Haruka and the Magic Mirror

Haruka and the Magic Mirror is a 3D computer animated movie based on a Japanese legend of a trickster fox who collects people’s forgotten belongings. When Haruka, the plucky 16-year old protagonist, loses a precious mirror that her mother gave her as a child, her search for it leads to Oblivion Island, a hidden world full of magic yielding creatures and gorgeous scenery porn.

In this hidden world, Haruka meets Teo, a rabbit-like youngster who’s part of a large group assigned with the task of retrieving items from the human world. Teo woefully under-performs, and is mocked and bullied by his peers for his lack of prowess. Everyone here is at the service of a dictator known as the Baron, a burly and effeminate character who lives in a flamboyant airship that hovers over Oblivion Island. The Baron has an invested interest in collecting mirrors—particularly the fine one Haruka possessed—as they’re said to embody great powers.

There are a lot of strong feelings about the use of computer animation in anime. Some people hate 3D with the passion of a thousand suns, while others don’t care, or may not even notice how it differs from traditional mediums. Typically, hand drawn animation reflects the personal and inexact touch of a human artist, while computer animation combines art with technology to potentially create detailed and photorealistic imagery. In recent years, toon-shaders, a rendering method that strips down lighting details to emulate a 2D look, have gained popularity.

For Haruka and the Magic Mirror, Production I.G.—under the supervision of writer, director, and video game developer Satou Shinsuke—went for a more complete 3D look. The characters are fully shaded with soft shadows and indirect lighting, and their mouth movements are synced to the syllables of the Japanese voice acting. The environments and vehicles of Teo’s world are an assemblage of the countless items taken from the human world, creating a really cool patchwork aesthetic. The backgrounds have a unique quality to them as well, and appear to have utilized a mix of hand painted and 3D techniques.

Haruka and the Magic Mirror is a family movie with a simple story and characters that are fitting for its target audience. There are some dark moments that could be troubling for a pretween, but there’s no strong sexual or violent content. The finale went a little overkill on the action; this wasn’t necessarily an issue for me personally as I kind of enjoyed the mess. On the whole, the fantastic art direction, wild action set pieces, and a sweet story about family, friendship, and gratitude provided adequate entertainment value.

Mushishi

When I started watching anime again in 2014 after a long hiatus, I saw fans of a series called Mushishi praising how it was “beautiful” and a “masterpiece.” In these same discussion threads, there were also critics arguing that Mushishi was actually “pretentious” and “boring.” Seeing such strong and opposing opinions, I opted to see for myself how good—or bad—Mushishi truly was.

About a quarter way through the first episode I was already siding with the critics. The central character, Ginko, who appeared to be a kind of paranormal investigator, is seen traveling deep into an unusually vibrant forest. He’s headed to the home of a child living there to investigate a strange ability that he’s said to have. When they meet, perplexing conversations ensue, which, at the time, I found difficult to follow, and not particularly interesting.

The second episode frustrated me even more. For most of the first half, I grudgingly stared at these two kids sitting in a dark room discussing something pertaining to eyelids; keeping my own eyelids open was a struggle. Before I could get to the second half, I stopped the episode, and concluded that this series just wasn’t for me.

As I befriended more people in the anime community, I noticed that many of those who shared my interests also thought highly of Mushishi. I wondered, “Why do these people with such excellent taste (lol) love such a dull series? Maybe I missed something?” So, I attempted to give the second episode another try, this time approaching it as I would a meditation—or a tedious assignment. I turned down the lights, cleared my mind, relaxed my face and shoulders, took a deep breath, and gave it my undivided attention.

In such a relaxed state, I usually feel a peaceful indifference. Watching the second episode again, I wasn’t as impatient during the first half, but I wasn’t quite enjoying it either. However, I was more receptive. I initially took notice of how ubiquitous the environment was. A scene would often open with or cut to an intricately detailed—and admittedly beautiful—slice of nature. It was around this time that it dawned on me—nature itself is actually a character in this story. There’s Ginko, the various people he meets, and nature. Nature is sometimes the protagonist, other times it’s the antagonist, but it’s not an entity that acts with bias. Nature, and the “Mushi”, which are a supranormal extension of nature, just are. In this context, everything started to make more sense.

When I finally saw the unexpectedly creepy second half of the second episode, my attention was firmly hooked. As I progressed to the next episodes, another thing that became apparent was how the problems and concerns of the characters mirrored our own, providing an opening for the audience to relate and emotionally connect. Each story guides us through the mental, physical, or sometimes moral process of trying to solve a particular issue. But people’s plights aren’t sensationalized. Mushishi doesn’t seek to make you feel angry or depressed. While there are moments that could make you feel that way, it doesn’t indulge in negativity or drama.

I was later impressed by how much ground Mushishi could cover in just 23-minute episodic intervals. The directors, under Hiroshi Nagahama’s supervision, did well in balancing the elements of Yuki Urushibara’s award-winning manga. The studio, Artland, didn’t cut corners on the production either. The art and animation quality exceeded that of a typical television series, sometimes reaching the levels you’d expect from a feature film. These visuals are underpinned by a traditional and occasionally haunting soundtrack.

