Hanasaku Iroha: Finding Beauty & Grace in Hard Work, Dignity, and Servitude | OWLS “Bloodlines”

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  eighth monthly topic, “Bloodlines,” I decided to incorporate what would have been my standard Hanasaku Iroha review into this discourse about “it runs in the family.”

Family means everything (or does it?). This month, we will be discussing the importance of family relationships in anime and pop culture. Familial relationships include a child and his/her parents, sibling rivalries, adoptions, etc. Some questions about family that we will be contemplating on include how does one’s family shapes his or her identity? How do we define family? How does a broken household influence a person’s view on family?

This show probably deserves a review all on its own, but hey, I’m just gonna go for it here! Thanks Lyn for the prompt!

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A brief discussion on the 26-episode spring 2011 anime “Hanasaku Iroha: Blossoms for Tomorrow” and the 2013 film “Home Sweet Home,” produced by P.A. Works, directed by Masahiro Ando (Blast of Tempest), based on the original story by Mari Okada (A Lull in the Sea).

Out On Her Own

Ohana Matsumae: bursting with rebellious energy and only 16 years old, her picture-perfect Tokyo life could’ve been every girl’s dream—if only her mom wasn’t such a mess! Carefree, irresponsible, and always on the go, mother Satsuki Matsumae and her boyfriend hurriedly pack their bags to flee from debt collectors, forcing Ohana to seek refuge out in the countryside at her grandmother’s Kissui inn. It is there at the Kissuiso that Ohana forms the resolve to work hard under her grandmo—I mean, Madame Manager’s—cold and strict guidance as a maid to prove that she is just as strong and independent as her mother, reevaluate her unrequited love life, and “fest up” her otherwise mundane city life.

As Ohana grows deeper connections with the quiet countryside land and the changing seasons, she is faced with the trials of working as a maid, as well as countless interactions with the many customers that come and go at the Kissuiso. Bonds of friendship are born, and inexpressible relationships blossom beautifully.

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The Kissuiso Staff

Much of the love and respect I have for this show lies right here with the inn’s staff. That said, it can also be the most frustrating part. The busybody maids remain my favorite: Ohana’s fresh, persevering face even if she’s not exactly helping in the best way just makes you want to shout “SHE DID NOTHING WRONG” (at least she’s always trying, unlike some of the others); Nako, the”quite literally” big sister character never fails to support Ohana in that soft and gentle way that she does; and Tomoe, the playful and typically jealous woman tends to catch gossip and spread rumors throughout the inn, adding in the comedic elements.

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It’s the cooking staff that annoys me the most. No, not Renji, the stoic and buff head chef who minds to himself—my issues lie with an outspoken young man named Tohru and a girl Ohana’s age named Minko who “secretly” has the hots for him. They’re just both so rude to everyone, scolding one another whenever they can and not leaving much room for fun. I guess part of that adds to the staff’s dynamic (and conflict for Ohana), but Minko’s attitude really got on my nerves; far too distracting for what her character honestly represents. I also couldn’t stand her voice.

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Lastly, I couldn’t forget the two loudmouths that pop in throughout the series: Yuina, the daughter of a rival inn’s family and Ohana’s new classmate who honestly only wishes to enjoy her youth while discovering her true passion; and Takako, the glamorous business consultant adviser for Kissuiso who always wants to revitalize the rather old-fashioned inn to suit the times. She often bumps heads with Sui, as her ideas are indeed ludicrous at times, but when it comes down to it, they both only desire what’s best for the inn and its customers.

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I could go on about how genuine the personalities and relationships of each character feel, but half the appeal of Hanasaku Iroha is witnessing how they go about their days, both the ordinary ones for those slice-of-life vibes and the hectic ones to see how this seemingly disjointed team tackles wild problems head on!

