Another fanart, but this time it's the faceless ghost, probably my favorite Mononoke episode. I don't really see much fanart of this character.

How would you describe each of their personalities? What are their personality differences?

^{disclaimer: this is going to be a long post. i rewatched all three movies, and it turns out they’re so full of symbolism that i couldn’t resist writing about everything i managed to pick up on. however, i originally published my observations on tumblr as three separate posts and a follow-up ask, with around 100 screenshots from the movies in total to make it clear exactly what i’m referring to. unfortunately, reddit has a limit of 20 images per post, and i don’t want to make five separate posts, so i recommend reading the whole thing on my tumblr instead (asa and kame | karakasa | hinezumi and hebigami | ask. however, if you’d rather read it here, i’ll try to find a way to present everything so that it isn’t completely chaotic and is at least somewhat understandable, but keep in mind that, aside from the first post, there’s no single narrative thread here; it’s more a collection of observations about specific scenes. also, i’m not saying my observations have to be correct. everyone has their own interpretation, and i just thought, why not share mine? if you have any other observations, i’d be happy to hear them!})

asa and kame

from the very beginning, when we’re introduced to asa, she reminds me of the doll she will eventually come to possess. incomplete, empty. this is conveyed in part through her lack of luggage. you’re moving somewhere you’ll probably be living for the rest of your life, and you pack your entire life up into a single bag, including the pen that gives your existence any semblance of purpose. yet asa has nothing in her life that she considers precious.

it might seem as though she’s contradicting herself when she says she’s been practicing writing since an early age, only to immediately follow that up by saying she has nothing important enough to throw away, but that dissonance is exactly the point. during her meeting with kitagawa, asa says that she saw a scribe perform during a visit to ooku as a child and had wanted to work there ever since. but i see it more as an attempt to find something in life to hold on to, even if it’s nothing more than the hollow illusion that life has meaning. that’s why, when she was supposed to give it up, she wouldn’t just be abandoning her “former self.” she would also be rejecting the only thing that gives her any kind of anchor in life, the only thing that allows her to be anything more than a drifting consciousness.

i think this is also why asa became so attached to kame so quickly and was so reluctant to get rid of her. she needed a buoy to keep her afloat. she’d rather do everything for her without complaining, as long as it meant she could keep her by her side.

however, even if kame isn’t particularly good at her job, she’s a good person. when she sees that asa, whom she’s only just met, might get into trouble, she draws attention to herself by offering up something precious to her. and this isn’t the only time she does so.

when asa gets promoted and asks the others to cooperate with her during the preparations for the ceremony, she’s ignored. it’s only when kame breaks the awkward silence, at a moment when asa doesn’t know what to do because things aren’t going the way she expected, that her attitude changes. instead of asking, she starts giving orders, asserting her authority and making the others listen to her. by distancing herself from kame—allowing or ordering someone to take her away—asa earns the respect of the other maids, who see kame as an aberration.

the shoes are also a good representation of this contrast. asa’s sandals are always neatly lined up, regardless of whether they’re her own or identical to those worn by the other maids. kame, on the other hand, is a free spirit who doesn’t care about any of that and throws her slippers wherever she feels like it. the shoes symbolize how unable she is to conform to ooku’s rules.

over the following days, asa begins to change. she gradually grows more distant from kame, which goes hand in hand with her becoming more like the other maids.

the clearest representation of this transformation is her sense of smell. the first time she tries the water, she finds that it stinks, while the soup smells nice. over time, the water starts to smell neutral to her, while the soup (which i think symbolizes joy and happiness in the moments she spends with kame) begins to stink. i interpret this as her growing sense of guilt: she knows that kame isn’t suited to working at ooku, yet she still wants to keep her by her side.

at the same time, the water smells increasingly foul to kame, showing that she’s the only one who refuses to give in to ooku and its demands. for asa, it’s like letting a pet suffer instead of having it put to sleep because you’re too attached to it and don’t want to say goodbye. you feel guilty, but your need to have them by your side matters more to you, so you make a decision that ends up hurting both of you.

kitagawa faces the same dilemma. refusing to let go of something causes it to deteriorate, but letting go of it might be what ultimately destroys you.

