This entry covers the closing episodes of Clannad After Story. I will probably do one last shorter entry for my overall thoughts and opinions, but first I need to set the story straight. I’ll give you a forewarning that this entry is extremely long. A PDF version is being prepared.

I hate this city. It’s full of all the memories I want to forget about. Go to school every day, chat with friends, and then go back to the home I don’t even want to go back to.
Will something eventually change, doing this? Will that day come?

An-pan!
Do you like this school? I really, really like it.
But nothing can stay unchanged.

A girl I’ve never seen before.
The words weren’t directed at me. She must be talking to someone in her heart.

Fun things… Happy things… They can’t all possible stay unchanged.
Even so, can you keep on loving this place?

Just find them. Just find new fun and happy things.
C’mon, let’s get going.

We start to walk up…
…the long… long… uphill climb.

Tomoya & Nagisa, episode 1

The closing episode of Clannad After took us by quite a surprise. The cryptic and puzzling ending, especially with Fuko, could be referred to as the Evangelion of Drama: fragmented pieces, seemingly irrelevant scenes, and an indefinite ending With time travel inevitably in the picture, the issue of ‘what happened when’ arose and aroused.. Many of us have our attention on 2chan’s Clannad Storyline Diagram as presented by Sankaku Complex. I have not played the game yet, so I was half-excited and half-nervous when I saw this; I really wanted to make an interpretation on my own. But I also wanted to see what interpretation was most widely accepted by the community, and I believed there might be some clues to help my own interpretation. Sankaku’s diagram gives an explanation of the entire Clannad series by showing us when each episode actually occurs. According to it, we never watch Tomoya and Nagisa in their first life, until her death after Ushio is born. The story then proceeds with After Story episodes 17 – 21. After jumping back in time, Tomoya saved Nagisa with light orbs gathered by helping the supporting characters as we saw in episodes 1 to After Story episode 16. Aside from completely omitting the Illusionary World, it contradicts with the story as presented by the episodes. This is my train of logic:

1. Tomoya went back in time due to grief over Ushio’s and Nagisa’s deaths.
2. For both Ushio and Nagisa to have died, Tomoya must have married and started a family with Nagisa.
3. For Tomoya to have married Nagisa, they must have dated.
4. For Nagisa and Tomoya to have dated, they must have re-established the theatre club.
5. To have re-established the theatre club, Tomoya (and Nagisa) must have recruited other members.
6. To have recruited other members, Tomoya and Nagisa must have helped them and become their friends.
7. Therefore, if Tomoya did not help the other characters, none of the above would have happened.

This alone is enough evidence to disprove the diagram. There are additional discrepancies which I will present, but before I move on, I need to lay out some terms that I will be using.

Back on topic, remember the scene in the final episode of After Story with the following conversation? This is right after Tomoya was sent back in time.

Nagisa…

I was really worried you might be thinking that you should have never met me.
I’m glad that I met you. I had a wonderful life.

Nagisa.

So please. Don’t lose yourself.
No matter what may await, please don’t regret meeting me.
Is that too much to ask?

You’re right…
Thank you.

Nagisa & Tomoya, After Story episode 22

This quote proves two things. Firstly, this undeniably proves that Nagisa is also aware of what happened in the previous world. Secondly, if at the bottom of the hill both Nagisa and Tomoya were aware of their travel through time, they would acknowledge that they have already married. Building from this, there would be no shyness between them in any of the episodes, and would have no motive to suppress or hide their feelings from each other.

Continuing, recall when Nagisa had a mental breakdown the day before the School Festival. If this indeed happened after travelling back in time, Nagisa must have already known that her parents changed their dreams for her sake, and thus would not have been emotionally shocked when she found photo albums and video tapes in the shed.

If Tomoya had known about the seriousness of his father’s condition, he would have done all that he could to prevent it. His promotion was drowned because of his father’s dealings with drugs, so if he had known beforehand he would have done all he could to prevent it. Also, he made up with his father before Ushio’s death. There would be no reason for Tomoya to put off settling the misunderstandings with his father after travelling back in time.

