Anime Blog Post: Princess Mononoke, Grave of the Fireflies, and Akira

Hey, it's Justin and it's all my fault!

        So in a pathetic attempt to exonerate my poor pitiful self after finally being added to this blog, I'm gonna start by talking about Princess Mononoke.

        One thing that stood out to me in Princess Mononoke is the portrayal of the battle between nature and humanity without painting either as the villain. Each side is represented most strongly in the two strong female characters of the film, the titular “Princess Mononoke” or San, who fights with the forest and the wolves, and Lady Eboshi, leader of the ironworks and manufacturer of guns. In a movie emphasizing the protection of nature, San is an obvious protagonist. Lady Eboshi, while in a position that would normally paint her as an antagonist, is portrayed as anything but such. She is reasonable and just, showing kindness to Ashitaka even after he calls her out for the murder of the pig demon. Furthermore, we are introduced to several characters from both sides in order to avoid making either seem like the “bad guy”. Miyazaki has chosen to do this because the film is not intended to be anti-technology, but instead calling for peace between man and nature. The scene where Ashitaka knocks out and saves both Eboshi and San during their heated battle with each other exemplifies the intended neutrality. 

            Another thing that stood out to me was the painstaking detail put into the animation of several demanding shots such as the animation of the demon tentacles at certain points and the sprouting of flowers and fauna at the feet of the Deer God.

            Moving on to Grave of the Fireflies. 

Now that that's out of the way...

    I found it interesting how from the very beginning, it is revealed that the two characters we will be following are going to die. Why would Miyazaki do this? In my opinion, it is to help the audience know what to focus on. Knowing the fate of the two characters survival, wondering whether they will die or not, is not the main focus of the film. Rather, we are meant to focus on how they come to die. The audience is invited to pay attention to Seita’s character development, from a stubborn kid who leaves the safety of his aunt to go live in a bomb shelter, so that he can enjoy time with his sister alone, to a boy who suffers the loss of his beloved sister because he failed to provide for her. 

            It is also important to note that while the film is meant to present the harsh effects of war on people, Seita and Setsuko are presented as maintaining their childish innocence throughout the war. They are carefree, playing and enjoying themselves while others are shown working hard and getting supplies. While they are at the beach, we see them frolic in the waters, juxtaposed with another person and her child collecting water, staring at them perplexed. 

We watch these two and their playful antics with sentimental amusement. In the end however, their innocence, while very endearing and beautiful, results in their downfall and saddening death.

And now to analyze...

     ...Kanye West's "Stronger" music video.

     

     When I first watched Akira, I was overwhelmed, albeit confused. After some time, I have come to realize that Akira touches on coming of age themes, as well as Japan's technological culture and past. Tetsuo faces a problem typical to many young teenagers, attempting to win respect of his friends, rather than being a constant burden that needs help and rescuing. Kaneda's frequent bossing around of Tetsuo is shown to be harmful to his confidence. Susan Napier ties this in with Japanese culture by stating that, "[Tetsuo's] character actually evokes a less obvious but deeply significant side of Japanese national self-representation, that of a lonely outcast."

     However, once he unlocks his extraordinary psychic abilities, he is confused, caught between embracing his powers, and fearing them. Tetsuo's new powers hold parallels to the concept of puberty. He becomes rebellious towards Kaneda, as well as more violent towards all who oppose him, destroying infrastructure and massacring dozens of soldiers. His rebelliousness of course parallels the actual rebellions in Neo-Tokyo against the corrupt government, though he himself never actually participates in the revolution. 

    

    Eventually, he loses control of himself and becomes a monster. His aggressive rage ends, and he starts begging Kaneda for help rather than bullying him as he did earlier. Eventually, with the help of the espers, the three psychic children, he is reborn as a universe. 

   So after his whole coming-of-age journey, Tetsuo's salvation comes from the aid of some children, and being reborn again? Perhaps the movie is saying that in order to save and control ourselves, we must return to our youth before our corruption by society. But that's just a hypothesis.

And that's it. Bye.