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While the two films were marketed toward children and their parents, the starkly tragic nature of Grave of the Fireflies turned away many audiences. However, Totoro merchandise, particularly the stuffed animals of Totoro and Catbus, sold extremely well after the film and made overall profits for the company to the extent that it stabilized subsequent productions of Studio Ghibli. Grave of the Fireflies is the only theatrical Studio Ghibli feature film prior to From Up on Poppy Hill to which Disney never had North American distribution rights, since it was not produced by Ghibli for parent company Tokuma Shoten but for Shinchosha, the publisher of the original short story (although Disney has the Japanese home video distribution rights themselves, thus replacing the film's original Japanese home video distributor, Bandai Visual). [34] It was one of the last Studio Ghibli films to get an English-language premiere by GKIDS. [35] Home media[edit] Grave of the Fireflies was released in Japan on VHS by Buena Vista Home Entertainment under the Ghibli ga Ippai Collection on 7 August 1998. On 29 July 2005, a DVD release was distributed through Warner Home Video. Walt Disney Studios Japan released the complete collector's edition DVD on 6 August 2008. WDSJ released the film on Blu-ray twice on 18 July 2012: one as a single release, and one in a two-film set with My Neighbor Totoro (even though Disney has never owned the North American rights, only the Japanese rights). It was released on VHS in North America by Central Park Media in a subtitled form on 2 June 1993. [36] They later released the film with an English dub on VHS on 1 September 1998 (the day Disney released Kiki's Delivery Service) and an all-Regions DVD (which also included the original Japanese with English subtitles) on 7 October 1998. On 8 October 2002, it was later released on a two-disc DVD set, which once again included both the English dub and the original Japanese with English subtitles as well as the film's storyboards with the second disc containing a retrospective on the author of the original book, an interview with the director, and an interview with critic Roger Ebert, who felt the film was one of the greatest of all time.

With Ippo still not understanding the situation, Kamogawa directed Ippo's attention to Sendō. After Ippo thanked Sendō, Sendō wished to meet him in the ring again for a third rematch. Ippo received his JBC featherweight belt and raised his arms in joy as he becomes the champion. The camera crew then asked the champion for a pose. When Ippo posed, Hachi appeared in the ring and posed with him as the picture gets taken. Ippo sleeping with his new champion belt. In Ippo's changing room, before Ippo left with his gym mates to take him home, Kamogawa told him "very well done. " When Ippo returned home, he immediately went to sleep with the champion belt with him. Two days later, Ippo woke up, and became surprised to see his champion belt next to him and quickly realised that he won. After Umezawa showed him magazines about Ippo's win, he was informed to call Aoki as his gym mates were forming a celebration party. As Ippo went to the phone, Hiroko congratulated him.

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I mean, holy fucking seriously?!?! There’s no way this is supposed to be from God Yuichi’s perspective, right? Was this a description of his best friend, or one-third of the nation of Japan?! Not only are these depictions inane, but they’re simply unnecessary, because there are absolutely ZERO relevant personality traits you need to know about any character to actually watch the show. These people are not friends nor are they people; they’re stock character templates whose job is to stand around passively while getting used or manipulated by God Yuichi without the slightest hint of having any agency of their own, completely sapping the conflicts of any excitement or worthwhile drama, all the while only committing to expressing themselves in the most generic mannerisms that their archetypes allow. I suppose the point is to make God Yuichi look cool so the viewers can use the series as some sort of sadistic self-insert power fantasy to get off on the idea of themselves being this much of an edgelord (please, get real, no one is as godly as God Yuichi), but this has the same effect as seeing LeBron James dunking on blind, deaf, disabled, amputee toddlers. Ultimately, these conflicts are meaningless because everyone just moves right onto the next equally tedious and overblown stage of the Squid Game while effectively nothing has changed or evolved in any real or emotional terms, and this is all true even despite the biggest puff of smoke the series insists on blowing up its own ass: the plot twists. The so-called plot twists in this show are completely empty and have no real bearing on the story in the same way that the conflict has no real bearing on the plot, and some of them—many of them, in fact—are invalidated within minutes. They exist purely for characters to have an excuse to make an edgy face.
Things will be moving toward the single OBVIOUS direction, someone will randomly pop in with some utter buffoon shit which, in the mind of any reasonable fucking person on the planet, would only make themselves seem more suspicious than the person they’re accusing, but everyone will just be like, “OMG that’s so smart! I didn’t even think of it like that! So let’s all adopt that line of thinking now and go the complete opposite direction so the contrivance that is this stupid fucking game can keep being turned into a shitty anime!” It’s SO all over the place with who is and isn’t playing 4D chess! In one set-up, one character will be a smirking, Machiavellian edgelord engineering the psychology of everyone around them, and in the next, it’s someone completely different. Whoever needs to be the devil on the shoulder of whichever character can successfully become so instantly, and if the person they need to manipulate actually had their wits about them in previous scenes, their wits will very quickly be not-so-about them, and they’ll prance blindly into whatever trap they need to prance into to keep the contrivance train rolling. The resulting mess is too frustrating for words, and while the characters are all horribly written, I guess the show succeeded in making you emotionally engage with them anyway, because their braindead decision-making will—I promise—make you want to tear your Goddamn eyes out. Whether a character is saying something totally daft and unreasonable while everyone else is treating them like the prophet, or for no reason refusing to say the ONE expectable and reasonable thing any real human being would say in their situation while everyone else is acting like their behavior is a legitimate smoking gun, the level of contrivance required for conflict makes every character feel downright detached and confusing whenever you actually try putting yourself in their shoes.
But forget about our cast of miserable non-characters for just a minute and let it sink in how stupid this is purely from a plot perspective. ^ "Eyeshield 21, Vol. 1". Viz Media. Archived from the original on September 15, 2010. ^ "Eyeshield 21, Volume 37". Viz Media. Archived from the original on June 9, 2011. Retrieved October 10, 2018. ^ Loo, Egan (December 17, 2008). "Viz to Distribute Anime through Warner, iTunes Canada". Anime News Network.