It must have been hard.

Yeah.

Ryou, Kotomi, and Youhei are all worried about you.
We were thinking maybe we should visit you when we got together over New Year’s, but we ended up saying it’d be best to leave you alone for now.

Thanks.

But this means that everything’s settled, right? All the loose ends?

Yeah.

Kyou & Tomoya, After Story episode 20

After Nagisa’s death, Ushio proceeded to attend kindergarten under Sanae and Akio. Kyou was her teacher, and when Tomoya finally readopted Ushio, Kyou mentioned the members of the theatre club and how they wanted to meet him. Nagisa had already died, and Tomoya was friends with the Theatre Club. This proves that Tomoya had already helped the heroines during his first psychological life, again disproving the timeline diagram.

All girls like fortune telling at the genetic level.
Of course, it’s a pity that I can’t get it right, but I think it’s better if I don’t.
If the results come true, it’s as if there’s only one future.
But if it fails, we can think that other futures exist.
We never know how the future shifts because of the slightest change.
I want to believe that in our future there are many possibilities waiting.

Ryou Fujibayashi, episode 18

Now I would like to bring forward and explain my own interpretation. There is no way of knowing how true to the intended plot my interpretation stands, but all the clues I have found have pointed me this way, and I cannot find any big holes in my interpretation.

This is a world that has ended; a world where no one but I exist.
In the room are a small wooden table and a chair.
Outside the window is a vast plain with nothing.
The building is old, and there is no clue of when it was built.
I live here alone.

The play, episode 22

Ushio existed alone in the imaginary world. I am uncertain the exact reason for this, but it definitely has something to do with Nagisa’s disease, which was passed onto Ushio when she gave birth and died. In this world, we have illuminating light orbs. We have learned from various segments that the lights represent memories from another world. We learned in Shima’s arc that these light orbs are able to grant wishes. I will jump to conclude that these orbs are ‘happy’ memories, as I see no reason to consider otherwise. But, aside from the light orbs floating freely in the sky, there is another major phenomenon in the Illusionary World. This would be none other than the junk, whose existence is similar to the light orbs, but have a different implication. If the light orbs are good memories from the Real World, then what is the junk?

I picked up branches, nails, and may other things.
It’s to make a friend.
But, will the one being born be happy?
With some doubt in mind…

The play, episode 22

This world has indeed ended.
No more lives will be born; she’s the only being with life.
Either in the distant past or the dist future, I was in a different place.
It was a very lively place, but I can no longer return there.
I have this body she made for me.

The Robot, episode 22

As you may have guessed, the junk represents despair; they are memories from the Real World that one does not want to keep. And using this junk; using this despair, Ushio create a companion. Tomoya was not born into the Illusionary world by pure coincidence. He existed in the Illusionary World in the form of bad memories, which is precisely what he became after experiencing Ushio’s death. He regretted meeting Nagisa and all the things they did during their senior year. With nothing left, he no longer wanted to live on in his current world, so he was created and born into the Illusionary World. Whether he and Ushio actually died or not is not shown, but that is irrelevant.

In the Illusionary World, Ushio eventually comes to realize who she and the Robot are. She tells Tomoya, and then sends him back in time to the moment where he and Nagisa first met at the bottom of the hill. Having learnt everything he needed, he grabbed Nagisa and re-lived his life. The second third of AS episode 22 shows his second life, the surreal light and slow-motion are fast-forward representations of what happened between metting Nagisa the second time up to Ushio’s birth. Tomoya’s second school life is represented in the episode, but beyond that we don’t know any details. This leaves all but one section covered, which is the final third of AS episode 22: Clannad’s final closing scene.