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One of P.A. Works’ Finest Pieces

I’m all about scenery. Whether it’s a schoolyard from heaven (or hell) or an enchanting undersea village, P.A. Works never fails to embody this ideal vision of a “gorgeous world.” The anime’s characters are all beautifully designed and fluidly animated in their own right, Ohana especially, but the colorful Kissuiso takes the cake as a visionary set piece. Perfectly blending antiquity with its polished, hand-carved wooden exterior with the luscious greens from nature, the rustic countryside inn almost feels tangible, one that you can breath fresh air easily in and instantly feel comforted by the relaxing atmosphere. I could probably lose myself in the pages of an art book if I ever got my hands on one (which I will surely try to).

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The same glowing things are to be said about the charming piano and string tracks by Shiro Hamaguchi, my favorite being a little sad piece called “Remember that day with a smile like that.” For OPs and EDs, I’m not a huge fan of nano.RIPE’s lead singer’s nasally voice, but its random fifth ending “Saibou Kioku” happened to play at just the right time.

It Runs in the Family

Hanasaku Iroha enters the realm of slice-of-life with a little drama thrown in the mix. While it’s easy to label it as just that—a simply relaxing show—the series poses much more than that. From the beginning, it presents a moving story about family and adulthood, parenting and role-modeling. Like most titles with drama elements, the events of the larger present story are results of a little, once-close-knit group from the past.

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This group now makes up the adults in Ohana’s life: her stern grandma, Sui, her defiant mom, Satsuki, and her scatterbrain uncle (Satsuki’s brother), Enishi. When these parental figures were supposed to guide Ohana as a child, Satsuki often left Ohana to do all of the chores and “take care of herself”—a mantra that she still employs—choosing to put her efforts into her work as a pro writer instead of parenthood. Satsuki gave up her entitlement as the inn’s next manager, and as a result Sui stayed behind at the inn, Enishi working for her, and that was that.

Ohana spent her whole life cleaning up after her own mother.

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As depressing as that sounds, the story’s realism is probably the best thing that it has going for it. It’s a show that doesn’t want to boast, but simply leave itself out there by remarking, “This actually happens in real life.” By intertwining the lives and efforts of the inn’s staff, using the Kissuiso itself as the anchor, everyone comes to understand the tension between Satsuki and her mother, why Ohana’s personality is so brazen and spirited, why Enishi is so desperate to win his mother’s approval over his big sister, and why their boss Sui acts like such a secluded hag. It all comes down to family in the end, or rather the lack of a strong one to bind them together.

I think we can all relate to this.

Genes have the power to shape a family, but only you can decide what path it takes. As people, we make mistakes—for some of us, a lot of them—and maybe you got that from someone (or you’ll pass it on). But regardless, if we spent as much time thinking about the ones we are supposed to love as we did ourselves, I think we’d all be better off.

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Ohana put herself in her mother’s shoes when she reconnected with the source that threw her mom off to begin with, and her entire world changed for the better as a result. She realized that as different as she liked to think they were, they both made the same mistakes as young girls. Knowing this, she vowed to be like her grandma one day, hopefully ending the cycle of familial neglect.

And this made momma very proud of her little girl.

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Hard Work Really Does Pay Off

Hanasaku Iroha walks us through the struggles of the worker class for a girl living in a somewhat broken home. As Ohana comes to find beauty and grace in hard work, dignity, and servitude, we can’t help but feel inspired by her bold newfound identity. Most important of all, we’re told an endearing story about being the best that only you can be, and that even in this self-centered world that is so consumed by “give and take,” there exists wonderful places like the Kissuiso, safe havens that offer both a relaxing time to heal old wounds and a staff that only wishes to work hard to serve YOU. And that, well, that’s really special.

