Talk about the monster in the story

Eldora 2022-01-11 08:03:05

In fact, in addition to the theme of protecting nature, what attracted me the most in this work was the description of the monsters in it. If you know who is Shigeru Mizuki and who is Shiyan Toriyama, you will surely see more surprises in this work.
First of all, this story is based on the traditional monster story "eight hundred and eight raccoons" from the Edo period in Japan. At first it was about a story about a battle between a civet cat and a fox in Shikoku. Moreover, Shikoku is also the distribution area of ​​civet cats among the ancient Japanese monsters, so there is a section in the story that goes to Shikoku to find elders.
The second part of the transformation began to become something similar to an iron pot, based on the story of "Wen Ke Teapot". It tells the story of a raccoon who turned into a teapot and tried to play tricks on human beings, but was scalded and ran away.
The origin of the testicles of a civet cat is based on the story of the belly drum of a raccoon. Ancient Japanese believed that the larger the testicles of a civet cat, the more it can attract wealth.
And the most exciting part of the story, "The Great Battle of Youkai" is based on the "Hyakki Yayuki Scroll" by Toriyama Ishiyan, the master painting master of the Edo period. If you have read the book "Illustrated Hyakki Yakou", you can find all the monsters in the story. Each one is Japan's most traditional image of monsters, not fabricated out of thin air.
Furthermore, this animation was supervised by Shigeru Mizuki, the president of the Japan Yokai Association and the author of the famous "Onitarou", so many monsters can also be found in the animation of "Onitarou" (because this animation itself is a narrative of Japan The story of traditional monsters), such as the "big heads" that the civet cats have turned into blocking the way everywhere. Isn't that the same thing as the "youkai Yokai Yokocho" in "Cough and Cough". There is also that the facial features of the old raccoon monk are completely a copy of the old Mr. Mizuki Shigeru. And in a section of the story, when humans were talking about whether there are monsters on TV, someone also said: "Mr. Mizuki, what do you think of this question." Then the person who talked was Mr. Shigeru Mizuki.
In fact, there are many details, such as "fox marries", "skeleton demon", "Seven Fortune Treasure Ship", and "Eight Hundred Eight Gods". There are too many details, so I won't say more.

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Extended Reading
  • Blanche 2022-03-17 09:01:06

    Tanukis speak Japanese, drink sake, sing folk songs and dance folk dances. Can they become adults in traditional Japanese costumes? This is even more powerful than the X-Men Blue Witch! But they can't deal with humans? The greater the ability, the faster the extinction? Obviously, this kind of story setting is unexplainable from the perspective of the biological evolution of interspecies competition and survival of the fittest. The "variety" technique is more like a practical skill that serves the fun of the animation and imagines the picture and makes the audience hooked, rather than a practical skill to play with humans within the logic of the plot. So I once again confirmed my old view: the relationship between the story world of highly stylized myths/costumes/animations and human society can only be satirized and cannot be connected. The so-called sarcasm is that in the closed circle of the civet cats, some are combative, some are peaceful, some will change, some will not, some are excluded, some are embraced... and then this kind of character is related to Interaction can project a certain era crisis in human society. If this is not the case, but the narrative greed and vain attempt to be directly related to humans, then many of the original set selling points will face the risk of losing control and disagreement.

  • Frank 2022-03-28 09:01:08

    I have never seen such a silly X's narration, and the style of painting is also very unpleasant

Pom Poko quotes

  • Seizaemon: All pray!

    [the tanuki put their hands together and bow]

    Osho: I'd like to say a prayer for the victims of this operation.

    [At this point, some of the tanuki start to snigger]

    Osho: We wish that we could save our forest without harming any humans. That was never our intention, but our forest is near and dear to us, and we...

    [the tanuki all burst into raucous laughter and head for the exit]

  • TamasaburôBuntaTanuki: [singing] Let's turn into every sacred icon we can think of. Some are this and some are that...

    [They do backflips into the air and turn into various items; stone Buddhas, lucky cats, painted eggs, kitsune sculptures, gold carp sculptures, monkey sculptures and Tanuki sculptures. Ponkichi rushes to join in and tries copying them. He does various poses but is unable to transform]

    Shokichi: [narrating] Back then, all I thought about was transforming. I never dreamed that my friend Ponkichi might just want to be a normal raccoon.