So what’s the deal here? Fuko again? As moé as Fuko is, doesn’t KyoAni realize they already budgeted too much time on her? Why would they use the most insignificant, childish character for the closing scene to an otherwise great series? It seems like they tried to put so much emphasis on her, too. Aside from her screen time, she’s second in line in the ending sequence of AS episode 22, and fourth in line when he have the achromatic fly-by right before Ushio sends Tomoya back in time. But… why?

The city will change. But there are many people who treasure these sakura trees. Not just me. Many people who live in this city feel that way. No matter how depressing a place may look, the most important places don’t change. I think there’s a similar aspect to family, too.

Tomoyo Sakagami, episode 18

The answer is clear. At least, it will be by the time you finish reading this entry, to which I must inform you is not even halfway to the end yet. Let’s first run a background check on Fuko. She was involved in a car accident in her freshman year and has been in a coma ever since. Because of this, Fuko’s sister, Kouko, was thinking of putting off her plans to marry Yoshino until Fuko awakened. Fuko knew she would not wake up anytime soon, so she created a second existence in her high school and tried to convince the students to give their blessings to her sister and fiancé. She met Tomoya and Nagisa, and together they convinced Kouko and helped her carry through with her marriage, and they even gathered many students to give their blessings and wishes to the newlywed couple. Fuko would be forever grateful towards Tomoya and Nagisa.

After her main arc, Fuko had some random appearances. Although these sequences were awkward yet light-hearted, she continued to try to help Tomoya and his friends whenever they encountered difficulties. Whatever her actions were, we can say for sure that Fuko has a strong ability to transverse between the worlds and to re-manifest herself in a secondary form. This must have been the result of the accident that happened to her on the first day of her freshman year.

Let’s take a more detailed look into Fuko’s arcs. In her first main arc, Fuko had one major contribution: She brought Nagisa and Tomoya closer together, both mentally and physically. She made Tomoya and Nagisa call each other by first name and made them comfortable sleeping on each other’s shoulders (episode 9). Helping Fuko also acquainted Tomoya and Nagisa with some of the other heroines, and without her help Tomoya and Nagisa may have never taken the first step towards their dating. We also have the appearance of Fuko towards the end of After Story; her second main arc. She fell in love with Ushio, but more importantly, Fuko recognized that Tomoya was still grieving over his deceased Nagisa. She kept asking Tomoya if he saw Nagisa in her, and was troubled when Okazaki started crying after hearing Ushio talk about her mother (AS episode 20). She must have remembered, subconsciously, what Tomoya and Nagisa had done for her and her sister many years ago. And because of that, she felt the need to repay Tomoya for his good deeds.

Shall I… Shall I take you?
To the place in this city where wishes come true?

The play, episode 22

Ushio had a habit of walking to the hospital; this is the field Akio brought Nagisa to after he found her collapsed in the snow. Nagisa dreamt of the imaginary world and linked with that field, and when she died giving birth she passed that link onto Ushio. In the final scene, we watched Fuko find her way from the hospital to Ushio by way of scent. When she first arrives, she sees Imaginary World Ushio, but we know from the subsequent sequence that it is the Real World Ushio. Maybe Fuko does in fact see Ushio as she is presented in the Illusionary World? Whatever the case, knowing that Fuko had a glimpse of Imaginary World Ushio is further evidence to support the theory of her hidden world abilities.

Now, brace yourself while I present my biggest conjecture of this article.
Recall Fuko in the earlier episodes. More precisely, recall her attire. Aside from the standard school uniform, she had black knee-socks, and a ribbon that tied her hair into a tail. Black feet, black tail. Does that ring any bells?