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“You may come to a standstill or get irritated because things don’t work out the way you want them to, but what you gain from hard work will never betray you.” – Tohru Miyagishi


So there you have it, the very gentle and sweet Hanasaku Iroha. By the end of it, you just want to smile and cry at the same time. For those wondering, the film takes place before the finale, and acts more like three episodes linked together rather than a standalone film. Still wonderful stuff—so wonderful that I present it with the certified “Caffe Mocha” rating, one for the menu and it’s all on me (actually it’s on Crunchyroll for FREE)! You HAVE to let me know what you thought about my review over this quaint little gem if you’ve seen it, as it’s a quiet show that doesn’t get much buzz anymore. I found this to be the perfect show for this month’s OWLS theme since “Ohana” does mean “family” in Hawaiian, after all!

This concludes my August 4th entry in the OWLS “Bloodlines” blog tour. Since I was first again this month, I’ll give you the weekend before handing it off to my buddy Matt (Matt-in-the-Hat) with Final Fantasy VII: Advent Children (I REMEMBER THIS FILM!) on Monday, August 7th! Thank you so much for reading, and until next time, this has been

– Takuto, your host

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Versailles is Not for All, But Indeed All for One

A spoiler-free review of the 40-episode fall 1979 (wow!) anime “The Rose of Versailles,” produced by Tokyo Movie Shinsha, based on the manga by Riyoko Ikeda.

History is Timeless

It should come across as no surprise to you when I say that “History is timeless.” It also shouldn’t be very startling to hear that we as humans have made more mistakes than triumphs, and that the stories we craft are centered on correcting these mistakes, righting wrong, to reach a triumphant end.

But what happens when history IS the story being told, in that no matter the effort that goes into the rising action, the resolution is that repetitive, burning, regrettable end we try to avoid in stories? Tragedy is born, my dear reader, and “tragic” is indeed the word which encompasses the French Revolution. This single period in history will eventually spawn thousands of tales of its own, one particular rendition brilliantly capturing the many ugly and beautiful faces of this rebellion – The Rose of Versailles.

A Rose of Red & White

So I partially lied above when I claimed that history itself was acted out directly for this work. From the incredible mind of its creator Riyoko Ikeda, Oscar François de Jarjayes is the main character brought to life by the story. Historically, “he” is a man who will, for this story, be a blend of many other significant figures in the revolution. Born to a noble house in need of a male heir, Oscar, a woman, is raised to be a man of valor, vigilance, and vitality, a new kind of “character trope” which will eventually be coined as the “strong woman.” A loyal knight and dear friend of Marie Antoinette’s, Oscar serves her beloved France like a hearth for a mansion, neither wavering in spirit nor charisma in front of the rich and poor alike. Like the scrolls call for, however, Antoinette, a redeemably innocent girl at first, will eventually lead the throne into further corruption, to which Oscar must take a stand for the glory of France – the people – or for her beloved crown in the palace Versailles.

Want to know how to spoil the anime for yourself? You cannot. Versailles is unique because knowing how it ends works in its favor, similar to adaptations of “Romeo and Juliet” or “Animal Farm.” It’ll start with Antoinette’s arrival to the pristine palace and end with her untimely beheading, just how we know it. Even if you knew each of the dirty bits surrounding the revolt, such as the “Affair of the Diamond Necklace” and the terrible folks that manipulated and crushed others to secure a cushy seat in the palace, this anime, though still about the revolution and its events, has another objective: Oscar. She alone is worth watching this series for.

A rose of many thorns, Oscar is cast with a terrible fate from the get-go. Jarjayes needs a male to succeed his place, so BAM, Oscar, you are now his son. Also, buddy, you’ll have to struggle against being a man for the public yet a woman for yourself. Your heart will be torn to pieces by your own prickly thorns as you choose between a fellow knight of honor from a foreign land, or your childhood mate who has always had your back, but never both. Your highness, whom you cherish like a baby sister, will learn from evil influences, and it’ll become impossible to manage both her and your own image. Finally, your homeland will succumb to the invincible flames of the revolution – Flames which burned you for many years beforehand because Versailles – the place you call home – is ultimately a royal hell on this cruel Earth. Yet, you knew all of this, and you still must choose: Be red, or fade to white.

