#the Evans family is so interesting to have perfectly themed names for their children
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Lily Evans never quite feels like a lily.
[Petunia&Lily growing up - Microfic/fic excerpt - 362 words]
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Lily Evans never quite feels like a lily.
Lilies are the flowers that guests sometimes bring to her mother’s dinner parties, stiff stems already cut and pre-arranged in the crinkly wrapper. Her mother slots them into a vase in the middle of their dining table and they linger for a week or two, their white petals never getting to unfurl in the sun or to sway in the wind.
Lily broke that vase once, while trying to make Tuney play the new version of catch that the Blythe boys had taught her. The lilies spilled all over the dining table, the water that soaked into the tablecloth smelling a little like a creek in high summer. Tuney scolded her right away for being careless. Later, their mother got back from the shops and scolded Tuney for the mess.
By the end of the week there is a new vase on the dining table, and by the end of the month it is again filled with lilies, pale and elegant and still like a wax sculpture.
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Petunia Evans never quite feels like a petunia.
Petunias are the flowers that tumble down the windowsills of half the neighbourhood, their streaked and striped and spotted trumpets a confetti of every colour available in the newest gardening catalogues. In spring, she helps her mother carry trays of them from the market, little bundles of leaves that seem to know nothing of the tireless display that would soon be expected of them.
It was a thrill guessing which of the plug plants would produce the most outrageous colours, until Mrs Blythe mentioned that she finds petunias quite naff. Petunia wasn’t sure then what that meant, but next spring her mother comes back from the market with fuchsias and begonias instead. Petunia had never wanted to vie for the windowsill spot but now she retreats further, to the back bench in school and to the quiet obedience at the dinner table.
She tries to warn Lily, Lily who is still loud and bright and who plays with boys in the creek, but Lily never listens to her. And, as years pass by, Mrs Blythe never mentions that lilies are naff at all.
#this is the opening of that Lily & Petunia shortfic I want to finish someday#the Evans family is so interesting to have perfectly themed names for their children#not unlike a certain other hp family known for messed up sibling relationships#just saying#also I have many Thoughts about the role class dynamics played a role in Petunia's life and worldview#esp as the Dursleys are written like a somewhat resentful Fuck You to a particular type of a British midle class family#harry potter#marauders#marauders era#lily evans#lily potter#lily evans potter#petunia evans#petunia dursley#marauders microfic#harry potter microfic#marauders hc#marauders headcanon#nogenrealldrama fics
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january reading
why does january always feel like it’s 3 months long. anyway here’s what i read in january, feat. poison experts with ocd, ants in your brain, old bolsheviks getting purged, and mountweazels.
city of lies, sam hawke (poison wars #1)
this is a perfectly nice fantasy novel about jovan, who serves as essentially a secret guard against poisoning for his city state’s heir and is forced to step up when his uncle (also a secret poison guard) and the ruler are both killed by an unknown poison AND also the city is suddenly under a very creepy siege (are these events related? who knows!) this is all very fine & entertaining & there are some fun ideas, but also... the main character has ocd and SAME HAT SAME HAT. also like the idea of having a very important, secret and potentially fatal job that requires you to painstakingly test everything the ruler/heir is consuming WHILE HAVING OCD is like... such a deliciously sadistic concept. amazing. 3/5
my heart hemmed in, marie ndiaye (translated from french by jordan stump)
a strange horror-ish tale in which two married teachers, bastions of upper-middle-class respectability and taste, suddenly find themselves utterly despised by everyone around them, escalating until the husband is seriously injured. through several very unexpected twists, it becomes clear that the couple’s own contempt for anyone not fitting into their world and especially nadia’s hostility and shame about her (implied to be northern african) ancestry is the reason for their pariah status. disturbing, surprising, FUCKED UP IF TRUE (looking back, i no longer really know what i mean by that). 4/5
xenogenesis trilogy (dawn/adulthood rites/imago), octavia e. butler
