send Suzume a message on LINE. But she probably won’t reply. Shall I call? But she probably won’t pick up. Fine. I shall stake out at Ochanomizu Station until the last train, then stay at a hotel if I don’t find her. Then, I will go back to the station again tomorrow morning before the first train.
Suddenly, I thought I heard Suzume’s voice in the distance. Looking up at the sky from the train platform, something like an aurora blazed through the night sky.
“Huh?”
I must be dreaming. I blinked, and the night sky was once again its usual self, illuminated by the city lights.
“I won’t lose too,” I mumbled to myself as I felt strength welling up in me. Instead of the escalator, I walked with determination to the stairs and toward the station gate.

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My translations of other short stories:
Gilbert Bougainvillea and the Fleeting Dream (unofficial translation of "ギルベルト・ブーゲンビリアと儚い夢")
The Starry Night and the Lonely Two (unofficial translation of 星降りの夜とさみしいふたり)
Diethard Bougainvillea's If (unofficial translation of ディートフリート・ブーゲンビリアIf)
The Tailor and the Auto-Memories Doll (unofficial translation of 仕立て屋と自動手記人形)
Suzume—Serizawa’s Story (unofficial translation of 小説すずめの戸締まり~芹澤のものがたり~)
 

Wednesday, December 28, 2022

Watching Avatar: The Way of Water (2022) in Dolby 3D

Having watched Avatar when it first came out in 2009, I was kind of interested in how the sequel will look. So when Avatar: The Way of Water released in Japan, I thought I would find time to watch it. And yes, I needed to find time, since this movie is more than 3 hours!

I saw that it was showing at the local Dolby Cinema and IMAX cinema, and was kind of interested in how it would look like in a Dolby Cinema. However, searching around, I saw that it was only available in normal, 3D, Dolby 3D, and IMAX 3D. I can't watch it as Dolby or IMAX (without the 3D)... so I decided to take the plunge and try watching the movie in Dolby 3D.


First, wearing the 3D glasses kind of gave the entire screen a white tint, which means that the usual high colour contrast you find in Dolby Cinema is... not as sharp a contrast. The movie, however, exploited the entire screen area, which I really appreciated. For those who have been on a 3D ride at Disneyland or Universal Studios, well, it is something like that, except the seat did not move. And the "ride" lasted more than 3 hours... I think people with motion sickness might not be able to survive the movie; in fact, when the movie first started, I felt a bit uncomfortable. But years of sailing kind of made me more tolerant to stuff moving all over the place in front of my eyes, and I soon got used to it.

The story itself is kind of stereotypical for sequels. The bad guy returns, the good guys fight back and win. Usual Hollywood stuff. The ending even allows for the possibility of another sequel... which I found to be kind of disappointing. Even when one of the main characters die, you don't really feel sad or anything. There is nothing in the story that endears any of the characters to the viewer. The story is just there so that the viewer can enjoy the computer graphics and other special effects, flying through the sky, running through the jungle, or diving around underwater.

After the movie, I tried to think if there is anything in the movie that would make me want to watch it again. I couldn't come up with anything. Maybe someone else can try taking this challenge. 😆

Sunday, December 25, 2022

7th anniversary of Violet Evergarden Volume 1 ヴァイオレット・エヴァーガーデン 上巻

Today marks the 7th anniversary of the publication of the light novel Violet Evergarden Volume 1 (ヴァイオレット・エヴァーガーデン 上巻), which was published on 25 December 2015. This eventually became a set of four volumes, as well as an anime adaption that spans one TV series and two feature-length films.

