In This Corner of the World: A History Lesson on Hope & Healing | OWLS “Warmth”

Chances are that if you were linked here from another blogger pal, then you might be new. To those first-timers, “Hi, I’m Takuto, welcome to my anime cafe!” As part of the OWLS blog tour’s twelfth monthly topic, “Warmth,” I decided to incorporate what would have been my standard review of In This Corner of the World into a sympathetic discussion on the hardships of war and loss, and how love gives us the strength to continue being compassionate through even the worst of times.

It’s the season of joy, thankfulness, and love. This month’s topic is “Warmth.” Whether it is spending time with family members during the holiday season or with that special someone during New Year’s Eve, we will be discussing moments in anime and pop culture media that convey a feeling of happiness in our hearts. During times of struggles, we look towards the things that matter to us as a source of strength, hope, and happiness. We hope you enjoy this round of posts and that you, too, will have a wonderful holiday season!

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I’ve nothing else to say for the intro! Thank you Lyn for twelve consecutively thoughtful topics to ponder each month—I’ve enjoyed writing for all of them!


A brief spoiler-free discussion on the fall 2016 anime film “In This Corner of the World,” produced by studio MAPPA, directed by Sunao Katabuchi (“Black Lagoon”), based on Fumiyo Kouno’s award-winning manga of the same name.

New Life, New Opportunities

In 1944, life for Suzu Urano starts slipping through her tiny calloused fingers. For one, she is married to Shuusaku Houjou, a reserved young clerk, and is sent off to the small town of Kure in Hiroshima where her husband works at the local naval base. Now living with the Houjou family, Suzu must adjust to her new life, which is made especially difficult since she quickly becomes an essential meal-making, chore-doing crutch for the family. She does all of the daily housework during the tough wartime conditions, and the familial disconnect Suzu experiences between her sister-in-law—timed with the regular air raids—makes both the political and household climates feel like battlefields.

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When intense bombings by the U.S. military finally reach Kure in 1945, devastation to Hiroshima and its townsfolk, as well as its culture, forever shake the nation, and Suzu’s life is permanently impacted by the tragedies. “Much is gained by living in Kure, but with war, many things cherished are also lost.” It is only through the greatest perseverance and courage that Suzu manages to continue caring for those around her, and to truly live life to the fullest.

“Torn apart by war. Brought together by love.”

By its end, In This Corner of the World is a somber ode to history, wherein the tragedies of WWII’s Hiroshima bombing are experienced firsthand by the main characters. But before the bomb is dropped, the entire first half of the film winds us back to the 1920s, Suzu’s peaceful childhood. It starts this way to not only show Suzu’s developing story from beginning to end, but also to create the picturesque vision of pre-war times in Japan, specifically Hiroshima and its surrounding towns. As every 5 or 10-minute interval—marked by on-screen dates—brings us closer to that horrific day, August 6, 1945, your stomach starts churning in dreadful anticipation; you know what’s about to happen, and you’re almost left disbelieving how Suzu’s whole life could just fall apart in an instant.

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Akin to African author Achebe’s world-renowned novel, Things Fall Apart, which was written to show that life, law, and liberty already existed before the white man saw the need to organize, colonize, and, get this, “save” Africa, Fumiyo Kouno’s story serves to inform the viewer about the other side of the Pacific. You are put through the trials and tribulations of Suzu’s daily life, from learning to properly make a meal using rations to understanding the familial benefits of marriage, in order to hopefully understand that despite their differing customs, both the attackers and the attacked have things they want to protect.

I set up a pretty overwhelming historical background here, but the film really isn’t that political at all. Rather, its a drama centered around one little girl’s average life during WWII, and how no matter the global circumstances plaguing a household cause ruin and chaos, life goes on. That’s right, life will always go on. There are always things to be fixed, clothes to be washed, and food to be cooked. Suzu understand this, and that’s why she faces each painstaking day blessed that there’s still a roof above her family’s head. In This Corner of the World, though rife with tragedy, is ultimately a heartwarming tale of Suzu’s prevailing love and healing hands.