octavia butler is incapable of writing anything uninteresting and while i don’t always completely vibe with her stuff, it’s always fascinating & thought-provoking. this series combines some of her favourite topics (genetic manipulation, alien/human reproduction, what is humanity) into a tale of an alien species, the oankali, saving some human survivors from the apocalypse and beginning a gene-trading project with them, integrating them into their reproductive system and creating mixed/’construct’ generations with traits from both species. and like, to me, this was uncomfortably into the biology = destiny thing & didn’t really question the oankali assertion that humans were genetically doomed to hierarchical behaviour & aggression (& also weirdly straight for a book about an alien species with 3 genders that engages in 5-partner-reproduction with humans), so that angle fell flat for me for the most part, altho i suppose i do agree that embracing change, even change that comes at a cost, is better than clinging to an unsustainable (& potentially destructive) purity. where i think the series is most interesting is in its exploration of consent and in how far consent is possible in extremely one-sided power dynamics (curiously, while the oankali condemn and seem to lack the human drive for hierarchy, they find it very easy to abuse their position of power & violate boundaries & never question the morality of this. in this, the first book, focusing on a human survivor first encountering the oankali and learning of their project, is the most interesting, as lilith as a human most explicitly struggles with her position - would her consent be meaningful? can she even consent when there is a kind of biochemical dependence between humans and their alien mates? the other two books, told from the perspectives of lilith’s constructed/mixed children, continue discussing themes of consent, autonomy and power dynamics, but i found them less interesting the further they moved from human perspectives. on the whole: 2.5/5
love & other thought experiments, sophie ward
man, we love a pierre menard reference. anyway. this is a novel in stories, each based (loosely) on a thought experiment, about (loosely) a lesbian couple and their son arthur, illness and grief, parenthood, love, consciousness and perception, alternative universes, and having an ant in your brain. it is thoroughly delightful & clever, but goes for warmth and humanity (or ant-ity) over intellectual games (surprising given that it is all about thought experiments - but while they are a nice structuring device i don’t think they add all that much). i haven’t entirely worked out my feelings about the ending and it’s hard to discuss anyway given the twists and turns this takes, but it's a whole lot of fun. 4/5
a general theory of oblivion, josé eduardo agualusa (tr. from portuguese by daniel hahn)
interesting little novel(la) set in angola during and after the struggle for independence, in which a portuguese woman, ludo, with extreme agoraphobia walls herself into her apartment to avoid the violence and chaos (but also just... bc she has agoraphobia) with a involving a bunch of much more active characters and how they are connected to her to various degrees. i didn’t like the sideplot quite as much as ludo’s isolation in her walled-in flat with her dog, catching pigeons on the balcony and writing on the walls. 3/5
cassandra at the wedding, dorothy baker
phd student cassandra returns home attend (sabotage) her twin sister judith’s wedding to a young doctor whose name she refuses to remember, believing that her sister secretly wants out. cass is a mess, and as a shift to judith’s perspective reveals, definitely wrong about what judith wants and maybe a little delusional, but also a ridiculously compelling narrator, the brilliant but troubled contrast to judith’s safer conventionality. on the whole, cassandra’s narrative voice is the strongest feature of a book i otherwise found a bit slow & a bit heavy on the quirky family. fav line is when cass, post-character-development, plans to “take a quick look at [her] dumb thesis and see if it might lead to something less smooth and more revolting, or at least satisfying more than the requirements of the University”. 3/5
the office of historical corrections, danielle evans
a very solid collection of realist short stories (+ the titular novella), mainly dealing with racism, (black) womanhood, relationships between women, and anticolonial/antiracist historiography. while i thought all the stories were well-done and none stood out as weak or an unnecessary inclusion, there also weren’t any that really stood out to me. 3/5
sonnenfinsternis, arthur koestler (english title: darkness at noon) (audio)
you know what’s cool about this book? when i added it to my goodreads tbr in 2012, i would have had to read it in translation as the german original was lost during koestler’s escape from the nazis, but since then, the original has been rediscovered and republished. yet another proof that leaving books on your tbr for ages is a good thing actually. anyway. this is a story about the stalinist purges, told thru old bolshevik rubashov, who, after serving the Party loyally for years & doing his fair share of selling people out for the Party, is arrested for ~oppositional activities. in jail and during his interrogations, rubashov reflects on the course the Party has taken and his own part (and guilt) in that, and the way totalitarianism has eaten up and poisoned even the most commendable ideals the Party once held (and still holds?), the course of history and at what point the end no longer justifies the means. it’s brilliant, rubashov is brilliant and despicable, i’m very happy it was rediscovered. 5/5
heads of the colored people, nafissa thompson-spires