Now does that ring any bells? Fuko is the sheep we see in AS episode 2. But it’s not only in the appearance where I have proof. Remember how the Robot got lost, and the sheep somehow led him back to Ushio? The sheep must have been able to instinctively lead the Robot back to Ushio. Fuko stated in episode 20 that she had memorized Ushio’s scent; that’s how she found Ushio by the hospital two episodes later. The field by the tree, where Nagisa was brought by Akio, where Ushio instinctively wanders, and where Fuko saw Illusionary World Ushio, is the place that links Nagisa, Ushio, Fuko, and the Illusionary World together. Here, Fuko, after recognizing Tomoya’s grief, showed the Imaginary World Ushio the dream where she learned who she and the Robot were in the Real World. Just like how Nagisa dreamed of the Illusionary World at that place, Ushio in the Illusionary World dreamt of the Real World because Fuko and Ushio were there. That is the place in the city where dreams come true. Ushio’s revelatory dream in the Imaginary World was what Fuko meant the by closing statement “This is where the fun begins”.

So you’re saying that this world and the hidden world are related strongly at a deep level?

Yes. Time, space, and people’s minds echo in a strange way to recreate both worlds or create whole new ones. They might be affecting each other like that. That’s what I wanted to say.

Could our lives be tied to that world, too?

Maybe, then yet again maybe not.

Kotomi Ichinose, After Story episode 16

Fuko holds a key to the Clannad series. In fact, I believe she holds the key, the key to Tomoya’s time travel and consequently his second joy-filled life. That is why Fuko is so strangely emphasized throughout the entire series. Without Fuko, Nagisa and Tomoya would have never gotten that first push needed before they could start pursuing each other. Without Fuko, the Robot would have gotten lost in the Illusionary World. Without Fuko, Illusionary World Ushio would never come to realize who she and her creation were, and thus would not have been able to send Tomoya back in time. Without Fuko, Tomoya would forever live in grief like his father. When Tomoya and Nagisa decided to help Fuko and her sister’s wedding in their senior year, they had created a foolproof plan towards their ultimate happiness. If anything went wrong in the future, Fuko would restructure the worlds and send Tomoya back in time with knowledge of the abilities of the Illusionary World.

Like we can see people’s feelings from the other world as light in this world,
my feelings will become many lights in that world and shimmer.

Illusionary World Ushio, After Story episode 22

There is one more piece to put together before the entire picture is complete. This is Ushio’s role. We learned that Ushio is the Illusionary World; she is the container of memories. We know the rumour about light orbs granting wishes, but: Can one’s wishes be granted if they are unaware they are in possession of any of these light orbs? Simply put, no. We know this because Nagisa had died. If Tomoya was aware of the Illusionary World’s abilities the first time around, (remember that Ushio is the Illusionary World) we would have had a happily ever after and AS episodes 17 – 22 would not have existed. So the only way the light orbs could be used is if one is aware of their existence, and the only way Tomoya could be aware depended on two conditions:

1. Nagisa and Ushio must have died, causing Tomoya to despair over his entire life and subsequently be delivered into the Illusionary World;
2. Fuko must have revealed to Illusionary World Ushio who she and the Robot were in the Real world.

After reawakening at the bottom of the hill, Tomoya knows exactly what his, Nagisa’s and Ushio’s roles are. With this knowledge he is able to live the happy life which formerly was only a fantasy.

There may be more than one hidden world.
There’s a theory of multiple worlds existing, too.

Fujibayashi, I remember you saying something like that when you were talking about fortune telling.

Yes. There is no one future, but there are many possibilities. I still think that.

Kotomi, Tomoya & Ryou, After Story episode 16

This concludes my discourse. I will now summarize my interpretation of the entire plot of Clannad; please refer to this timeline diagram.