“Ching.” That’s what a sword sounds like.

This is the technical part of this review, introducing features like animation, sound, and voice acting. On the animation front, 1979 sure does hurt! The over-effective glitter during these original shoujo moments is quite much, and the ridiculous, lackluster sword fights do not do much to help the cause. Some awfully cringey facial expressions and spoon-fed symbolism also are a drag. As I said, 1979 hurts, but maybe that is where part of the magic stems from. The aging quality Versailles carries brings in strange emotions like disgust and lust alike, and while I still push for a four-part film series remastering the entire series by Ufotable, I could just as well endure this and admire one of anime’s earliest masterpieces. It is one of those, “Laugh now? Hah, you’ll be on your knees begging for mercy later.”

In the sound department, I sigh internally. You can practically make out a man exclaiming “Ching!” with every sword clash. The over-dramatic echoing effects of shattering glass and collapsing bodies also gave me annoyed shivers. It helps, however, when Versailles walks home with one of the musical soundtracks ever. The OP “Bara wa Utsukushiku Chiru” drawing the comparison between Oscar and a rose, the ED “Ai no Hikari to Kage” depicting her struggles with romance and feminine life, and all of the fantastic tracks in between set a strong stage and leave a solid impression on what true shoujo drama should sound like.

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The show was also never given an English dub – Good thing it will never need one. I am not one to nitpick with Japanese acting, as I sadly do not speak the language, but by God, when Oscar asks for a leave of absence you damn well give her one! Where the visuals could not lift the show, the acting brings all of Versailles’s drama to life.

Why bother reliving the past?

It is arguable the French Revolution started because human beings are inherently evil people, and that all people are born equal. Those who oppose drink their half-full glasses knowing that humans are beings which can reflect on their mistakes to better themselves and the world. The Rose of Versailles masterfully captions both of these viewpoints and reiterates them in a powerful soap opera for anime fans. Portrayal of the female spirit in the ladies of Versailles and of the slums adds additional gold foil to a solid foundation. Melodrama is an enhanced asset that the show flaunts gloriously, and its execution is impactful on a very deep emotional level, given the short time it takes to adjust to the production quality. Just, DO NOT LET THE ANIMATION FOOL YOU, PLEASE.

Lastly, the cast of this historical “story” is just us living in another time, a barbaric fantasy which seems eons ago. The only difference is that this current humanity does not need fancy balls and lavish candelabras to vent its frustration. The Rose of Versailles is not for all, but all for one. In other words, with its age, shoujo background, cheesy moments, and 40-episode run, it is clearly not for everyone; however, it is more than willing to fight for the good of the cause, and for justice everywhere. Its realistic quality and well-researched plot should also give most history buffs a run for their money. Heartwarming and heartbreaking, this is a classic for a reason, and as such should be adorned at your nearest convenience.

“Love can lead to two things: the complete happiness, or a slow and sad agony.”

“No, no, Oscar. For all I know, love only leads to a slow and sad agony.”

                                                       – Oscar to Fersen

Nozomi Entertainment’s two LTD ED boxsets sit with poise and elegance on my shelves, awaiting my return to a dark period in human history just so I can re-emerge enlightened and exhausted. I thank you for spending the time to read through my thoughts, and I do hope you feel the urge to suddenly dip into this classic! I’m not sure if you will pick up on this, but this review was once again done in a different fashion. One change is trying to put a piece of fan art that took out of the experience. Do you prefer this new format over the old one? How about your own thoughts on The Rose of Versailles? Was the masterpiece story enough to sideline the iffy visuals for you, or not? As always, let me know in the comments, waltz on over to that like button if you enjoyed the review, and until next time, this has been

– Takuto, your host

Tags: Anime, Berusaiyu no Bara, Oscar François de Jarjayes, Reverse Trap

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