Mushishi is infused with subtle, and easily overlooked, commentary on the ways in which we’re connected with each other and the world around us. Thinking back, it’s amazing the difference eased expectations and a little patience can make. With that said, such an approach can’t guarantee that you’ll be able to like anything. Sometimes you’re just not compatible with something, and that’s perfectly fine, too. In my personal case, I was more compatible with Mushishi than I’d thought as it has since become my favorite anime.

Akanesasu Shoujo

In the hopes of escaping to a new, possibly better, place, the girls of the “Radio Research Society” meet under the sacred tree to perform the “4:44 Ceremony.” According to an urban legend, performing this ritual at 4:44pm, while listening to radio static tuned to just the right frequency, will open a gateway to another world. It’s a premise we’ve seen in similar forms before.

Of the five members in the club, most of them don’t expect the 4:44 Ceremony to actually do anything, and only participate as a fun social activity. Asuka, a cheerful girl who dons a big red hair ribbon, has the most faith that the ritual will eventually succeed. Yuu, the reason-oriented president of the club, and Asuka’s closest friend, is the most skeptical. All of the girls like each other to some extent, establishing a welcoming vibe to the group.

Chloe, the modest one who—for some reason—peppers her speech with French phrases, finds a crystal near the sacred tree. When she places it in a specialized radio, she finds an odd sound at the 0633.1 AM frequency. The group elects to perform the ceremony at this frequency, and unexpected things start to happen—including the emergence of some suspicious snow bunnies, and, most surprisingly, another Asuka. The cheerful Asuka playfully nicknames this other Asuka “Seriouska”—a portmanteau of “serious” and “Asuka”—due to her more serious demeanor.

When the 4:44 Ceremony succeeds, all five girls are transported together to another world, and the one wearing the headphones merges with a version of themselves in that world. This provided some of the most interesting and often humorous moments, particularly when Asuka and Seriouska were involved. We see each of the principle characters live through another version of themselves, and confront the choices and regrets of that other self. This aspect of the story gave an otherwise familiar premise some psychological weight.

Hostile forces from a “Twilight” realm trail them, antagonize them, and create turmoil for everyone in its wake. It’s believed that a king in this Twilight is the root cause. Initially, the group tries to avoid this king, but they soon realize they have no choice but to confront him (her or it) to protect themselves and the inhabitants of these other worlds. Honestly, I would’ve preferred less emphasis on these parts, and more emphasis on the main characters confronting their other selves. But I understand that taking such a route may not have been as entertaining for a lot of people.

Two little-known studios, DandeLion Animation Studio and Juumonji, did a really nice job on the production. Aside from one or two wonky frames here and there, the 2D art and animation was mostly polished, and the 3D computer animation for the action scenes wasn’t too jarring when it appeared. There’s still that moment when you go, “Oh, it’s in 3D now.”, but it doesn’t take too long to adjust to the transition.

My interest in this series was initially piqued when I saw clips of the gloriously over-the-top action scenes going around on Twitter. My expectations started at, “Maybe I could watch this as a filler show between JoJo episodes…”, and ended at “That was actually fun!” If you don’t mind seeing some things you may have seen before, and aren’t bothered by the occasional fanservice, you could have a good time with Akanesasu Shoujo.

Mushishi Zoku Shou: Drops of Bells

After a 9-year run, our tour with Ginko through the supernatural draws to a close with a short film adaptation of Suzu no Shizuku (Drops of Bells), the last arc of the acclaimed young adult manga—Mushishi—by Yuki Urushibara.

In the first half of Suzu no Shizuku, a girl leaves her family behind when she’s summoned to be the next lord of a mountain. Thriving lands, called “Rivers of Light”, require the presence of a lord to maintain the balance of the surrounding life. Choosing a human as a lord is an unusual move, however. Such a task is typically delegated to animals since they live with fewer emotional attachments.

Several of the introspective themes that were previously explored in the Mushishi world are summarized here—most notably interconnectedness, the indifference of nature, and the necessity of letting go. All life—plants, animals, and humans—are dependent on each other, and are influenced by the ripples of cause and effect. Nature, which is personified in Suzu no Shizuku as the mountain lord, acts as the unbiased mediator. The overarching lesson seems to be that we should appreciate what we have, and not cling when the time comes to move on.

The second half concludes the story without quite concluding the series. The ending leaves some questions unanswered, but it ties up enough to guide your imagination to where the stories and characters could progress into the distant future. I’ll refrain from deconstructing this any further. To me, Mushishi is more of a meditation than a conventional story, and is therefore best appreciated without excessive analysis.

The art, animation, and sound design have remained remarkably consistent over the years. The backgrounds in Suzu no Shizuku are just as gorgeous as they were when the first season aired in 2005. The character and special effects animation are fluid and precise. And the subdued and ambient melodies that have become a hallmark of this series are present as well.

When you think about it, it’s kind of a miracle that Mushishi, which is essentially about life experiences and nature, was made with such a substantial budget in today’s hungry and impatient climate. I’m grateful that ArtLand was willing to take a chance on such an esoteric and spiritual story, and that it’s been successful enough to adapt in its entirety. It’s been a truly extraordinary experience.