Everything up to AS 21 happens as we perceive it. This is the first psychological life; Nagisa dies, but Tomoya can’t save her; he is unaware of Ushio’s abilities. Upon death, Nagisa’s ailment is passed onto Ushio. Fuko, who has frequently transcended the worlds during her unconsciousness, is able to rouse Illusionary World Ushio and reveal her role in the Real World to her. This is the final scene if AS episode 22. Real World Ushio and Illusionary World Ushio are now connected. Ushio eventually dies from Nagisa’s ailment. Illusionary World Ushio creates the junk doll and brings the despairing Tomoya to her world. Since time does not exist in the Illusionary World, this occurs before Ushio’s dream and contact with Fuko. Illusionary World Ushio’s powers slowly start running out. Because of Fuko in the Real World, she dreams about who she and the Robot are, and she uses the last of her strength to send Tomoya back in time. This is the first third of AS episode 22. Tomoya awakens at the foot of the hill and dashes to Nagisa. He goes through his senior year similarly as we have seen in his first psychological life, but this time through, he is aware of Ushio’s abilities and is able to save both her and Nagisa. We don’t see this in detail; this is represented by the blurred surreal monochrome sequences in the second third of AS episode 22. As per the middle section of AS episode 22, Nagisa and Ushio are alive and cured from the ailment, and Tomoya, Nagisa and Ushio live happily ever after.

Clannad has taken quite a big turn from the standard visual novel genre, as I watch on it seems to be shifting towards those Korean dramas where peoples’ lives grow and fade intermittently. The characters and we, the audience, are caught between emotions. The coinciding uncertainty as to whether one should smile or cry is a very hazy emotion, yet Clannad is able to capture it spot on.

However, as accurately as Clannad captures these emotions, I find it harder and harder to sympathize with the characters—the transition from love story to life story is leaving me behind in my youth. Unrequited love is something I am familiar with (and surely most others, too) and in the situations they presented to me my mind jumped through my past experiences and absorbed itself into the Clannad world. But as the story progresses from unrequited love to mutual love, from mutual love to marriage, and from marriage to family, the situation drifts farther away and I no longer have a vantage point from which I can get a clear, close view of the situation. It’s not necessarily a bad thing, but Clannad’s cohesion with my own life that was so eminent in the former parts slides ahead of me. It seems like these closing episodes will be something I will learn to understand over time, as I progress forward in my own life and gain the experiences necessary to make the connection. As it stands now, Okazaki & Co. have grown up ahead of me and show me how much more I have to go through.

It’s strange, however. I know that if Clannad had started at this point, I know would have no interest in watching it whatsoever. I have no recollections of ever going though marriage, supporting a family, having a child, and losing one dear to myself; in this case the relevance of this hypothetical Clannad naught but zero. Yet I watch on, knowing but not understanding; seeing but not feeling. Why does Clannad, which has advanced from the relevant to the irrelevant, still hold my interest?

I believe the answer is because it advanced, as opposed to starting somewhere already out of reach. I laughed with the characters and I cried with them, while they initially were walking alongside my memories. I got to see their deepest secrets, and in doing so I revealed my deepest secrets to them. The Theatre Club became a family, my family. So as it moved forward, although it surpassed the realm of my memories, we were still attached, holding on to the unbreakable thread also known as family. Now, as a spectator from behind, I get to see everything by the third eye, and even though I can no longer sympathize with them, I can still see how their actions led to them arriving at their unstipulated destinations.

This path they lay down before me is now a trail for me to follow or avoid. Now it is my turn to make the move forward in the footsteps of they who have left before me. I cannot feel what they feel now, but I know that by pursuing their tracks I will gain the memories that are needed to return me to their sides. Clannad is becoming a guide; a guide I can choose to follow or avoid to help me reach my own aspirations. I have pushed this argument quite far, but the bonds I have with the characters that have outgrown me stand as strongly as it did when the characters were within my grasp of maturity. I think it’s unarguable that I will enjoy the first season much more than the second, but After Story is making me face the reality of growing up everyone has to do so sooner or later in life.

Because I have yet to advance as far as the After Story characters, I have no memories, so I lose the ability to sympathize. However, this new observation deck offers me another activity: thinking. Watching these episodes triggered me to think about what life and love mean to me, what sacrifices are necessary for either and what I would do if I had to choose between the two. Do love and happiness equate? Do life and happiness equate? What action should we take when we advance along one path believing it leads to the best, only to discover in vain that tragedy lies ahead? These past few episodes have taught me nothing directly, but have made me think and analyse what it means to be alive and what it means to live.