another really solid short story collection, also focused on the experiences of black people in america (particularly the black upper-middle class), black womanhood and black relationships, altho with a somewhat more satirical tone than danielle evans’s collection. standouts for me were the story in letters between the mothers of the only black girls at a private school, a story about a family of fruitarians, and a story about a girl who fetishises her disabled boyfriend(s). 3.5/5
pedro páramo, juan rulfo (gernan transl. by dagmar ploetz)
mexican classic about a rich and abusive landowner (the titular pedro paramo) and the ghost town he leaves behind - quite literally, as, when his son tries to find his father, the town is full of people, quite ready to talk shit about pedro, but they are all dead. it’s an interesting setting with occasionally vivid writing, but the skips in time and character were kind of confusing and i lost my place a lot. i’d be interested in reading rulfo’s other major work, el llano en llamas. 2.5/5
verse für zeitgenossen, mascha kaléko
short collection of the poems kaléko, a jewish german poet, wrote while in exile in the united states in the 30-40s, as well as some poems written after the end of ww2. kaléko’s voice is witty, but at turns also melancholy or satirical. as expected i preferred the pieces that directly addressed the experience of exile (”sozusagen ein mailied” is one of my favourite exillyrik pieces). 3/5
the harpy, megan hunter
yeah this was boooooooring. the cover is really cool & the premise sounded intriguing (women gets cheated on, makes deal with husband that she is allowed to hurt him three times in revenge, women is also obsessed with harpies: female revenge & female monsters is my jam) but it’s literally so dull & trying so hard to be deep. 1.5/5
the liar’s dictionary, eley williams
this is such a delightful book, from the design (those marbled endpapers? yes) to the preface (all about what a dictionary is/could be), to the chapter headings (A-Z words, mostly relating to lies, dishonesty, etc in some way or another, containing at least one fictitious entry), to the dual plots (intern at new edition of a dictionary in contemporary england checking the incomplete old dictionary for mountweazels vs 1899 london with the guy putting the mountweazels in), to williams’s clear joy about words and playing with them. there were so many lines that made me think about how to translate them, which is always a fun exercise. 3.5/5
catherine the great & the small, olja knežević (tr. from montenegrin by ellen elias-bursać, paula gordon)
coming-of-age-ish novel about katarina from montenegro, who grows up in titograd/podgorica and belgrad in the 70s/80s, eventually moving to london as an adult. to be honest while there are some interesting aspects in how this portrays yugoslavia and conflicts between the different parts of yugoslavia, i mostly found this a pretty sloggy slog of misery without much to emotionally connect to, which is sad bc i was p excited for it :(. 2/5
the decameron project: 29 new stories from the pandemic, anthology
a collection of short stories written during covid lockdown (and mostly about covid/lockdown in some way). they got a bunch of cool authors, including margaret atwood, edwidge danticat, rachel kushner ... it’s an interesting project and the stories are mostly pretty good, but there wasn’t one that really stood out to me as amazing. i also kinda wish more of the stories had diverged more from covid/lockdown thematically bc it got a lil repetitive tbh. 2/5
#the books i read#long post#sonnenfinsternis is so good the audiobook nearly made me cry in the supermarket
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“Knives Out” Review: I Wanna Unravel Chris Evans’ Sweater With My Teeth.
I love a good mystery, but I’m also the kind of person who can’t just enjoy a good whodunit without feeling the need to guess every answer or needing to predict every twist. Knives Out was definitely full of twists, deceit, and murder, but there’s so much to look at and enjoy in this movie that you’re too invested to be constantly questioning and double guessing everything.
Firstly there is the stellar star-studded cast, all of whom chew up scenery in their own way with very distinct characters that play well off of each other. Have you ever played Clue? All the characters are so distinctly different, almost to the point of caricature, that’s what Knives Out is like, which is obviously perfect for the whodunit format. There’s powerful matriarch Linda, oldest child to the recently deceased Harlan, played by Jamie Lee Curtis, and Michael Shannon plays Walt, the youngest of Harlan’s children and the most off-putting of them all, with his neo-Nazi son. Tony Collette is hilarious as the vapid, hippy Joni, Harlan’s daughter in law who continues to mooch off of the family long after her husband's death.
Chris Evans is Ransom, Harlan’s trust fund grandson and Linda’s son, who is so shit-eatingly smug you would forget Chris Evans ever played a superhero. And those are just half of a family full of deplorables that make the movie so entertaining. Rounding out the cast is Daniel Craig as the eccentric detective Blanc, and the stunning Ana de Armas as Harlan’s nurse, Marta.
