Planetarian: The Reverie of a Little Planet

Planetarian: Snow Globe ONA 1 Episode

Characters MC:
Yumemi Hoshino (ほしのゆめみ, Hoshino Yumemi)
Satomi Kurahashi (倉橋里美, Kurahashi Satomi)

ANN 7.375
MAL 7.22
IMDB 7.6

Planetarian: The Reverie of a Little Planet ONA 5 Episodes

Characters MC:
Yumemi Hoshino (ほしのゆめみ, Hoshino Yumemi)
The Junker (屑屋, Kuzuya)

ANN 7.799
MAL 7.56
IMDB 7.1

SPOILER ALERT: Many spoilers follow, read at your own risk


Chobits”, “A.I. Artificial Intelligence” and “Time of Eve” are three works with similar contexts to “Planetarian”. Given a robot as a character, who is obviously a robot to all the humans in the story, what are the reactions of Human Beings? In all four stories, the Humans are very hostile to the Robots.

But the Turing test is more than the Characters in the story and their reactions. These works are also playing off of you, and testing your feels towards the robots. And this is really a Turing Test on you, the reader/viewer of these types of stories.

We are all aware that imaginary characters in stories capture our feels big time. Pets and even inanimate objects can also capture our feels. So given our own human feels to contend with, if we encounter a machine who acts like Chi in Chobits, David in AI, Sammy in Time of Eve, and Yumemi in Planetarian, and spend time with the machine, what happens to our feels? Can we fall in love with a machine?

Well if we can feel for imaginary movie characters, and our pets at home, and our living family, it seems as if the answer would be yes. We are lead to feel for the robots in the same way that we are lead to feel for any imaginary character in a story.

I think the answer would have to be yes. If robots ever reach the behavior of the characters in the stories above, we would certainly fall in love with the robot. I personally am in love with Chi, Sammy, Yumemi, and David.

In a counter example, the movie “Ex Machina”, shows a robot seducing Caleb in order to gain her freedom and she has no hesitation in killing all those who get in her way. The evil robot is a staple of the movies after all! Welcome to the world of HAL in “2001: A Space Odyssey”, “The Terminator”, and Roy Batty in “Blade Runner”. Get one of these cruise missiles on your tail, and you are a cooked pork chop.

A machine can in fact be programmed with whatever objective is desired. There are no commandments higher than the laws of a machine’s software. Of course a sentient, conscious machine might develop the abstract set of rules which underlie morality. At the end of Blade Runner, Roy Batty seems to feel compassion for Decker and saves him. In “Wreck-it Ralph”, Vanellope von Schweetz tells Ralph, that she knows how to race because it’s in her code. In the “The Matrix”, humans learn to fight in the virtual world by downloading code into their brains. Could you download the rules of morality? You could program “The Three Laws of Robotics”, and robots would follow those rules, but you could just as easily not program a robot that way and then what do you have except a Frankenstein monster or a human psychopath who seems to lack any moral order, or a cruise missile.

So where does that leave us?

In Planetarian, Yumemi asks Satomi for the name of the theater projector, and Satomi answers “a Carl Zeiss Jena Double Ball Projector Universal 23/3”. Satomi is talking about Yumemi with her boss, and says, “She’s just reciting lines set beforehand.” and then Yumemi delivers her speech and changes the name to Jena-san which surprises Satomi and her boss.

Yumemi leaves the Planetarium in an effort to find more business and delivers her spiel all over town. Software of very large dimensions, does indeed develop new ideas that no human programmer could have even predicted. That is one of the powers of a computer and a huge database. A machine never gets tired, and can transverse an astronomical amount of data searching for patterns that no human could ever see. But this is where scary comes into play. We are used to machines with a high level of predictability. Think your thermostat on the wall. But complex computer systems are not predictable in that way. This is what surprises Satomi. Yumemi-chan invents her own name, Jena-san. So you go out and buy the latest model house robot, and bring it home. You turn it on, a super deluxe mobile Roomba Alexis. And a thought crosses your mind, what if it begins to think that I am not useful, just dirt on the floor, would it then eliminate me? HAL makes exactly that decision, to get rid of the Humans because they are hampering my number one objective of this mission! HAL suffers that most human of sins, Pride. He makes a mistake, and then cannot admit that he made a mistake. He then concludes that it must be due to Human Error!

The Fractal algorithm is extremely simple yet the output patterns are totally unexpected because no human was able to devote their entire life to calculating those patterns. The computer doesn’t mind and will follow it’s programming forever so long as it has the electricity to do the calculation just as Yumeni waits 30 years for a customer.

