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In fact, I even began to enjoy the accomplished yet subtle computer generated effects interspersed throughout. I no longer disliked that every character had abnormally large eyes (though not over-sized to the point of utter absurdity) or that the English overdubbing was a little choppy. After Ashitaka leaves his village to search for a treatment to remedy his affliction, I no longer cared that this was an animated feature I was on the edge of my seat, wondering what would happen next. After about ten minutes of dwelling on the follies (and there are, in my opinion, many) of the "anime" style of art, I became enthralled with the quickly unfolding plot and the subsequently dire fate bestowed upon Ashitaka, the protagonist of the film.
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Upon watching Princess Mononoke, I must say I first thought it would be very difficult to look past the animation style and see it for what it was- a dynamic film directed be the highly acclaimed Hayao Miyazaki. Instead of focusing on one or two aspects of the movie I do not like and formulating a biased opinion based on my hasty and clouded notions, I can now decipher both the good and bad points of a given flick. Recently, however, I have forced myself, with great difficulty, to open my mind and look at the entire picture. Please don’t let that be the case, because it weakens the narrative urgency this film clearly has going for it in favour of nods and winks that serve no purpose other than to elicit a quick smile.A few years ago I would have tossed this film into a collection of movies I like to call the rubbish pile. The abandoned town where the doorway resides is completely flooded, giving me the fear that the perpetual rainfall that Hodaka and Hina doomed this country to in their own film has carried over to this one and will be a tangible part of the overarching story. Having been developed during the pandemic, I won’t be surprised if Suzume no Tojimari touches upon how our societal humanity has changed in the past few years, and how that can be explored from the perspective of a young woman. As viewers, we deserve better than that, and so does this filmic universe that Comix Wave is piecing together. It’s a heavy premise, but one with a similar level of dramatic simplicity to Your Name that I hope doesn't pander to us like children in the same way Weathering With You does. Shinkai has also stated it will be a pilgrimage of maturity for the main heroine, with her having to face up against apocalyptic circumstances and make decisions that might impact the fate of millions. Animation is a medium, not a genre, and it can be far too easy to forget that. Comparing the two most recognisable names in the industry so readily discounts all other talent to be found in the wider space too, and how anime is being pushed forward all the time by such voices. People love to label Shinkai as the next Hayao Miyazaki, but that’s a shorthand description that fails to recognise the strengths of both filmmakers and how their approach to delivering animated stories are fundamentally different. He’s one hell of a talent, and thus the fervour around this new project has been met with ample anticipation. For years, the director has been the biggest name across the entire medium, with his gorgeous visuals, lovable characters, and poignant yet relatable themes allowing each film to resonate with a global audience. Makoto Shinkai has revealed the first trailer for his upcoming film Suzume no Tojimari, which will seemingly follow in the footsteps of the critically acclaimed Your Name and Weathering With You.