asa wants kame to be happy, but at the same time, she can’t bring herself to let her go because she knows how much it would hurt her. so she takes over kame’s duties, hoping that if she doesn’t force her to work, they’ll be able to live together inside ooku, as if nothing had ever happened. unfortunately, that isn’t possible, because kame can’t adapt to her surroundings, while asa keeps climbing higher and higher in the hierarchy. asa is a tree that’s difficult to get rid of once it has taken root, while kame is a flower that needs sunlight to grow, but the tree’s canopy keeps it from reaching the sun.

this is also why the previously mentioned scene where kame is taken away is so important. asa can’t bring herself to make the decision to cut kame out of her life, so kame helps her do it, giving her the push she needs to move forward.

kame is the first person to leave ooku alive. the other girls either get murdered or take their own lives. but even when asa lets kame go, she doesn’t cut ties with her completely. we see them exchanging letters, and kame leaves her the comb as a keepsake, a symbol of good luck.

i think the doll regaining its colors and umbrella at the end symbolizes asa reclaiming her life—not in the literal sense, since she was never dead, but in the sense that she’s no longer incomplete. asa becomes someone whose life has finally acquired meaning without having to cling desperately to the things she once chose as her purpose and refused to let go of. which is the opposite of what led to mugitani and awashima’s deaths, where getting rid of the things that symbolized who they were ultimately became their downfall.

as for kame’s character development, she came to ooku hoping to become tenshi’s concubine. but after leaving the palace, she found her place in the world working with food, which ties back to how much she struggled with it in ooku, having never had any experience preparing food for someone else. by leaving ooku, she grew as a person, developed her skills, and found fulfillment in doing something she’d been unable to do within the palace. only after leaving the cage that was ooku was she finally able to spread her wings.

karakasa

to start with, i wanted to talk about what a brilliant idea it was to replace the maids’ faces with colors. it creates a sense of isolation and unease, because all their faces look the same. it feels as though we’re not dealing with living people, but with dolls that move whenever someone pulls their strings. and that’s essentially what ooku is about: stripping its inhabitants of their individuality and turning them into living mannequins whose only purpose is to follow orders. at the same time, even though we can’t see their faces, we’re still able to understand their emotions, which are amplified by the sheer number of people expressing them. red represents anger, green jealousy and disbelief, as well as sowing the seeds of doubt about ooku, while beige, resembling the color of human skin, appears when they briefly stop behaving like machines and engage in a short conversation. but the most brilliant use of this symbolism is black, which represents the perfectly obedient maid who has completely abandoned her individuality. my two favorite examples of this are awashima, who is the only one visibly affected by mugitani’s death and unable to keep up appearances, and suzu, when she submits to ooku’s rules and drinks the solution intended to terminate her pregnancy. at this point, she temporarily loses her individuality, becoming just another pawn on the chessboard that is ooku, moving wherever someone else commands her to. but we also see this with asa, as her own personality begins to blend into the role assigned to her.

what set the entire chain of events in motion (aside from kitagawa herself, of course) was throwing away kame’s comb, which i mentioned in the first part. it was an act filled with bitterness, because she had to get rid of something precious to her, yet she was doing it for the greater good: saving asa from a situation in which she was, in a way, being cornered. when kitagawa ordered the girl who irritated her to leave, she also believed she was doing the right thing, even if it came with negative emotions of her own.

the very essence of this mononoke is getting rid of the things that define us in an attempt to sever our ties with them, which is equivalent to killing the version of ourselves that existed until then. but the emptiness left behind by that part of us remains and refuses to heal, ultimately causing out downfall.

i see two metaphorical parallels here. the first is with flowers that wither when they’re deprived of water, where the water represents the part of ourselves we tried to get rid of by discarding something important to us. the second is the idea of draining the water from our bodies by crying out of longing for what we were forced to leave behind.

even though awashima and mugitani tried to bury those feelings deep inside themselves, they couldn’t forget them. the moment the ball or the kaleidoscope appeared, those powerful emotions came rushing back. it’s like throwing a bunch of boxes into a cupboard and forcing the door shut. you can pretend there’s nothing in there, but the moment you open it, all the boxes will come tumbling out.

they both hate kame because, unlike them, she refuses to give in to the pressure of ooku and manages to preserve her freedom of spirit. they see in her what they themselves can never be, while convincing themselves that she’s the one taking revenge on them. they project their own inner turmoil onto her, much like how mugitani berates kame for supposedly wanting nothing but to sleep with men instead of working, even though she herself blushes when complimented by a man who arrived with fuki’s brother. her room is also filled with kokeshi dolls symbolizing happiness, love, and friendship — things that have no place in ooku, where being an autonomous, independent-thinking individual is practically forbidden.