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A Hero at Home: Suzu Urano

Characterized as tiny, optimistic, and a bit aloof at times, Suzu Urano goes through great lengths to help in anyway she can, even if her assistance comically ends up backfiring in the end. She’s also incredibly creative, shown in both her beautiful landscape sketches and paintings, as well as when she wields her knowledge of samurai food rationing to construct some, at the very least, “interesting” dishes. Her artistic talents act as a sort of sanctuary for her, and it is through her simple yet gorgeous works that she meets many new friends and even potential lovers. But like all artistic endeavors, chores come first, and slowly you start to see the hobbies that she once did for herself fade away to make room for aiding the family.

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On top of working her hardest around the house (her efforts eventually exceeding those of everyone around her), Suzu is a girl, a soon-to-be-woman who undergoes all of the same treatments that Japanese women received during the 1900s. From stricter expectations in the kitchen and household to family-controlled courtship, rarely is Suzu the master of her own fate. Yet somehow, Suzu makes the best of what is given to her, for merely being allowed to experience the tranquility and joys of everyday life in Kure is enough to give her hope and purpose. Honestly, what a woman!

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Suzu only speaks out once or twice in the entire film—remember, this is a film that chronicles Suzu’s ENTIRE life! She many not be honest to herself all the time, frequently disregarding her own happiness and well-being for the sake of her family and her nation’s pride, but Suzu knows how to fight the good fight, as well as when to keep pushing on through the toughest of hardships. Between watching her frugal attempts at fitting in with her husband’s family, her struggle to adjust to life in Kure, and the tragedies of war she later encounters, it feels as if you physically and emotionally cannot go through as much heartache that is thrust upon her and make it out ok. Yet Suzu manages to bandage up her scars and continue making herself useful to everyone. The warmth she brings to the war-torn world embodies the purest light of hope in a time of darkness.

Visually, the Softest Movie I’ve Ever Seen

“It was like Studio Ghibli meets the Peanuts and together they talk about some pretty serious stuff.” This was my immediate reaction to the film which I posted on Twitter, and I still stand by these words now. The backgrounds are painted so smoothly, giving off an immense sense of ease, and the magical watercolor touch just feels so right. Even the characters, for a lack of a better word, look so . . . “soft.” There’s a lack of detail in their physical features, but it’s their sometimes cute, sometimes sorrowful mannerisms and words that convey their true characters. Seeing characters this adorable almost feels wrong for the tone of the film’s second half where the air raids become prominent, but it somehow works altogether as one moving, breathing, snapshot of history.

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(If you watch the special feature clip “Hiroshima & Kure: Then & Now,” you’ll understand how and why it all looks so historically accurate; the attention to detail in re-creating several destroyed sites where famous architecture once stood was very commendable.)

The luscious animation is accompanied by equally gentle music, as kotringo’s (Rieko Miyoshi) soundtrack matches perfectly with the tone. At times uplifting, other times more tender or melancholic, tracks like “Kanashikute Yari Kirenai” or my personal favorite, the ED theme “Migite no Uta (みぎてのうた)” provide lovely messages to live by: “Even in this painful and broken world, there IS hope.”

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Learn From Fiction: Heartwarming Tenderness Comes From How We Live

It is stories like Suzu Urano’s that give us all the fuzziest feelings of contentment and comfort. But like all stories, they eventually end, and once they’re over, the books get placed back on the shelves, and the DVDs and Blu-rays are ejected from their players. And that’s it. It’s all just entertainment, anyway.

*If you’ve ever thought this, then you completely missed the point as to why certain works even exist in the first place.

All fiction is written with messages, no matter how significant or insignificant. With the case of In This Corner of the World, it’s to showcase the tragedies of war firsthand, and the devastation that comes with violence. That should’ve been apparent from the synopsis alone. Looking deeper, we can understand more big takeaways from the film:

  • Hardships exist everywhere—someone is always struggling
  • Protect family, for without it we are fundamentally alone
  • Gender roles can limit individuals from reaching their full potential
  • The youth of today ARE our future
  • With destruction comes the joy of rebirth
  • By rebuilding from the ground up, we build a stronger foundation than the one before it
  • Make the most of your life—you only get one, and it goes by incredibly fast
  • WE ALL have the choice to be happy or sad, rude or nice—live the way you want to
  • Be thankful for what the earth provides, and what you can do for it in return
  • And lastly, to quote The End of Evangelion, “Anywhere can be paradise, so long as you have the will to live”

Just LOOK AT ALL OF THOSE THINGS I CAME UP WITH. And that only took me a couple minutes of reflection.

