Let’s go adventuring again, okay?
Flip Flappers is the type of anime that invites dialogue—character-driven, stylish, rich in symbolisms, and, perhaps most importantly, darker than its visuals would suggest. However, for all the attention that Flip Flappers has received, surprisingly little has been written about Papika.1 And for a good reason.
Papika is the literal and metaphorical manic pixie dream girl for Cocona. But little more.
Time will unbind our memory glue
and I’ll be as nobody-ish as all of you. — Marceline
The most beautiful aspect of Your Name (Kimi no Na wa) is how it weaves its various themes to form a coherent labyrinthine story, waiting to be untangled by the unsuspecting viewer. Its take on the body swap plot allows for much more complexity and poignancy. The film also integrates seamlessly two main threads—the struggle against a terrific fate and the love between the two leads.
Take my Akutagawa Prize!
My summer reading included dozens of short stories by Ryunosuke Akutagawa collected in two books. Akutagawa’ position in the topography of modern Japanese literature has been widely acknowledged. Indeed, one of the most prestigious Japanese literary awards is named after him, the Akutagawa Prize. His role in literature—self-cultivation, aestheticism, and intellectualism—cannot be understated.
I’m the foot fuckin’ master. — Jules, Pulp Fiction.
The third arc of Re:Zero -Starting Life in another World- begins with a tedious grind of forced misunderstandings and annoying displays of male chauvinism from the protagonist, but it also contains my favorite scene in the anime thus far: the foot fetish scene.
McDIVITT: They want you to come back in now.
WHITE: Back in?
McDIVITT: Back in.
GRISSOM: Roger, we’ve been trying to talk to you for awhile here.
WHITE: Aw, Cape, let me just [take] a few pictures.
McDIVITT: No, back in. Come on.
WHITE: … Listen, you could almost not drag me in, but I’m coming.
But he wasn’t. Two more minutes passed. McDivitt starts to plead.
McDIVITT: Just come on in …
WHITE: Actually, I’m trying to get a better picture.
McDIVITT: No, come on in.
— Excerpt from Packing for Mars, Mary Roach1
While performance of witchcraft in Flying Witch is sparse, it would have been enough for executions in the 15th-early 16th century. The defining blueprint for witch-hunts at the time, the Malleus Maleficarum (Hammer of Witches, 1486) traces all supernatural as commerce with demons. The anomalous symptoms of demonic possession is illustrated in three levels: 1. psycho-physiological possession (e.g. infertility, erotomania, epilepsy, melancholia); 2. epidemiological possession (e.g. plague, leprosy, mass hysteria, mob behavior); and 3. climatological possession (e.g. changes in weather, affected livestock or crops, sudden famine or flood).1 Akane, the most prominent witch in the anime, has at various points displayed her powers in these areas.
What’s in the box?
Shirobako follows Aoi Miyamori, a production manager at Musashino Animation, as she navigates the anime industry, acting as the liaison among all the branches and people involved in making anime: directors, key animators, CG animators, inbetweeners, writers, voice actors, et al. She has the perfect vantage and cheery front to be our illuminating guide. However, although she enjoys the satisfaction of episodes released, the collective efforts come to fruition, and the upward mobility of her friends in their respective careers, she struggles to find meaning in her own work.