what ultimately kills them is their own guilt, because they can neither devote themselves to ooku completely, as the other maids do, nor live in harmony with themselves beyond its imposed rules, as kame does.

as for the symbolism of the triangle, each of its three points represents one of the things listed: misfortune, sin, and defilement. drawing the triangle reminds me of the sign of the cross made at the beginning and end of a prayer, with the people of ooku asking their water goddess for protection.

this is just a fun fact, but in case any of you were somehow wondering why the twins have everything mirrored except for the way their kimonos are wrapped, it’s because wearing the right side over the left is reserved for the dead.

the first time around, i thought fuki said she wasn’t thirsty to emphasize just how much tenshi wanted her and to set herself apart from the others. but after the third movie, i’ve come to the conclusion that those were her genuine feelings. it wasn’t about being defiant or thinking she was better than everyone else; she genuinely didn’t want to be chosen again. perhaps that’s exactly why he kept choosing her. tenshi also feels like he’s nothing more than a breeding stud, so he’s drawn to fuki, for whom sex is an obligation rather than a desire.

in case the ending was unclear to anyone, it turns out that no one has ever actually left ooku, despite what they were told. instead, those who were no longer fit to work were thrown into a well, where they died and were never retrieved, simply decomposing in the water among the objects they had once thrown in themselves. which means the water stinks because there are bodies floating in it, and the twins have been living in their presence all along.

hinezumi and hebigami

when both suzu and fuki speak to their fathers and the men suggest that they get abortions, an interesting detail is that the fathers are sitting beside a folding screen that, if i’m not mistaken, depicts anubis. in egyptian mythology, anubis is the god of death, just as these fathers symbolize the deaths of their daughters’ unborn children.

the snake appears at both the beginning and the end of the second movie, hinting at the mononoke still lurking within ooku.

when hinezumi’s children appear, the mice disappear from every visual element.

i think fuki greeting botan with a “good morning” at the end symbolizes the change she’s undergone, especially considering that at the beginning of the movie, we see her ignoring her former friend and coworker, who doesn’t hesitate to complain about it behind her back.

at the end, fuki lies in the same place where suzu was burned alive. it’s something suzu wanted but never got to experience. it’s also the same place where fuki vomited, letting everyone know that she was probably pregnant. a closed circle in which death has been replaced by the choice to live.

yukiko’s bed is inside a cage because she herself is like a caged bird. she lives in a beautiful, enormous palace but isn’t allowed to leave it. her opinions don’t matter, and she’s been reduced to little more than a decoration.

when kawa dies, she’s shown from three different angles, just as she’s later enclosed in a triangle. the same happens with tokiwai, but we see the walls instead of the body. overall, the number three keeps recurring throughout the story. the three mononoke represented by the three ropes, the three victims in the first movie, and three victims at once in the second movie (botan’s father, as well as matsu and her father), three children (fuki's daughter and two yukiko's children).

asa saying she's going to get the salt a reference to the first movie, where she was also handling the salt and first showed that she could be relied on, which is why botan smiled. this time, she doesn’t wait for orders but takes the initiative herself.

i think the reason the mononoke attacked the altar was rooted in the idea that everything wrong with ooku originated with the water goddess, specifically ame, who established the system in the first place. if you want to win at chess, you have to checkmate the king. pawns can be replaced, but the king can’t. their goal was to get revenge on ooku for everything they had suffered, and none of it would have happened if not for the rules established 150 years earlier.

when the official consort dies by suicide 150 years earlier, the monkeys symbolize the people of ooku. they watch her suffer and destroy herself, but neither react nor speak up to help her.

not sure if all people catched it, but tenshi and hokuto are distant cousins, since they share the same ancestor.

to me, the fact that the baby finally starts crying symbolizes that he’s finally been accepted. it’s not so much that he didn’t cry before, but rather that no one could hear him, because the child himself didn’t matter. what mattered was that he was the heir. his role was more important than who he was as a person. only when yukiko offers to become his mother, even though she didn’t give birth to him, does the child finally become a person in his own right, whose needs are acknowledged and heard.