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History will always be our greatest teacher

Authors, directors, artists, musicians—Creators improve on what skills they already have in order to teach us invaluable lessons about the human experience. They have the power to take all the world’s evil and tell us that life can be incredible, so long as we don’t repeat history’s mistakes. Don’t just watch a film: enjoy what it is trying to show you. Don’t just read a book: revel in the messages left in-between the lines. Take what you learn and monopolize on it! Essentially, BE the good in the world!

In This Corner of the World presents the catastrophic effects of humanity’s cruelty, savagery, and barbarity—yes, absolutely. But it also exists to tell us that through the ashes, we can rebuild; that we can be kind to others, even if they treat us harshly; that most of all, we have the choice to see the good in this wild, wicked, unfair world.

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As a race, we have this terrible tendency to appear on the wrong side of history (if you know what I mean). The title In This Corner of the World refers to both Suzu’s tiny Kure house on the hill AND a state of harmony achieved by acknowledging and balancing the positives and negatives that life throws at us. A heartbreaking historical ballad for those we have wronged, and the terrible things we have done, In This Corner of the World is here to say that life goes on, and that as long as we try to understand one another, hope and a warm heart will always allow us to move forward.

We can love. We can rebuild. We can move on. But we’ll never truly forget.

There is only one corner of the universe you can be certain of improving, and that’s your own self. – Aldous Huxley


This can be a hard film to watch, but it all depends on how seriously you decide to take it. It has several comedic points of value in it, as well as a very cute presentation style, but don’t let those two aspects close you off from In This Corner of the World‘s subtle brilliance and emotional depth. As a powerful, touching work of art, this film is awarded the “Caffe Mocha” seal of approval, a rating for those special titles that I consider to be a must-watch!

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This concludes my December 20th entry in the OWLS “Warmth” blog tour. Arria Cross of Fujinsei went right before me and expressed her sincere gratitude to all of her fellow readers, bloggers, and OWLS members in one emotional, heartwarming post. Now, look out for fellow aniblogger LitaKino (Lita Kino Anime Corner) with a surprise celebratory birthday video this Friday, December 22nd! Thank you so much for reading, from my first OWLS post in January to here at the end—I do hope you have enjoyed them, as I do really, really like writing them! Until next time, this has been

– Takuto, your host

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Before the Black Out: More Human Than Human | OWLS “Diplomacy”

Chances are that if you were linked here from another blogger pal, then you might be new. To those first-timers, “Hi, I’m Takuto, welcome to my anime cafe!” As part of the OWLS blog tour’s  eleventh monthly topic, “Diplomacy,” I decided to incorporate my loose thoughts on Blade Runner: Black Out 2022 into this glance at the past, the present, and the future of the franchise’s iconic sci-fi world. The matter at hand: In an age rife with incredible development, improvement, and achievement, when did humanity lose its defining future–its ability to reason compassionately?

Whenever we have a disagreement with someone, we use our words to express our thoughts and opinions. However, there are those who would rather use fists instead of words—those who forget that being “right” isn’t the most important thing, and those who lose sight of compromising and acknowledging differences in opinion and belief. Diplomacy is an important skill and tactic that not many of us have or are able to utilize properly especially in “social media wars” for sensitive issues and anime discourse—we just express our opinions without really listening.

We will be exploring some of the best negotiations scenes in pop culture media and discuss how effective these diplomatic moments are and what we can learn from them. We will also discuss why communication and listening are important traits to have, and whether or not there are other means to enforce peace.

I’ll be taking this in a bit of a different direction, like say, what happens in a world without diplomacy—a world without choice—where issues can’t merely be talked through, but require brute force to get a point across. War is necessity. I’m talkin’ about the dawn of a revolution, the beginning of the blackout bigger and darker than the world had ever known. Welcome to Blade Runner.