The creators of game programs like Chess and GO, are surprised by the moves that their creation does make which depend on a vast number of variables which they are not able to calculate. Humans are not computers even though they are able to compute small problems

Yumemi is so very precious, and she grabs hold of your feels big-time. But so do big eyed puppy dogs, and fluffy cats. We are a sucker born every minute who falls in love with imaginary characters and sentient kawaii machines.

Chi, David, Sammy are all shown to have developed what appears to be real emotional feelings. Even HAL from 2001 and Roy Batty from “Blade Runner” were afraid of death.

But Planetarian takes a different track. Hosino Yumeni-chan is clearly shown to be a robot, and she constantly says that she is a robot, and that she has no feelings. She does not understand many questions and blankly says that she does not understand when questioned outside of her programming.

So one clearly knows and feels her robotness and mechanical nature, and yet we like her, we feel for her in exactly the way we feel for imaginary characters in stories. All those in the story who come into contact with her, fall under her spell. I would like to sit down with her and just talk about whatever she wanted to talk about which is probably the Planetarium and the Stars. I know clearly that she is a machine, and yet I feel for her in a way that I don’t feel a strictly inanimate object. There seems to be some soul present in the machine, a Ghost in the Shell.

This is hard to wrap your mind around rationally. She has no fear of death and she says that she feels no pain, so you should not feel sorry for her when she dies. But geez, that just makes me want to love her even more, and it hurts to say goodbye as she passes out of existence. But why?

I guess we are just programmed that way!

“Why don’t you come to the planetarium? That beautiful twinkling of eternity that will never fade, no matter what. All the stars in the sky are waiting for you.” – Hoshino Yumemi-chan

Why don’t you come to the Planetarium?



This story work has a very complex history.

The Film combines the VN Planetarian: The Reverie of a Little Planet with the LN Man of the Stars (星の人, Hoshi no Hito) and the 5 episode ONA Planetarian: The Reverie of a Little Planet.

The origins of this story are confusing to say the least but basically the Film is about The Junker (屑屋, Kuzuya) in old age with the ONA inserted as the back story of Yumemi Hoshino (ほしの ゆめみ, Hoshino Yumemi) which is the entire ONA slipped into the film even to the actual animation.

This reviewer would not recommend the film unless you really want to know about what happens to the Junker. So by doing the film, you are also doing the 5 episode ONA which features Yumemi Hoshino the little robot. Keiko Suzuki (すずき けいこ, Suzuki Keiko) does a wonderful voice for the little Robot, and literally brings her to life.

We would recommend starting with the 1 episode ONA Planetarian: Snow Globe and

then the 5 episode ONA Planetarian: The Reverie of a Little Planet. These works are essentially about the little robot, Yumemi Hoshino which makes up the core of the story.

If you really must know what happens to the Junker, then do the Film and skip through the ONA backstories which you have already seen. But many plot points are never explained and if you were hoping for a resurrection of Yumemi Hoshino, you will be disappointed.

Yumemi gives the Junker her memory chip at the end of the ONA which includes all her memories and personality. The Junker carries this around his neck for the rest of his life, but it is never used, so come on guys what is the point of bringing this into the story and then not using it?

What is the point of the nun Android? Does mankind survive? A fan gets no answers here, and no ending. The Film version is very disappointing in this respect!


The Planetarian story has a very complicated genesis and various parts exist in many forms:

Planetarian: The Reverie of a Little Planet

Visual Novel (VN)

W: Yūichi Suzumoto (涼元 悠一, Suzumoto Yūichi, born January 13, 1969)

The Reverie of a Little Planet 11-29-2004

W: Yūichi Suzumoto (涼元 悠一, Suzumoto Yūichi, born January 13, 1969)

Snow Globe 9-3-2021

Planetarian: The Reverie of a Little Planet

Light Novel (LN)

W: Yūichi Suzumoto (涼元 悠一, Suzumoto Yūichi, born January 13, 1969)

P: 4-28-2006

Snow Globe (雪圏球, Sunō Gurōbu) before the war

Jerusalem (エルサレム, Erusaremu) during the war

Man of the Stars (星の人, Hoshi no Hito) after the war by about 30 years

Tircis and Aminte (チルシスとアマント, Chirushisu to Amanto)

Planetarian: The Reverie of a Little Planet

Original Net Animation (ONA)

W: Naokatsu Tsuda and Shogo Yasukawa after VN “” by Yūichi Suzumoto (涼元 悠一, Suzumoto Yūichi, born January 13, 1969)

R: 7-7-2016 to 8-4-2016

5 Episodes 93 minutes 12 seconds

EP 1 18:10 The Robot’s Bouquet

EP 2 13:27 Repairing the Projector

EP 3 20:33 Yumemi’s Projection

EP 4 17:30 Drunk with Alcohol

EP 5 24:09 Yumemi’s Wish

Planetarian: Snow Globe

Original Net Animation (ONA)Planetarian: Snow Globe

W: Shogo Yasukawa after LN “Snow Globe (雪圏球, Sunō Gurōbu)” by Yūichi Suzumoto (涼元 悠一, Suzumoto Yūichi, born January 13, 1969)