anon*: So about the baby, when he finally cried I took that as he got his will to live back, as we were shown how he feels, and he says or rather thinks that he wasn't asked to be born, he doesn't want to be alive, but when Yukiko says that she can be his mom if rh wants to, basically saying that she will take care of him and love him, he cries because maybe he realized that living won't be so bad*

i think both of them might be true! i based mine on the fact that sometimes we hear a baby crying without knowing who’s making the sound, but when the shot focuses on the boy, he doesn’t move. what’s more, the key moment for me is when they finally reveal his face at the end. just like the maids who got rid of their black masks, he stops being defined by his role and becomes an individual in his own right. but you’re absolutely right that the boy says he never wanted to be born, and the fact that he starts crying means he’s accepted that he’s alive after all. after all, movies often use the trope of a baby crying immediately after birth to signal that it’s been born and is breathing properly. so we could interpret this as his “rebirth”, only this time it happens with the child’s consent, as he accepts yukiko as his mother.

anon*: Also there's this scene in the third movie, when we see the blond guy as a child being given some kind of pills by the doctor that died in the second movie, and after he takes the pills he's taken to the shrine where he sees the kid version of Ame? That really made me confused but when I read through some forums other people are also confused so I just left it alone but not gonna lie it still ircks me.*

maybe they gave him some kind of drug so that, when he saw ame’s mummified body, he would hallucinate that she was standing in front of him? ame actually appeared to him as a woman rather than in her chibi form, which is interesting considering that when ame appears after the third mononoke is defeated, hokuto and kusuriuri are the only ones who see her in her normal form. i don’t think hokuto saw the “real” ame as a child, because she was already hiding from everyone back then. i also noticed one interesting detail: only the yellow rope is tied. as we know, each rope represents one of the mononoke. the pink one represented karakasa and was tied to the orange-and-blue pillar, the blue one represented hinezumi and was tied to the black-and-yellow pillar, and the yellow one represented hebigami. we’re at a point in the story when neither suzu nor kitagawa have died yet, which is why their ropes aren’t tied. i literally cannot explain how much attention this movie pays to details we keep overlooking. so, going back to my theory, i think he was given some kind of substance to make him imagine that ame was standing in front of him. perhaps it was meant to keep him from losing faith in her? after all, that’s the role the mizorogi family was given: to maintain faith in the water goddess and ensure that she continued to be worshipped. if any member of the mizorogi family started questioning the purpose of what they were doing, ame could eventually be forgotten, and her goal was to be remembered.

at the end, we see that ooku has undergone a change. the maids are no longer wearing black masks, suggesting that the old view of them as mere forms expected to adapt to the way ooku operates has been abandoned, finally allowing them to become independent individuals with their own identities. on top of that, we see two characters who embody this new approach to ooku, as they directly reference kame and the idea that the palace is now open to enthusiastic, free-spirited individuals.

there’s also a reference to the second movie, where botan’s or matsu' father says that fuki can’t become the heir’s mother because people would exploit her family’s low social standing for their own benefit. in the third movie, we see a similar situation: fuki can gain status at court by becoming the heir’s wet nurse, but in return, her father has to fulfill a request from fujimaki. we’re never told what that request is, but it shows how everyone who gains power looks at relationships in terms of how they can benefit from them as much as possible.

there’s also the matter of ame, who is both a victim and a perpetrator. she wanted to become something essential to life, yet ended up becoming something that took lives instead. so rather than protecting the people of ooku, she had to hide from them. i also see her mummification as a reference to the first movie, where rejection caused people to wither away. ame abandoned her own personality to become the water goddess, only to end up a prisoner of her own wish. the water that was supposed to be essential to life instead became like a poison, slowly ravaging ooku. it was only after ame was exorcised that the water was purified and finally began to taste good again.

as for those little red creatures, i interpret them as representing everyone who died in ooku. each of them has several eyes, and eyes previously symbolized the emotions that were never allowed to leave ooku. now, all those whose anger wasn’t strong enough to turn them into mononoke can watch as peace finally comes to ooku.

anon*: The tiny red things, I took them as the feelings of the people, as we can see that every person has it even those outside of Ooku, so maybe they represent all the negative, bad feelings and thoughts that the Ooku always wanted to trap and hide within the people at the Ooku.*

as for the red things, i think we’re on the same page, because i didn’t mean specific people, but rather everything that had accumulated in ooku over the years. although, after giving it some more thought, i’ve come to the conclusion that they might also symbolize ame herself and the change that took place, that she finally found peace too. in every movie, each mononoke finds relief from its pain after being exorcised. kitagawa’s doll smiles and her umbrella is returned to her; fuki lies pregnant in the room where suzu had an abortion and took her own life, and one lamp lights up. so those little creatures with multiple eyes could represent ame, who wanted to be everywhere among the people of ooku and can finally do so without having to hide from them or bringing about their ruin. that’s also why she accompanies kame, who no longer lives in ooku but was still a part of it. especially considering that ame’s form is hyakume, a hundred-eyed demon. the red things are the fulfillment of her desires, which she’d been waiting 150 years for.