The four light novel volumes are:
- ヴァイオレット・エヴァーガーデン 上巻 (Violet Evergarden Volume 1) published on 25 December 2015
- ヴァイオレット・エヴァーガーデン 下巻 (Violet Evergarden Volume 2) published on 26 December 2016
- ヴァイオレット・エヴァーガーデン 外伝 (Violet Evergarden: Side Stories) published on 23 March 2018
- ヴァイオレット・エヴァーガーデン エバー・アフター (Violet Evergarden: Ever After) published on 27 March 2020

 
Some other posts about the Violet Evergarden series:
 
My thoughts on:

Events:
 
Translations of short stories:
Gilbert Bougainvillea and the Fleeting Dream (unofficial translation of "ギルベルト・ブーゲンビリアと儚い夢")
The Starry Night and the Lonely Two (unofficial translation of 星降りの夜とさみしいふたり)
Diethard Bougainvillea's If (unofficial translation of ディートフリート・ブーゲンビリアIf) 
The Tailor and the Auto-Memories Doll (unofficial translation of 仕立て屋と自動手記人形)
 
Insights on the movie:
 
Audio commentary notes for Violet Evergarden the Movie:
 
All posts related to Violet Evergarden.
 

Saturday, December 24, 2022

Director Shinkai Makoto in person at Dolby Cinema screening of Suzume no Tojimari

I first caught Suzume no Tojimari (すずめの戸締まり) at an IMAX theatre, but it was later announced that, like the recent trend set off by Violet Evergarden the Movie, Suzume will also be getting a Dolby Cinema screening. And as luck would have it, director Shinkai Makoto will be coming to the local Dolby Cinema to give a talk after the screening of the movie. And so, I decided to spend Christmas Eve going on a "date" with Shinkai Makoto.

This makes it the fourth time I am watching Suzume, after the first time at IMAX, the second for the all-Japan stage greeting, and the third time to get a copy of "Shinkai Makoto Book 2".

First, I will touch on the Dolby Cinema version of Suzume, after which I will try to do a brief report on the session with director Shinkai Makoto. This session contains a lot of spoilers, so for those who don't like spoilers, you can stop reading once you see a photo with the director.
 
Regarding the Dolby Cinema version of Suzume, I must say that, visually, there doesn't seem to be a lot of difference. It is like the SDR version and the HDR version are almost the same. I think this is because a lot of the movie itself uses a more matt/flat colour palette. There just aren't many scenes where the colour contrast can be amplified by the Dolby experience. There were only a few scenes in which I noticed a visible difference. If only they had done a bit more to remaster the scenes for Dolby... it looked more like they took the original movie and just passed it through a Dolby filter or something, without spending too much time on tuning each scene. I guess this can't be helped, since director Shinkai Makoto was very much on the road this entire time, going around Japan for stage greeting events.

As for audio, I think I was most shaken by the earthquake sounds this time, out of the four viewings so far. I guess this is a testament to the audio system at the Dolby Cinema, plus the work done during remastering of the audio. But when you take everything into consideration, overall, I don't think the Dolby Cinema version was really that much of a difference beyond the usual cinema experience. I guess I was spoilt by Violet Evergarden The Movie, where director Ishidate worked to make sure the Dolby Cinema version fully exploited the possibilities brought by Dolby.
 
Oh, starting from this week, they are handing out a small booklet that contains a story from the viewpoint of Tamaki (Suzume's aunt and guardian).(I subsequently translated the booklet: Suzume—Tamaki’s Story, unofficial translation of 小説すずめの戸締まり~環さんのものがたり~)
 
After the movie ended, the lights came on, and soon, director Shinkai Makoto came on stage. (Spoilers start after the following photos.)


 
Director Shinkai Makoto started off by asking the audience (a full house) how many times they have watched the movie. Some (a minority) were here for the first time. Some have watched it twice. A majority, though, have watched it at least three times, if not more. Well, I myself was there for the fourth time... He then said that Castle in the Sky (天空の城ラピュタ) was the first movie that he watched with his own money. It is the movie that eventually led him to go down this career path.
 
Work on Suzume started after Weathering with You premiered in Japan (in August 2019). At that time, he wanted to create a new movie centred around adventure and convey a sense of excitement. One that goes around places in Japan that used to be popular but have since been abandoned. Who used to live there? In thinking about the places to visit on this adventure, Shinkai thought that the goal has to be the Tohoku region (which was struck by the Great East Japan Earthquake of 11 March 2011). Even though reconstruction is making progress in this region, the scars of the disaster (earthquake + tsunami + nuclear meltdown) are still there. Once he had the final destination of the road trip in mind, he started to flesh out the details.