R: 8-25-2021

EP1 36:00


Planetarian: Storyteller of the Stars (Japanese: planetarian~星の人~, Hepburn: Planetarian: Hoshi no Hito, literally “Planetarian: Man of the Stars”)

Screenplay: Naokatsu Tsuda and Shogo Yasukawa after Visual Novel (VN)

W: Yūichi Suzumoto (涼元 悠一, Suzumoto Yūichi, born January 13, 1969)

The Reverie of a Little Planet 11-29-2004

Film released on 9-3-2016 117 minutes


11-29-2004 VN The Reverie of a Little Planet

4-28-2006 LN Planetarian: The Reverie of a Little Planet

Snow Globe (雪圏球, Sunō Gurōbu) before the war

Jerusalem (エルサレム, Erusaremu) during the war

Man of the Stars (星の人, Hoshi no Hito) after the war by about 60 years

Tircis and Aminte (チルシスとアマント, Chirushisu to Amanto)

7-7-2016 to 8-4-2016 ONA Planetarian: The Reverie of a Little Planet

EP 1 18:10 The Robot’s Bouquet

EP 2 13:27 Repairing the Projector

EP 3 20:33 Yumemi’s Projection

EP 4 17:30 Drunk with Alcohol

EP 5 24:09 Yumemi’s Wish

9-3-2016 FILM Planetarian: Storyteller of the Stars

8-25-2021 ONA Planetarian: Snow Globe

9-3-2021 VN Snow Globe


Snow Globe –

Yumemi Hoshino is activated and begins working at the the Hanabishi Department Store’s rooftop planetarium. Then there is a story skip 10 years, and the Planetarium is almost out of business. This causes Yumemi to go out into the city and attempt to bring in customers. We also see anti-robot attacks and civilization seems to be on the verge of breaking down.

Jerusalem –

Biological and Nuclear war breaks out, Sniper Nun

The ONA The Reverie of a Little Planet –

This story opens 30 years after the war, mankind is almost extinct.

The little robot, Yumemi Hoshino is still working at the Planetarium waiting for customers who never arrive until the Junker stumbles into her world and becomes her first and only customer who she names, Mr. Customer. She sacrifices herself to save Mr. Customer and in her disconnect death, as her batteries run out, she explains how she is only a robot who feels no pain, but she is instead connected to the infinity of the Universe. Her only desire is to help others in whatever way she can. This has been the overriding rule of her entire existence.

Man of the Stars (Planetarian: Storyteller of the Stars) – ~30 years after the ONA story world, mankind is almost extinct. The Junker is saved by a small group of non-breeding humans, and its implied that mankind will soon be extinct. Ending is very confusing. The Nun from Jerusalem appears but for what purpose?

© 2023 Folwine P. Pywackett mox030

ATARASHII GAKKO! 新しい学校のリーダーズ

Dance Practice [Fantastico] ATARASHII GAKKO! 新しい学校のリーダーズ

Press Red Arrow above

If you have not heard of ATARASHII GAKKO! 新しい学校のリーダーズ then this here is an introduction. One of the most creative and musically aware dance/music/idol groups in existence today. I have not seen choreography so intimate with its music like AG since Balanchine.

These girls who do their own music and choreography are the Cat’s Meow, and this reviewer is just purring away like being high on catnip.

Prof David Kipping on “Why we might be alone in the Universe” Nov 18, 2022

Press Red Arrow above to play

This is an excellent lecture on the question of life in the Universe and why we should be hesitant to make pontifical statements in this regard.

We just do not know enough in many areas to even present an hypothesis.

What are the odds of you being here to read this statement? Think of all the fantastic coincidences that must have taken place for you to be here to read this. Just the fact that your Mother and Father had to meet to produce you may have been highly improbable. Go back in time with all the pairings which had to have taken place, and eventually you arrive at some primitive RNA molecule attempting to survive and replicate 4 Billion years ago. Think of all the steps necessary to arrive today at you reading this line.

Chiki Chiki Ban Ban Dance from Ya Boy Kongming!(2022)

Best “Chiki Chiki Ban Ban” Dance on youtube

This dance according to the Street Dance Community PROPS credit section was choreographed, supervised and produced by MAA and NATSUKI who were in charge of the official choreography for パリピ孔明 “Paripi Kōmei” ENGLISH: Ya Boy Kongming!(2022) anime.

The children dancing here create one of the best versions of the Chiki Chiki Ban Ban dance and they look like they are having so much fun! Bravo!