Evans, Craig, and Armas are the standouts of the movie in a large cast of already great characters. At first, Daniel Craig’s VERY thick southern accent seems laughable, but as the movie progresses it becomes a soothing melody that carefully lays out the intricacies of the plot for the viewers. He’s equally intelligent and bizarre, going on wordy tangents about donuts and such. I was on the edge of my seat every time he would lay out new clues or threads.
Chris Evans’ Ransom is equally as shitty as he is stunning, which is saying a LOT. For the whole movie, he looks like a professional sweater model. He’s almost absent for the first hour of the film, seen only strutting around in flashbacks, before becoming a key player in the story. You never trust a single word that drips from his sexy lips, even when he’s feigning kindness and sincerity. It’s a joy to watch him snicker, smirk, and mock the other characters.
Ana de Armas is the movie's moral center, Marta, stunningly vulnerable but fiercely intelligent. It’s through her we learn about the families dirty laundry, and her friendship with the deceased Harlan is at the core of the movie, and she’s pulled into the action by Blanc, who sees her as the perfect Watson (she can’t lie without puking.) You desperately want this girl, daughter of an immigrant who supports her family, to best this big, entitled white family. She may not be the biggest name in the cast, but by the end, Ana de Armas leaves the biggest impression on you.
Of course, a murder mystery can’t rely on character alone, it has to have an interesting plot, a puzzle to be solved. Knives out does this well, albeit in a roundabout way, as Blanc tries to solve the murder of Harlan Thromby, who died seemingly of suicide, but was hired to prove otherwise. Everyone is a suspect, as Harlan spent his last night basically telling his family all the different ways they have disappointed him. There are plot pieces and bits of foreshadowing that all come together well when the truth is revealed, which is important. There’s nothing more annoying than a mystery with plot holes, or a clue that comes out of nowhere. Knives Out takes full advantage of every piece of evidence and story, and in that way it’s a very successful murder mystery. Any questions you might have while watching get answered eventually.
The whole film takes place in a GORGEOUS gothic estate on a lake, very on brand for a murder movie but still very visually stimulating and interesting. The music, twangy string music that perfectly matches the tension of the movie and makes the hair stand on the back of your neck, and the cinematography is both whimsical and creepy. Harlan’s big wall of knives that all point towards a chair he presumably sat in a lot mirror the films themes of absurdity and menace. Which knives are real? Who is the real monster? Director Rian Johnson doesn’t simply rely on the immense talent of his cast, he tells a gripping story both narratively and visually.
With all of this in mind, while enjoying the movie I couldn’t stop thinking about ripping Chris Evans’ sweater off thread by thread with my teeth, but that’s normal right?
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Violet Evergarden World Tour Interview
Los Angeles Anime Expo 2017 Edition with Director Ishidate Taichi
← Event Report || Index || Next →
——At last, the worldwide premiere in which the anime “Violet Evergarden” can be watched in advance has started. How was the first one at Anime Expo 2017 in America’s Los Angeles?
Ishidate: It’s a large-scale event where hardcore American fans gather, several of whom became interested in “Violet Evergarden” (“Violet” for short) out of the works that would be displayed in it, so being able to directly witness the responses of the people that had walked all the way to the screening hall was a trite but also very valuable experience. Amongst the guests, there were many who already knew the name of the “Kyoto Animation” company and the original literary piece of “Violet”.
I had somewhat imagined it would be a Comic Event like the ones in Japan, so while I had been wondering, “Would there be many adults?”, it turned out that lots of families with children attended, which surprised me. One more thing that had me shocked was that screenings and exhibits were happening all night long. It was upright in the good sense; an event with an American-like freedom to it.
——In the stage event that was the premiere’s screening, the first episode of the TV anime “Violet Evergarden” was run. How was everyone’s reaction?
Ishidate: Compared to the Japanese, American people’s expressions are richer in emotions, so although I had imagined it would be something lively like, “Oh, my God!”, it was extremely quiet as a whole, and gave off a feeling that everyone was very focused in the video.
One thing that wasn’t expected was when they laughed while clapping their hands at scenes that would make one think, “You’re laughing at that!?” (lol). “So this is the reaction of people from a different culture~?” I thought, and it was refreshing.
In addition, we got a “Nice!” and a thumbs-up from a local staff member who was in the backstage of the screening. After that person had left, they came back to show us the screen of their phone. In it was written “that’s a truly good anime” in Japanese, which made me happy. Another local staff member courteously commented something like, “Your event was the best!”, and made me think that they had probably enjoyed it.
