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By contrast, it was a mistake to render the monstrous, undeniably phallic Worms via computer animation, as they look more lame than menacing. Still, the threat is real, anthropomorphizing any number of actual natural disasters that have hammered Japan in recent years. (The country is situated at a kind of seismic epicenter, resulting in roughly 1,500 earthquakes annually!) What’s so smart about Shinkai’s script is the way it integrates the anxiety locals feel about such tremors with an appreciation of the country’s disappearing heritage, as represented in the sites where Suzume finds the portals: a shuttered middle school, a dilapidated amusement park and so on. To find the strength to close each door, Suzume must imagine the people who existed there before. And while she’s not afraid to die, she must rediscover the will to live. Shinkai brings a contemporary, youth-friendly feel to his films by collaborating with the rock band Radwimps, joined here by composer Kazuma Jinnouchi’s atmospheric instrumentations.

Nami comforts Jimbei after he tells the history of discrimination rooted into Fish-Man Island and expresses his guilt over Arlong. At Jimbei's request, Nami steals a letter in Hody's possession, and engages with the New Fish-Man Pirates. When the crew travels to Punk Hazard, Nami, Sanji, Chopper, and the crew's shipwright Franky are abducted by Caesar Clown, and they decide to rescue the children being used in Caesar's experiments. Upon escaping the laboratory, they encounter the World Government Warlord Trafalgar Law, whose ability swaps Nami's mind into Franky's body. When Luffy and Law form an alliance, Law swaps Nami's mind into Sanji's body (as Nami's body is not present) when attempting to return the crew members to normal. While rescuing the children from Caesar, Nami regroups with the crew and is returned to her own body.

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