^{if anyone made it to the end, congratulations, because this turned into six pages in word. but seriously, these movies are masterpieces, and i’m sure every rewatch would reveal even more symbolism that i missed. dare i say they’re the best anime movies ever made.}

• From https://x.com/NetflixAnime/status/2108512803795489188

from the recent movie- Mononoke: The Curse of the Serpent

Hello!! I commented on another post that was talking about making a modern esqe coord for kusuriuri & I had actually made this cardigan back in April with that very idea in mind!!

It is the first draft & was my re entry into knitting after 10+years so lots of mistakes were made. I updated some of my notes & added extra links of what I would do if I were to make it again in addition to the tutorials I followed.

My gauge swatch was 6st x 6st = 1inch square using loops & threads impeccible with 3.5mm needles for body pieces and 5mm needles for ribbing

The basic structure follows the same construction as a yukata/kimono: I included the kimono tutorial I used in the links list.

Total pieces knitted before sewing together would be 22 with the panel edges or 13 if you do short rows continued on from circle pieces or 8 if you include the "collar" into the front panels:

2 cuffs

2 front panels (mirrored if included color change for "collar")

2 collar pieces ( if not including the "collar" color change)

2 sleeve circles

1 back circle

1 back ribbing panel

12 sloped edges (6x mirrored)

The sleeves & back panel:

You can skip the 8 sloped edge panels if you want if you want to do short rows instead!! Just follow "Pi are square"

I really struggled with following Pi are square & doing short rows in the round & wish I had found the sloped bind off method beforehand.

The front panels & collar:

In mine I actually included the "collar" in the front panel piece by doing color changes but for structures sake it would have been better to follow proper kimono pattern pieces by having it be separate ( tho for the ribbing to work out I think the collar would need to be 2 pieces so that is why I have it that way in the guide: just make sure your neck measure is halved for the 2 pieces ( if you measure 4in for neck, add 2 inch on each pieces length)

The measurements:

The front panels & collar (if separate) determin your back panel & back ribbing size -

If your front panel has a 2in ribbing height & is 18 inch total height then the back panel should be 16in height & back ribbing 2in ( 16 +2=18).

If the collar is 2in wide and the front panels are 8in wide each that is ( 7+7+4=18) so back panel & ribbing piece should be 18in wide.

The collar length should be equal to your total front/back panel plus your neck measurement: mine would be 18 + 4 = 22 long so halved for 2 collar pieces is 11in ( 2in ribbing, 9in knit)

The sleeves final measured will be based off your own measurements & preferences: follow the kimono pattern tutorial for help there! Mine ended up being 32in long x 18in wide.

The cuffs can be whatever size & design you want: mine is 10in round, 3.5in tall

The circles size will be up to your own sizing & preferences but mine ended up being 17in for the back circle & 15.5in for the sleeves circles.

If doing sloped bind off panels you will need to follow his equation to determin the final size square! When doing my short rows I ended up with 4in to each corner and 2 inches for the sides.

For the back panel circle design I used duplicate stitch to do the spokes - see pattern note pic for visual! I used my measuring tape and stitch markers to figure out placement!