I’m being hosted under BWYS, a scanlation group: They take Japanese manga (comics), translate it into English, and release it online. My friend is the leader of the group and since they would be animanga fans like I am, I joined their IRC channel for some social while closeting away on my computer. However, I was (and still am) much more into audio/video than illustration; I didn’t really have that much background in manga, especially compared to the members of BWYS who work with manga on a daily basis. But I knew Photoshop well and soon I started typesetting and editing for them, and with that I started learning the specific procedure we go through to prepare a raw file into a final release. Most members, having practiced this methodology for quite some time, don’t have much criticism on the system, but I being newer to the scene have a lot of thoughts on the system we use, from both general-workplace and scanlation viewpoints.

General Workflow

Traditional System

In the traditional system, tasks follow a purely linear process, like a production line. If there are multiple team members, usually each member is in charge of a single task they are highly proficient in. Tasks are almost exclusively linear, meaning that the first task is a prerequisite for the second; the second task is a prerequisite for the third, etc. In a continuous environment, person A does task A on project 1, passes that onto B, then does task A on project 2, passes that onto B; similarly for person B and on. In this typical classic system there are three key shortfalls:

1. The speed of the group is limited by the slowest step/member
2. If a member quits, goes on hiatus, or otherwise is not able to continue, all production after that member’s step is stalled.
3. In the case of the above, since each member is exclusively assigned their own task, it would be hard for them to fill in for the missing step/member.

In a team, all members should be equally valued; however the team should not require any specific member to function. In the case with a classic system, every member is required and it is difficult to even classify this as teamwork.

Proposed Modern System

In this proposed modern system, projects should avoid sequential processes and execute tasks in parallel steps whenever possible. In addition to this, members should not be assigned a specific task but only be given a title depending on their specialty. Tasks would be posted by the group leader and checked out by the members. Since members have specialties but are otherwise free to pick any task, they can develop a broader set of skills and consult each other if assistance is needed. Overall, each person will have a lower efficiency than if they did their own task like in the classic system; however, we avert the shortfalls of the classic system:

1. Because members are not restricted to a certain task, faster members can work ahead of slower members
2. Unrestricted tasks allows members to be able to broaden their skills, and as a result
3. There is no sudden stall in productivity if one member stops.

In Scanlation

The classic linear chain for scanlation requires every member
and relies heavily on the leader for communications.

Traditional System

In traditional scanlation, we have the following essential roles:

1. The leader, who will mainly be handling completed tasks and passing them on to the appropriate person;
2. A scanner, who scans the paper-media manga into a digital format; (or one who downloads or sources files that have already been scanned, likely the leader in such a case)
3. A translator, who is in charge of translating the Japanese text into coherent English;
   An editor, who cleans and digitally enhances the scans and replaces the Japanese text with the translated English text;
4. A quality checker, who inspects the grammar and image for consistency, and makes the necessary adjustments; and finally
5. A distributor, who hosts the file to allow the public to download it.

While this system works, you can see exactly how such a process is prone to the shortfalls of a classic system.

Proposed Modern System

Modern scanlation will take a new approach on how to convert manga to a locally understood digital format. In essence, there are only two roles:

1. The leader, who will have less of a focus on handling transactions. Instead, s/he will be giving out expertise, providing motivation, and recruiting new members.
2. The members, who may have certain specialties but are not restricted to that field. For example, a translation specialist may help quality-check should there be the demand.

A modern approach takes the leader out of the parenting position and allows them to guide all the teams formed within the group. There is no exclusive dependency for any one member.

The classic tasks Scan, Translate, Edit, QC will be broken down to reduce dependency and redundancy. Members are encouraged to pair up when tackling tasks, preferably a more-experienced member with a less-experienced member.

• Scan/Source – same as above.
• Translate – same as above.
• Translation Check – checking grammar, flow, and coherence.
• Pre-edit – cleaning up the scanned files, including clearing out the Japanese text.
• Typeset – entering the proofread translation into the pre-edited files.
• Quality check – same as in classic system, except grammatical errors should have already been fixed.
• Distribution – same as above.