He put forth his proposal for the movie to Toho, a bit apprehensive since it dealt with the theme of the earthquake disaster, still very fresh in the minds of those who lived through it. But he was encouraged when everyone bought the idea, and in April 2020, he started to work on the script.
 
Once the script was done, he spent one year and three months on the storyboard for Suzume. This was solitary work, in which he worked on developing a video storyboard with the scenes, adding in the voices of the characters on his own based on the script. He did all the voices except for young Suzume. She was voiced by his daughter, who Shinkai revealed is a child actress. He was amazed at how his daughter could be acting young Suzume crying, then get back to being all smiles and asking for her "fee". Each "recording session" cost him 500 yen, and he said in all, he paid her about 15,000 yen for voicing young Suzume in the video storyboard. This video storyboard is important because it would be used subsequently to give the voice actors an example of how he wants them to act out each scene.

And after spending so much time (I guess it was around two years?) working on his own, production of Suzume moved onto the next stage of full-scale production. This took about one years and eight months.
 
The session then moved to Q&A, with Shinkai taking questions from the audience. I was really shy so I never put up my hand, but it felt like everyone around me wanted to ask a question. And all the questions asked were quite specific. You know the person asking has watched the movie many many times...

The first question was about the sealing stones (要石), asking for more details as to how they work and such. Shinkai didn't want to go into too much details about his concept for this system, though, explaining that going into the details will lead future discussions into the relationship between humans and disasters, and he wanted to keep things vague so as to not make it too "real". After all, this is fantasy. Still, his idea is that there are probably many sets of such sealing stones, with different families who go about the task of "sealing doors" around Japan, of which the Munakata family (Sota's family) is one. He also felt that the stones need not be where the epicentre is. His idea of the eastern sealing stone (Sadaijin) being in Tokyo was that it was placed there by Sota's grandfather during the Great East Japan Earthquake (12 years before the main story of Suzume), and his grandfather's lost arm could be related to this event.

The next question was about why Orikasa Station (織笠駅) was chosen as the station for the final part of the movie, where Sota took the train to go back to Tokyo instead of going back together with Suzume, Serizawa, and Tamaki. Shinkai replied that he wanted to choose a place that could help symbolise reconstruction after the disaster. Orikasa Station was rebuilt on higher ground after the disaster. Another example is the road station Oya Kaigan (道の駅 大谷海岸), which was reopened last year after being rebuilt. This was the place where Suzume, Serizawa, and Tamaki stopped to wait out the rain.

The next question was again about a location featured in the movie. Shinkai was asked why the scene of Suzume taking the Shinkansen bullet train showed Kiyosu Castle (清洲城) outside the window, but Nagoya Castle on the phone's map app. Shinkai's reply was that he wanted to feature as many places as possible. In fact, he said that when he went to Nagoya, the people there thanked him for featuring the city in the movie. On a technical note, he mentioned that, in film-making, moving right conveys moving forward into the future, so he wanted to choose a castle that is on the left side of the Shinkansen when it is traveling to Tokyo. You can see from the map (taken from Google Maps) that Kiyosu Castle is right beside the Shinkansen, on the left when going toward Tokyo. Nagoya Castle is also nearby too.

The next question was related to Daijin (the sealing stone cat/spirit). Shinkai mentioned that animals are commonly featured in Japan folklore. Usually, someone helps an animal, and the animal does something to repay that kindness. At the same time, his image of Daijin is that it is still very much a child, and even though it understands its important role as a sealing stone to prevent disasters, it also wants to play.

The final question was about whether this is the same "world" as Your Name. and Weathering with You. Shinkai replied that, because Suzume dealt with the more serious topic of the Great East Japan Earthquake, he intentionally did not want to link it to the worlds of his previous works. So while Taki and Mitsuha made an appearance in Weathering with You, Hodaka and Hina did not appear in Suzume. And while the music "Itomori High School" (糸守高校) was used in a scene (when Daijin was being reported on the morning news), this is more because this piece of music has been used as BGM for TV programs in Japan, so he wanted to use this piece more to convey the familiar feeling of "regular TV" rather than drawing a specific reference to the world of Your Name.

