kill the hero 122
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ISBN 1-933330-10-4. Fontana, Andrea; Tarò,
Davide (2007). Anime. Storia dell'animazione giapponese 1984–2007 (in Italian). Il Foglio Letterario. ISBN 978-88-7606-160-8. Fontana, Davide; Donati, R. (2013). La bomba e l'onda. Storia dell'animazione giapponese da Hiroshima a Fukushima (in Italian).
국내 개봉 日영화 흥행 1위 찍은 이 영화. JoongAng Ilbo (in Korean). Archived
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April 15, 2023. Retrieved April 15, 2023. ^ Pineda, Rafael Antonio (April 15, 2023). "Suzume Becomes Highest-Selling Anime Film of All Time in China, Korea".
For a film that enlightens more on a second viewing, loses what made it so special in the first place.
Looking at the film with a critical eye will surely find themes of morality at play but will also find them presented in ways visibly forced and heavy-handed. In a world where two children are just trying to survive in a country torn by war, there are so many instances shown in the film that could have saved both from their terrible ends. But the story will always take the worst option every single time to reach its miserable end, to the point where it’s no longer natural watching this play out. The film continuously tries to milk tears from the audience with a tragedy that constantly makes the worst decisions for its characters. It’s akin to piling tragic event on top of tragic event until we’re left with a mountain of depression, while my reaction moves from genuine sympathy to frustration and disappointment. We as viewers look at this film from the same perspective as Seita’s ghost, and while this does emphasize the meaning behind these moments, it essentially removes part of the deep emotion gained from the experience, causing the repetitive nature of these events to
feel counterproductive. We see the storyline in full, from establishing its grieving tone to forcing Seita and Setsuko into the film’s personal martyrs. Their deaths, for our pity.
Regardless of how closely the narrative revolves around these two characters, neither of the pair hold much intrigue outside of being victims. Child characters don’t need a tale of heroism for audiences to get invested in them, but the only
attributes Seita and Setsuko have to garner one’s investment is that they’re children who exist as casualties.