—— After the premiere screening, a panel discussion was held to answer questions from the audience. Were there any remarkable ones?
Ishidate: I, Ishikawa Yui-san, who plays the role of Violet, and TRUE-san, who is in charge of the OP theme “Sincerely”, went up on stage for this. Perhaps because many of the people who had come to the venue had interest in the creators, there were several questions about the production.
Something funny was when we were suddenly asked, “When does the second season start?” (lol). “You only just watched the first episode, though!?” is what I thought, but my answer was, “If we receive everyone’s support...” (lol). Also, there was a question like, “This story seems to be set in a fictional continent, so will various countries and places appear from now on?”, which showed how they were consistently watching the main story. Maybe some have read the novels.
——TRUE-san, who had come up the stage with you, did the world’s first live show of the opening song “Sincerely”. How did you like listening to it?
Ishidate: I watched the live from a corner of the stage, but I think it really was good. I thought it was an even more wonderful song than when listening to it through a sound generator, and it earnestly gave me courage like, “I also have to do my best even more!”. Once again, I was able to take in the thoughts and stance towards the original work that TRUE-san put into the song, and it gave me feelings that tensed my spirit, so after the live, I ended up saying, “I’ll seriously do my best!” to TRUE-san without thinking.
While listening to the song, I thought to myself, “I have to hurry and write down... the art contents of the opening...” (lol).
——With what kind of perspective did you tackle the TV anime “Violet Evergarden”?
Ishidate: The TV anime “Violet” is a work made from a novel that won first place at the fifth “Kyoto Animation Grand Prize”. It was selected to be published as a two-volume literary collection of the KA Esuma Bunko, and its composition as a novel was arranged anew. Back when I read its manuscript for the “Kyoto Animation Grand Prize”, I was strongly drawn to this work and thought, “It’d be great if it were animated someday”.
The novel is a compilation of stories, and was pictured firstly as independent chapters about Violet’s relationship with the clients of her job as amanuensis, clearly morphing into an opus about Violet’s own personal backstory little by little. The media diverges from novel to anime, and it’s exactly because it’s a novel that it’s difficult to find a method of applying its life depictions into a TV series, so we are formulating the story as such. In order to make it into an interesting work with a continuous storyline, I talked with the story composer and scriptwriter Yoshida Reiko-san, and we decided to write the story of the girl named Violet in chronological order.
In the anime, we wrote about the figure of “Violet, who is an existence as innocent as a baby”, getting to know precious things little by little after meeting with many people. I think those who will watch it should see with their own eyes the growth of Violet as if she were watching over their own small daughter.
——What would be the charm of Violet as an individual?
Ishidate: I think Violet’s charm is her beauty as a primitive human being. I believe humans become more or less distorted as they turn into adults. There are societal responsibilities and various situations we must face, so we can’t forever remain only with feelings as untainted as those of children. But I think it’s marvelous – and even admire it – when one is always able to purely express non-rational sentiments, such as “this is beautiful” or “I want to do that”.
In order to validate this condition of primitive human being of Violet’s, we wrote about her with an ideal of “humans are supposed to be beautiful at first”. It’s not that I want to insist out loud that bare-plain humans are beautiful, but I’d be happy if we made people think, “Somehow, Violet’s lifestyle isn’t so bad”.
——After finishing the production of one episode, the first premiere screening also ended successfully. What’s the feedback?
Ishidate: The feedback... honestly, it’s hard for me to say anything myself. It’s up to those who watched it to say whether it was fun or not, so I think it’s not my place to say anything about that. As someone who is in the production, I’m like, “I wonder if people will think it’s interesting if we do this...” all the while making it through trial and error, but by the time we’d finished writing the contents of the first episode, we came to the conclusion of, “It’s a somber story, but with this, it will be fun!”. That impression didn’t change even after seeing the completed animation. It wasn’t easy to produce it, but I was happy when the art director said, “I’m satisfied”.
——Evan Call-san is the one working on the soundtrack. What sort of interchanges do you have?
Ishidate: The sound director, Tsuruoka Youta-san, said that “(the pieces Evan-san composes) are mischievous~ (lol)” and told us that he had this kind of funny reputation (lol). That’s why I’d been looking forward to working together with him. Evan-san joined the production from the second commercial of the original literary work, accepting the invitation of our music producer, and firstly attempted to make an image song as a trial. Rather than something concrete, it conveyed only the image of the production, and leaving it to Evan-san’s own sense as he freely created a tune, it turned out perfectly matching the image of this work.