Finally, before the end of the event, Shinkai mentioned that the movie will be shown overseas in the future. He is, however, still a bit uncertain whether the movie should be packaged purely as entertainment, or together with its central theme of the Great East Japan Earthquake. This is because, unlike Japan, most people overseas would not have any knowledge or feel any affiliation with the earthquake disaster. At the same time, this earthquake disaster is at the very heart of the movie. I guess we will know the final marketing approach when the movie premiers next year in the U.S.

I might have left out some parts of what was touched on in this session. My apologies! I was trying to take notes but not many people were doing so... so I felt a bit shy and was trying not to be too obvious in my note-taking. And my handwriting is horrible. There is this note "人間がいるからXX" and I just cannot make out what the "XX" means...


Wednesday, December 21, 2022

List of Violet Evergarden publications


This is a list of publications from Kyoto Animation related to the Violet Evergarden series, excluding the light novels and various booklets of short stories. For a list of the light novels and short stories, please see this post.

ヴァイオレット・エヴァーガーデン KAエスマ文庫CM 線画集 (Violet Evergarden Line Drawings Collection)
- This is a collection of line drawings used in the TV commercials for the light novels.

ヴァイオレット・エヴァーガーデン スターターブック (Violet Evergarden Starter Book)
- This was published in early 2018 as a short introduction to the characters and story of the Violet Evergarden TV series.

ヴァイオレット・エヴァーガーデン クリエイターズメッセージブック (Violet Evergarden Creators Message Book)
- This is a special book that was created for Comic Market 95 (aka Comiket 95); it is also the only one that I do not own. I have my copies of it now.

ヴァイオレット・エヴァーガーデン Keyframes Collection vol.1 (Violet Evergarden Keyframes Collection Vol. 1)
ヴァイオレット・エヴァーガーデン Keyframes Collection vol.2 (Violet Evergarden Keyframes Collection Vol. 2)
- These two volumes contain a selection of keyframes used for the TV series. Vol. 2 covers episodes 1 to 6, while Vol. 2 covers episodes 7 to 13.
 
ヴァイオレット・エヴァーガーデン STORYBOARD vol.1 (Violet Evergarden Storyboard Vol. 1)
ヴァイオレット・エヴァーガーデン STORYBOARD vol.2 (Violet Evergarden Storyboard Vol. 2)
ヴァイオレット・エヴァーガーデン STORYBOARD vol.3 (Violet Evergarden Storyboard Vol. 3)
- These three volumes contain the storyboard for each of the episodes in the TV series. Vol. 1 cover episodes 1 to 5, Vol. 2 covers episodes 6 to 10, and Vol. 3 covers episodes 11 to 13 as well as the extra episode.

 
ヴァイオレット・エヴァーガーデン 公式設定集 (Violet Evergarden Official Design Works)
- This is the official book on the setting for the TV series.

ヴァイオレット・エヴァーガーデン クロニクル【公式ファンブック】 (Violet Evergarden Chronicles - Official Fan Book)
- This is the official fan book for the TV series.
 
「ヴァイオレット・エヴァーガーデン」シリーズ 公式設定集-MOVIES- (Violet Evergarden Series Official Design Works-Movies-)
- This is the official setting for the two movies. It is a single set that comprise two volumes: one for Violet Evergarden: Eternity and the Automemories Doll and another for Violet Evergarden the Movie.
 
劇場版 ヴァイオレット・エヴァーガーデン 公式ファンブック (Violet Evergarden the Movie - The Life of Violet Evergarden)
- This is the official fan book for Violet Evergarden the Movie.
 
劇場版 ヴァイオレット・エヴァーガーデン STORYBOARD (Violet Evergarden the Movie Storyboard)
- This is the storyboard for Violet Evergarden the Movie.

劇場版 ヴァイオレット・エヴァーガーデン Keyframes Collection vol.1 (Violet Evergarden the Movie Keyframes Collection Vol. 1)
劇場版 ヴァイオレット・エヴァーガーデン Keyframes Collection vol.2 (Violet Evergarden the Movie Keyframes Collection Vol. 2)
- These two volumes contain selected keyframes used in Violet Evergarden the Movie. Vol. 1 covers the first half of the movie (A and B parts) while Vol. 2 covers the second half (C and D parts).