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Thanks Lyn for the prompt (this month’s theme was admittedly tricky for me, so I hope you all enjoy a VERY different OWLS post)!


A brief discussion on the 15-min fall 2017 anime short “Blade Runner: Black Out 2022,” produced by Cygames, directed by Shinichiro Watanabe (Cowboy Bebop). It serves as one of three short films based on the original film by Ridley Scott as an intended sequel to fill in the events before “Blade Runner 2049.” SPOILERS only for “BLACK OUT 2022” will be present.

A Dystopian Vision of Our World, the Not-So-Far-Off Future

Set three years after the events of Blade Runner, we are presented with a vision of Los Angeles in 2022: a grim, metal and rain-coated field of shacks and skyscrapers that continues beyond the horizon as far as the eye can reach. It’s an overcrowded metropolis in which millions of people roam the streets, shoulders practically touching, yet people couldn’t feel more disconnected on a personal level. The scene is gloomy, very neo-noir in tone, and the only sense of organization comes from not the city’s inhabitants, but its layout and structure; a handful of massive, sprawling, and imposing ziggurats distinguish between the penniless street-dwellers and those empowered with privilege.

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Between the maze of ominous alleyways and towering steel spires, one would find two types of species: the living, us standard human types, and the manufactured, bio-engineered androids coined “replicants” (these happen to be new Nexus-8 models, mind you, which mean that their lifespans are programmed to be just as long as a normal human’s—a significant improvement since the four-year lifespans of Nexus-6 models in the original Blade Runner). Already faster, stronger, and smarter than humans, this latest replicant enhancement robbed humans of their final upper edge against the robots, and unfortunately, this didn’t settle well with the populous.

Hunters, fighters, and police began their assaults on a race that didn’t even get to choose its genes—their maker, in fact, was human, so why the cause for outrage? Human nature, that’s why (cue events of 1982’s Blade Runner). Replicants were brutally hunted down, more killed than imprisoned. Feeling the urge, the drive, the right to power over all they create and manipulate, unjust violence by humanity broke out everywhere, and it’d only be a matter of time before the Replicants as a whole decided to fight back. In their rise, humanity fell further to the lowest levels of jealousy, corruption, and greed.

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A Means to an End

FINALLY, we get to Black Out 2022, a brief tale that begins at the climax of the Replicant Revolution, a stage craftily set by what I’d imagine to be many painstaking hours of sorting out the details so that the franchise’s history flowed smoothly with the coming of Blade Runner 2049. We find a young female, a replicant named Trixie, in the streets being approached by a group of thugs when Iggy, a once-soldier replicant, bursts onto the scene and rescues her. Iggy had left the battlefield once he realized that, in the war on terror, BOTH sides were using replicants as disposable pawns. Flash forward and together the two team up with other members of the underground replicant freedom movement to destroy the Tyrell Corporation’s database of registered replicants, so that replicants can no longer be hunted, as well as plunge Los Angeles into the dark ages via atomic bomb. Heaven and hell are for the humans—now, THIS life, is all the replicants have.

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Too often, these war shows about rebellion cause us to contemplate the same questions: How did things turn out this way? Was this really the only way to win? Did we even really win anything in the end? And you know, I find them to be more rhetorical than anything. Rather than asking a serious question and expecting a straight answer, these questions merely exist to put a point out there. How did things turn out this way? Well, because we kept agreeing to disagree, that’s how. But really, perhaps it’s because, somewhere deep down in the darkest of our human selves, we wanted this result—this form of means to bring us to the end. As the saying goes, “If you go down, go down fighting,” right? Then WHAT is so wrong about rigging a bomb to protect the lives of millions of ill-fated replicants? (rhetorical question, just think)

Maybe there isn’t a way outta this one. Sometimes, words alone are not enough to probe individuals to act. Replicant injustice was akin to a crueler version of slavery by the time of the revolution—it was humanity who created beings capable of achieving self-realization and freedom, and it was humanity who purposefully dangled that freedom in front of their innocent, unknowing faces, far beyond their grasp. I hate to admit it (and no, I don’t condemn the use of atomic bombs, ever), but maybe the replicants were right on this one.