——In what kinds of points did you feel that?
Ishidate: It was all very challenging. While the noises of typing on typewriters, the rustling sounds of fountain pens and paper, etc. are incorporated in the tracks, the indication that he could come up with a pretty good “trial song” was brilliantly integrated in it, and what’s more, it had a nice feeling to it. I felt he was a person with an artistic vigor and sense. To tell the truth, while some of the background music of the first episode that he made are orthodox, there are also tracks that seem to contain musical elements similar to that of Celtic nations, and I think that the astoundingly detached moderation and good discordancy that come not only from this midst fit the world building of “Violet”.
——Under what circumstances did you choose Ishikawa Yui-san as the role of Violet?
Ishidate: The first time I heard Ishikawa-san’s voice was in a live-action movie, in which she was performing as actress. The impression that she had an unpretentious type of voice remained within me, and at first, we had her give her name as an audition member, but I thought that Ishikawa-san’s voice really matched the image of Violet in comparison to the others. Ishikawa-san surely had acting skills, but she’s also an actress that has the adaptability to accurately surmise the scene directions, and as she was able to promptly correspond to our directions after recording episode one, I thought, “As expected!”. She acts out Violet’s accumulation of delicate emotions rather carefully.
——At the moment, you’re in the middle of producing episode 2 onward. How is that going?
Ishidate: It’s... hard (giggle). The first episode was still easy to write because Violet was “at zero”, but from now on, she will change little by little upon meeting with people. This change is not something symbolic, and I wonder what I should do to properly convey to the spectators that it’s a truly light and subtle thing... moreover, we’re making this production while keeping the multiple stories concurrent, so it’s really a hassle. While checking on episode 6, I got questions regarding episode 3. We, who are in the making of it, almost want status charts for the growth of Violet in each episode, like “kindness: 5” or “level of understanding towards others: 4” (lol). For the production itself, it feels like “the race is only just starting!”.
——From now on, as part of the “World Tour” premiere screening assemblies, screenings will be held throughout the world, including Germany and Singapore. I would like to ask about Los Angeles, which you stopped by this time. Is this director Ishidate’s first time visiting Los Angeles?
Ishidate: Yes. For starters, I hadn’t gone abroad ever since high school when I went to Thailand, so it started with me having to get a new passport (lol). Although I could not afford to enjoy sightseeing in Los Angeles, as I went by car from the airport the Los Angeles Convention Center, I took a freeway that was used for the scenes of a certain movie. At that time, I didn’t really realize this, but after I returned to Japan, I watched a preview of that movie and got excited like, “Ah! I had passed by this place!” (lol).
Also, I’d wanted to see the “Hollywood Sign” since I had come all the way to LA, but it seems that it was a bit far from the venue of Anime Expo, so unfortunately, my wish did not come true... In addition, there were apparently many people who visited LA for “Anime Expo 2017” at the occasion, and when some noticed I was Japanese, they got excited and came to talk to me a lot (lol)...
——Were there any remarkable happenings during your stay?
Ishidate: There were! While I was in the vicinity of the entrance of the hotel I was lodged at, perhaps because she saw that I was wearing an “Anime Expo” pass around my neck and thought that I was part of it, a young woman came to ask me, “Are you an animator?”. I answered, “YES!” and from that, a conversation splurged, up to a point where she told me that her daughter was an anime fan and a cosplayer. We chatted for a while; maybe about an hour (lol).
——Did your words get through?
Ishidate: Unfortunately, I can hardly speak English, so there were many moments in which the talk didn’t get through. No, probably most of what I said wasn’t understood. Whenever the conversation didn’t get through, she would be like “oh, boy~” as if asking the heavens for help (lol), but with the atmosphere and gestures of that moment, I was somehow able to communicate and had a good time. The fact that I could talk naturally with a foreign person about animation became an incredibly wonderful memory.
——Next, you will visit Manheim in Germany to attend “AnimagiC”, which will be held there. Please leave a message for the fans who are looking forward to the upcoming screenings and worldwide airing in January 2018!
Ishidate: I plan to make this into something that will make many people think at least for a little bit, “This was an interesting work”, and every day, we are doing our best as a united staff and, so while we try not to bring our hopes up too much, we still end up having expectations (lol). I’d be the happiest if everyone could warmly watch over the TV anime “Violet Evergarden”! We’ll be in your care!
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