Because the leader no longer handles the transactions, the members are responsible for communicating and passing files onto each other. In an ideal situation, if any member (including the leader) should vanish the group should still be able to operate at 100% efficiency due to true teamwork.

Prerequisites for Success

While a new methodology is easily written out, there are many steps required for it to succeed.

• All members, both existing and newly-recruited, must be familiar with the new methodology. They should understand that the new system is aimed to develop well-rounded members that can handle a wide variety of tasks. One member of 80% proficiency working with a member of 50% proficiency is just as thorough as a single member with 90% proficiency.
• A developed backbone infrastructure would be optimal for task distribution. An online interface would act like a task library, allowing tasks to be “checked out” and tracked. The system would allow members to know who is working on what project/task and who is free, and could keep an archive of intermediary files in case of data loss or irreversible changes. The leader should always be able to override the system and set priority tasks.
• The group will thrive only in an open social environment. Because of such intimacy in the new teamwork methodology, it is essential that members know each other well and that communications are instant. Members should know each other well enough to be comfortable meeting up in real life. Online, IRC chat would be the ideal method for group communications; e-mail should only be used as a last resort or for any administrative purposes (passwords, extra-group communications (vs. intra-group), etc.)

Summary

Redeveloping a group’s methodology is not an easy task, nor is it something that can be achieved in a short period of time. Leaders should always be open to change, and the change should be evolving slowly but steadily. Right now BWYS is in a transition state, we have started testing a new approach for some of our projects, and we are really starting to emphasize our open social environment especially when considering new recruits. A slow change reduces the change and learning stress on the members, keeping overall proficiency optimal while not losing out like groups which have done things the same way since day one. While it is important to keep up-to-date, it also is important that procedures are habitual and require no second thought. Whilst new methodology may be more efficient, it takes a lot of time for a group to naturally assume the different processes; the key is finding the optimal balance of change and tradition.

Yukine is a no-bias humanitarian figure who will never fail to care for anyone regardless of their history. She is reputable between both dominating clans, and is seen as a mothering figure. If you haven’t noticed already, one of the biggest themes in Clannad is the need and result of having a family. Tomoya moved out because he was having problems with his father, Nagisa had that incident where her parents reformed themselves for her sake, Kotomi is orphaned, Tomoyo was on the verge of having a broken family, and now we find out that Yukine is assuming a parent-like role for her brother and his entire gang. The theatre club is just a family within the student body as a substitute or supplement to their blood family; the members aren’t there for the theatre but for each other.

Likewise, with a gang, they aren’t there for the fights or parties, but for each other. It’s natural for different groups of people to have disputes with each other regardless of whether we call them “gangs” or not; the Theatre Club had a conflict with the Music Club over the issue of the teacher-supervisor. Gangs are generally comprised of male members, and males are generally less sensitive and easily aggravated, so they are more prone to physical solutions. Regardless, disputes, physical or not, are the main reason why people join hands and team up, and the way these disputes are resolved is what strengthens or weakens the bonds between the members. With Yukine’s brother in the hospital, Yukine is the keystone for her brother’s gang as a primary caregiver and role model, much like how Tomoya was the key member to the theatre club during its founding days.

Currently, the theatre club has no particular figure of dominance, and judging by the next episode preview when Yukine’s monarchist gang runs into leadership issues we will learn why an even-authority status is best in family relationships. It’s my bet that Tomoyo Sakagami will play a big part in this arc due to her experience with gangs and family problems, and that she and Yukine will be on anything but good terms with each other.

Kuzuya cannot bring herself to accept the current state of humanity.