「ヴァイオレット・エヴァーガーデン」シリーズ 美術背景画集(Violet Evergarden Series Art Collection)
- This is a single volume of selected background art pieces used in the Violet Evergarden series, covering the TV series and the two movies.

Though Seasons Change~Violet Evergarden Piano Memories~公式楽譜集 アニメ『ヴァイオレット・エヴァーガーデン』ピアノアレンジアルバム (Violet Evergarden Official Piano Score "Though Seasons Change - Violet Evergarden Piano Memories -")
- This is an electronic book with the piano scores used in the album "Though Seasons Change - Violet Evergarden Piano Memories". It is also available as an on-demand printed publication.

My overall thoughts on Violet Evergarden The Movie.

Events:
 
Translations of short stories:
Gilbert Bougainvillea and the Fleeting Dream (unofficial translation of "ギルベルト・ブーゲンビリアと儚い夢")
The Starry Night and the Lonely Two (unofficial translation of 星降りの夜とさみしいふたり)
Diethard Bougainvillea's If (unofficial translation of ディートフリート・ブーゲンビリアIf) 
The Tailor and the Auto-Memories Doll (unofficial translation of 仕立て屋と自動手記人形)
 
Insights on the movie:
 
Audio commentary notes:

 
All posts related to Violet Evergarden.



Saturday, December 17, 2022

Stage greeting for opening of Kaguya-sama: Love Is War – The First Kiss That Never Ends

Today, Kaguya-sama: Love Is War – The First Kiss That Never Ends (かぐや様は告らせたい-ファーストキッスは終わらない-) started screening in Japan, and there was a live broadcast of the stage greeting (being held in Tokyo) at theatres nationwide. I really like the Kaguya-sama: Love Is War series and so I got myself a ticket.

They were handing out this illustration at the theatres.

The plot follows from season 3 (Ultra Romantic) of the anime series, and I think it is more or less close to the story in the original manga. Taking place after the school festival, it features the few days leading up to Christmas and beyond. I shall not put any spoiler here. Let's just say that the movie maintains the witty fun of the series, and I had a big smile on my face (hidden by my face mask) for much of the first part of the movie. However, it also had very touching elements too, on the inner struggles faced by Kaguya and Shirogane, and portraying how Kaguya has grown throughout the series.

After the movie, there was a stage greeting event that featured the five main voice actors of the student council (Koga Aoi aka Kaguya, Furukawa Makoto aka Shirogane, Kohara Konomi aka Fujiwara, Suzuki Ryota aka Ishigami, Tomita Miyu aka Ino) as well as the singers for the theme song (Suzuki Masayuki and Takagi Reni). They talked about their recommended parts of the movie and how they would be spending Christmas (which is a main theme of the movie). Suzuki Ryota brought up that they kept being told by the production staff that this movie is not actually a movie. It is a special edition. My thoughts on this later. The voice actors really have strong synergy, having worked together on this series since 2019, even shooting a Christmas special last year during which they celebrate Suzuki Ryota's birthday.

There is an archive of the event here (in Japanese).

First, about this movie being a special edition instead of a movie. I think this is because, in Japan, there is an expectation that anime movies have higher quality (visual and audio) compared to the TV series. This time, though, the movie was more like an extension of season 3. Kind of like, "We can't fit the entire story we want to tell into one season, but we don't have enough to make Ultra Romantic span two seasons, so let's make it one season + one movie."
 
This does not mean the quality is poorer than other anime movies. It is the same high-quality anime. It could also have been turned into a 4-episode mini-season. But being able to watch this arc in its entirety at one go makes it all the more impactful. For the second half of the movie, I had tears in my eyes almost all the way.