According to basic psychology, Kohlberg’s theory on moral development might have an explanation to the justification of rigging the great black out of 2022:

Of his 6 stages, the last is the rarest case of man, one in which he weighs universal ethical principles. Gifted individuals like Ghandi or Martin Luther King Jr. fit this bill, as they pass judgments based on universal human rights (whether it’s for or against the law, this is inherently right/wrong). They tend to disregard law and social agreement for what is believed to be the greatest good for all, kinda like groovin’ to the beat of their own drum. Whoever is leading the Replicant Revolution is likely such a charismatic character, one who is seeking an end where replicants can live freely regardless of how many laws they have to break getting there. Now, back to the Blade Runner . . .

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If Only We Could Talk Things Through

BEHOLD, THIS is the future you asked for, humanity. THIS is the world in which you gave all of your power up to an oppressive state that knows all and sees all, and thus it created more slaves. THIS is the route where humans essentially reduced a complex lifeform into a machine. This is . . . the black out is . . .

It’s the world you deserve.

Call me bitter, but there’s a time and place for war, there really is. When some people get their head SO far up their asses that they close off their mind to new ideas and thoughts, it’s time for change. And that is EXACTLY what the replicants did and in the most peaceful way possible. Through the black out, two lowly replicants transcend their original purposes to become free-thinking individuals.

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The film ends just as it began: Iggy walking away from a storm of ash and flames with an eye patch, symbolizing that he, like Trixie, has cast aside his original purpose as a replicant soldier (replicant IDs are located under the eye), transforming him into a cold warrior fighting for justice and the freedom of his kind. Now, in theory, all men are equal, and the means of terrorism have brought upon a glorious end: all of the world is painted black. There is no record of who is or isn’t a replicant. Is it an ending of hope? Well, if you find their actions to be “stage 6 justification” like I do, then it might be. Enslavement of any kind should never be tolerated, and as such, sometimes we need action to prove a point—much like asking a rhetorical question. To quote MLK Jr., “Injustice anywhere is a threat to justice everywhere.”

Blade Runner: Black Out 2022, as with the rest of the franchise, shows us a future void of diplomacy. It’s a world where those who are inferior neither get a voice nor a chance to negotiate their terms of living. There is no fairness. There is no thoughtfulness, or sensitivity, or care given to the replicants. To change the treatment of their kind, the replicants had to think bigger and above themselves—to a region of thought that even most humans fail to fathom—accurately becoming, as ironically as the Tyrell Corporation proclaims, “more human than human.” And it is through the awe-inspiring darkness of the black out that we see the light.

“Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.” – MLK Jr. 
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Once again, I didn’t even get to discuss the art and animation of the world of Blade Runner in the anime style—which is perhaps the single most interesting element about this entire short film!!! Guys, 2022 is seriously beautiful, both fluid and engaging during the action scenes, and simply breathtaking in terms of landscape. JUST LOOK AT IT. MY GOD, what I’d give to just walk through the blue, rainy, compact streets of the city!! It’s like a dirtier, grittier version of Ghost in the Shell, and if that means anything to you then you ought to give the franchise a watch.

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Speaking of, this is NOT RECOMMENDED for a blind watch. You won’t get any of it. It’s designed to serve as a one of three prequel short films to the latest Blade Runner 2049and boy did they help a ton! So yes, start with the 1982 Blade Runner, as I highly recommend it, then make your way up. For Black Out 2022, I’ll gladly place it under the “Cakes” menu for future reference.

This concludes my November 10th entry in the OWLS “Diplomacy” blog tour. A new friend of mine, Irina (Drunken Anime Blog) chose to explore how her otome stories and games taught her that you can’t please all the boys with your charming diplomatic ways. Then look out for Lita (Lita Kino Anime Corner) tomorrow, November 11th with, well, it’s a surprise!  Thank you so much for reading, and until next time, this has been

– Takuto, your host

LISTEN TO THIS. “Almost Human” by pop-singer Lauren Daigle is an interesting choice for an ED theme, and I wouldn’t have picked a different one. SO GOOD!!