These questions are answered clearly in Planetarian and . Everything humanity does: thinks, says, destroys, produces; is a little relic of its own. It is a relic that has frozen the values of the time it was created in. And when this is recovered tens, hundreds, or thousands of years later, it becomes a soliloquy from the people of it’s time. It is a tool to force people to look at the past and reminisce about all the events on the thread that connects the relic to the present. It is a proof of our opposition to change. Seeing light in the dark world we have hand-made for ourselves only makes it feel darker; seeing happiness in a prison of death and sorrow only depresses us further. One who has lost hope would turn a cold shoulder and deny its existence as not to be humiliated by the woes of their own civilization, but one who even has the faintest glimmer of hope accept it readily.

It matters not if the relic is an artefact of war, like the spire in Kumo no Mukou, Yakusoku no Basho, or an anthology of history like the archives in Pale Cocoon. Proof of vanity in glamorous times are either accepted or denied; proofs of glamour in times of vanity are similarly accepted or rejected. Because humans are self-aware it is impossible for us to look at something as a stand-alone. Everything we perceive is relative, relative to the events in our memory and our current environment. Beauty in times of beauty and darkness in times of darkness is never given a second thought, for is this change that will bring humanity to it’s rise and fall; and it is the change we pray to avoid but have no escape from. And because of this unavoidable terminal change, we leave behind relics of our time as a proof of our existence whether such things belong in heaven or the purgatory below.

The desire to not be forgotten is a selfish desire, but it is engrained deep within our will to live. However, the choice to respect and remember or to ignore and forget is a conscious option. Will we be selfish and choose to forget like Rika in Pale Cocoon? Or will we remember like Kuzuya in the visual novel Planetarian?

A slice-of-life indicates, well, a slice, or a small piece of the whole. It takes a small fragment of an individual’s or a collective group’s lives or visions and approaches it to observe and analyze the different layers and flavours. From a director’s standpoint, slice-of-life is like a camera: it is a tool of observation. It captures a static sample of a subject, where we must manipulate our replica of the original to learn more about it. We have complete control, but only over our duplicate—we have no power whatsoever regarding the original. Because of this, we iterate on that small, captured slice to discover more about it. We look at it in different ways: we isolate themes and symbols, draw analogies, determine its structure, and so forth. The slice-of-life is taking a static frame and portraying it in as many ways as possible. It is the anime equivalent to observing lighting, highlighting, shadows, colours and contrasts, etc. within a still photograph. If we wish, we could hypothesize how this piece could morph over time or in the presence of other materials, but this would be purely imaginary and nothing else, because of the restrictions of our tools. Because of this, we hunt frugally to pinpoint this one single moment or compose it ourselves in order to ensure it is as interesting and innovative as possible. The characters must be fully developed before we start a slice-of-life, the setting laid out; their histories and perhaps even their futures will already be written down. We must make sure that everything is in perfect order before snapping the shutter of slice-of-life, because once the frame is taken we can only work with what we have captured.

The moment Hachi declared her break-up was the moment NANA took a sideways turn from slice-of-life to life-drama.

However, once we are granted the power to observe changes within subject matter, we take a step back and focus on this procedure of change. In this newly introduced dimension, time, we can still increase the level of observation, by controlling and slowing down the rate of change. But because we are focusing on changes and differences we can no longer work upon a single instantaneous moment, and we cannot iterate upon this. The dimension of time is no longer available for use to experiment with, since it is the only way we can depict change. And these changes are no longer various viewports pointed at a single frame, but instead, it is a single viewport which shows the characters as they proceed along the path of fiction. Like how you cannot use a still frame to show a video, slice-of-life is a genre independent from fiction. The moment a slice-of-life introduces change, it ceases to be, and becomes a fiction of some sort, most likely a drama. In a drama, or any other fiction it is the characters that change, but in a slice-of-life, it is we who change instead: Hagumi Hanamoto definitely transitions between phases over the sequence of Honey and Clover, but Akari Mizunashi in the last episode of Aria the Animation is the same as Akari from episode 1 and Akari from episode 4 and Akari from episode n; in this case it is we who changed while watching the anime learning about her character.