I find that the portrayal of the inner struggle when you love someone romantically, that bittersweet first love, to be very touching. Because you love someone, there are things you want to show, but also things you want to hide. There is that uncertainty of "will he love me if he sees my flaws?" At the same time, there is also "I want to be honest with him, to let him see me for who I am and not who I pretend to be." There is also the "I want him to be honest with me, I want to see the true him, not who he pretends to be." In some ways, all these kind of contradict each other, but humans are full of contradictions, and being in love usually makes this contradiction even more severe. 😅

What does it mean to be in love? What does it mean to be happy? Beyond the witty fun of seeing how the rest of the student council treats airhead Kaguya-chan, and tsundere Kaguya, airhead Fujiwara (aka Chika), otome Ino (with all her dirty thoughts), the hardworking Shirogane, and cool(?) Ishigami as their usual selves, this deep dive into the meaning of romantic love really struck at my heart.

(By the way, some fans in the United States were actually treated to a preview of the movie during Anime NYC in November 2022. The movie is also slated to show in the United State in February 2023.)

Remember, this is not a movie (劇場版). It is a special edition (特別編). 😉
(It basically adapts Volume 14 Chapter 7 to Volume 15 Chapter 10 of the original manga, with some minor changes and an original portion(?) after that as the movie's ending.)

Friday, December 16, 2022

Dolby Cinema versions of new anime movies

First, this is not an announcement of upcoming anime movies. Rather, I just wanted to point out that Violet Evergarden The Movie started a trend in anime movies: Dolby Cinema versions that show during the movies' initial runs in theatres.

Violet Evergarden The Movie had premiered in Japan on 18 September 2020. After several weeks in the theatres, it was announced that the movie will be remastered for Dolby Cinema, with screenings to start on 13 November 2020. There was even an event in Kyoto to commemorate the screening of the Dolby Cinema version. This was big news as the movie was the first new anime movie to ever be screened at Dolby Cinemas in Japan. "New" as in the movie is still showing in normal theatres. There have been other anime movies screened at Dolby Cinemas, but they are not new, being screened in Dolby Cinemas after their runs at normal theatres ended.

Since then, other anime movies have followed suit. For example, Suzume (which I watched at an IMAX theatre on its opening day on 11 November 2022) will have a Dolby Cinema version from 24 December 2022. Some examples in the past include Demon Slayer: Mugen Train, Laid Back Camp: Movie, Jujutsu Kaisen 0, and even the recent Slam Dunk movie. All these movies have a strong fan following and drew larger crowds to the theatres. But let's not forget that the pioneer in this was Violet Evergarden The Movie.

My overall thoughts on Violet Evergarden The Movie.

Events:
 
Translations of short stories:
Gilbert Bougainvillea and the Fleeting Dream (unofficial translation of "ギルベルト・ブーゲンビリアと儚い夢")
The Starry Night and the Lonely Two (unofficial translation of 星降りの夜とさみしいふたり)
Diethard Bougainvillea's If (unofficial translation of ディートフリート・ブーゲンビリアIf) 
The Tailor and the Auto-Memories Doll (unofficial translation of 仕立て屋と自動手記人形)
 
Insights on the movie:
 
Audio commentary notes:

 
All posts related to Violet Evergarden.

Saturday, December 03, 2022

Catching Suzume no Tojimari for the third time

I wasn't really intending to, but they were handing out this new "Shinkai Makoto Book 2" to those who watch Suzume no Tojimari from today, so I made my way to the theatre. 😅
And yup, got my copy of the booklet.
 
Today was actually the day that The First Slam Dunk opens in Japanese theatres. I am not sure if Toho (the distributor for Suzume no Tojimari) was intentionally trying to draw the crowd away from a Slam Dunk movie. But the theatre was really packed with people queuing up to buy Slam Dunk merch, so I guess even handing out the booklet didn't draw fans away from Slam Dunk. Still, there were many many people in the theatre with me watching Suzume no Tojimari, even those the movie is already into its fourth week.

The booklet does include more details behind the story, and I will be updating my post that goes into the details of the movie.
 
This is actually the third time I am watching this movie, the first at IMAX on the movie's opening day in Japan, the second when there was a live stream of a stage greeting event. Instead of crying less... I think I cried even more at the end this time. While I didn't cry anywhere near the number of times I cried when watching Violet Evergarden The Movie, the final part of the movie really got to me. I was really worried that I would have swollen eyes when walking out of the theatre. Maybe I should watch it again... 🤔
😅