Links:

Knit a pi circle: https://youtu.be/ehe-umnZP7I?is=dZAeKeF5KTnfMiWG

Invisible increase:https://youtu.be/6fFfT-SBDzM?is=VyJTCZhAAVrTmy1a

Duplicate stitch:https://youtu.be/js6xxPcq8pA?is=mAseQiH9vDzJGzCW

Color changes/intarsia:https://youtu.be/dmFU59ELIlg?is=1mh5lg8SG6Z18ZLr

Knit a perfect slope:https://youtu.be/H5a8jUGK7Nw?is=PKsB4IQHOwhbE1pc

Short rows:https://youtu.be/oZrXdeQdZ48?is=FkFLiNlSyiAGh1Eh

Sewing knit pieces together:https://youtu.be/ObuZwHlmDCI?is=XMxtsglOxilXllTi

Kimono pattern measurements:https://youtu.be/rW-Cz9HbkqA?is=k10kTwtmz2yba_

Hello! I sell art prints (and other stuff) in artist alleys at conventions. My Kusuriuri prints don’t sell too much because the anime is not very well known, but I LOVE when someone recognises him and I can geek out for a few minutes talking about my favourite anime 🥰

I usually draw by pencil and then colour on photoshop. I’m TheGreenCanvasArt, please don’t repost my art without credit 😊

Hello everyone, I’m seeking out reddit for help. This is one of my favorite soundtracks from Mononoke and I just wanted to know if anyone has a translation for the lyrics in English?

I’d really want to know what this artists is singing about. I can’t find translations anywhere.

Got an idea to cosplay Kusuriuri but in more modern-day streetwear clothing. Like leggings and a t shirt I’ll paint a design on (a Mononoke or their robe pattern on the front and the eye decal from the box on the back).

Don’t know what shoes to go with, I have blue berkinstock sandals and white vans/sneakers I could use. Leaning more towards the sandals.

I still want to include the bandana but don’t know if it will match the outfit.

I'm learning Japanese, but this is in such a stylized font I have no clue how I'd go about translating it. Is there any translation available?
side note: Kame and Asa were so adorable and probably my favorite part of the trilogy 💖

The three witnesses of the murder of Setsuko Ichikawa saw (Masao Kobayashi, the young boy), heard (Haru Yamaguchi, the widow) and spoke (Chiyo Nomoto, the waitress) about it but preferred to look away.

In this arc, each one these three were itching to the part involving their testimony: Masao was scratching his eyes, Haru her ears and Chiyo her mouth.

It is a direct reference to the Japanese proverb of the three monkey: See no evil, hear no evil, speak no evil. And the fact that their punishment fits the proverb is quite poetical and very well executed.

The entire Mononoke universe was quite hard for me to understand, given how indirect the Form, Truth and Reason were revealed. I did this list so I hope anyone could correct me to my understanding of the entire universe.

I’m still confused about the Toudaiji arc. From what I understand, there was a competition among the men who wanted to marry Ruri. They came to the house and committed the murders, but they were actually killed by Toudaiji afterward without realizing that they were already dead. So when the competition began, they were essentially dead and unaware of it.

What I don’t understand is why the Medicine Seller became possessed.

Was Toudaiji’s form the Mononoke? And was the Truth that these men were obsessed with Toudaiji, and their Regret? Can someone explain the arc and how these elements connect?

And the blue dog was nue too? As he appears in 3 forms.

Prob gonna make kon and Ken fanart too but this took me an eternety bc of the kimono lol

I saw this in a post but I don’t remember him. Who is he? What movie is he in? It’s been a while since I saw the other Mononoke movies and series. Thanks! 😅

Yeahh, I basically started the day off by watching episodes 9-11 of Ayakashi: Samurai Horror Tales, then moved on to the 2007 series and then watched all the movies. Is there some important lore points I should know of?

Just out here saying that in my country not a lot of people know about the ayakashi samurai's tale and mononoke tv series so I am really glad to have seen this reddit and see there are alive and well fans out there in the world. I admit I have just watched it last 2020 and got hooked, It was not in my radar in the early 2000s so I was so sad to have discovered the Ayakashi, samurai's tale during the start of the lockdown got hooked with the two episodes with the Bakeneko. Then discovered the mononoke series from there. I was always crying because of the Closing song and especially with how the episodes end like with the baby episode, the incense, and the wife episodes. It was also my lullaby to sleep whenever I cannot sleep I just put on the mononoke episodes then will fall right to sleep.

The stillness and the silence of the 2020 pandemic gave the mononoke series another appeal for me. I felt like I bonded with this series and was so sad to discover that this gem was from years ago when I was in college. I wish I explored more animes like this before.

Again, I do not have anyone from my area to talk about this and finding you lot is a great boost for existence. Hope you all continue to appreciate gems like this in the future.

P,S. Soo happy to see the OG Kusuryuri appear on the film. Gasped and giggled in my room like a maniac when the sword first appeared from the portal LOL