This video is the full version of the Chiki Chiki Ban Ban song by Queendom

Original song in Hungarian by Jolly – TITLE: Bulikiraly(2013)

The House of the lost on the Cape – misaki no mayoiga(2021)

SPOILER ALERT: Many spoilers follow, read at your own risk

Movie(2021) 100 minutes

D: Shinya Kawatsura
W: Reiko Yoshida from the novel by Sachiko Kashiwaba
M: Yuri Miyauchi
STUDIO: David Production Inc.

ANN: No official rating but the review by Kim Morrissy gives an overall B-
MAL: 6.73
IMDB: 6.9



Yui (ユイ) Abandoned by her mother and abused by her cruel father. She runs away.
Hiyori (ひより) Young girl who lost her entire family and is now mute

Kiwa (キワ) The pretend grandmother who brings Yui and Hiyori to her Mayoiga
Kiwa is an interesting character. One part of her is MC and her right foot is
in the real world of the story with Yui and Hiyori and other towns people


Kiwa (キワ) The pretend grandmother who brings Yui and Hiyori to her Mayoiga
Kiwa is an interesting character. The other part of her is SC and her left foot is
in the imaginary world of the story with all the other mythical creatures

All other mythological creatures


Mother Nature
Grief and Despair
Cruel men

This is the Wikipedia page for Misaki no Mayoiga

TRAILER FOR The House of the lost on the Cape

Press Red Arrow Above to Play


We recently responded to a strange review of this work on ANN

“After the initial conflict is resolved, the story meanders for a while, balancing scenes of daily life with appearances of staple figures of Japanese folklore. It gestures somewhat towards an episodic narrative structure of heartwarming small town adventures (think Natsume’s Book of Friends), but eventually an antagonist emerges, and the film pulls itself together for a rather conventional climax.

It never feels entirely believable that the antagonist is a manifestation of the negativity in town when the auxiliary characters only get to show their cheerful and helpful sides.” Kim Morrissy, ANN 2022-9-18

The reviewer here has misread the story they are criticizing.

“.. but eventually an antagonist emerges, and the film pulls itself together for a rather conventional climax.”

The destruction of the Agame monster by Yui and Hiyori is not the denouement of the story! The killing of the Agame monster is a post-coital afterglow of the actual climax which took place much earlier. Yui and Hiyori are walking together, and the vision of Yui’s evil Father returns to take possession of Yui. This almost succeeds until Hiyori in desperation utters a blood curdling scream which breaks the possession into which Yui is falling! This sound which is the first we have heard from Hiyori breaks the hold that takes possession of Yui and she pushes it away. This breaking of mute silence is the very moment of the denouement because the antagonist is not some monster, but lives in all of us. Hiyori has gone mute because the pain and suffering of total loss is beyond words. In making the first sound in her scream, she empties the monster of pain which controls her, and that sound helps Yui to free herself from her pain. This act of making the first sound is later referenced and quoted in the attack on the Agame monster where Hiyori makes a sound on her flute which allows Hiyori to shoot her arrow into Agame. The arrow was given to Hiyori by the same Fox Dance character who gave her a moped.

“Why do good people suffer evil? Why me?” This is what cripples Yui and Hiyori, and in the influence of myth and fantasy, and their mutual support together, they are able to break free from their own sadness, grief, and depression.

This is the point of the story, not some children’s tale of monsters. If you track the characters of Yui and Hiyori closely, anyone can clearly see the character changes that these girls undergo through the progress of the movie. They have both suffered enormous tragedy and loss and are now orphans. As The Swissman observes in the comments, surely one can feel empathy for this loss. While Yui and Hiyori are fictional, there are thousands of children undergoing just that real loss right here and now, and not in some fantasy world.

The movie shows clearly the healing power of myth and then demonstrates how that can actually work it’s effects in real human beings when real people care! Each encounter with the mythological leaves an impression and the two girls slowly begin a series of changes under the influence of the Mayoiga and other mythological beings. This central plot element reaches its climax in the scream of Hiyori’s pain which she is finally able to release.

That scream is the moment where both girls suddenly change and become sisters in a new family.

We at Pywackett Productions believe this story to be one of Reiko Yoshida ‘s greatest works. Perhaps the story is too quiet for more sophisticated reviewers to handle. This brilliant author does more than theorize about storytelling. She actually shows how myth functions to help individuals escape their own internal monsters. She is making an argument that has been made by others such as Tolkien whom she appears to quote with the Eye of Sauron.


We had never heard of this Anime Movie, “The House of the Lost on the Cape” which was released in 2021, but as this was the virus year, we can see how this one would slip through the cracks.

One of our favorite bloggers, wrote up this review and that was our first introduction to the movie.

A review by The Infinite Zenith

The first and most immediate problem is the English name “The House of the Lost on the Cape”. This is probably as close an English translation of The House of the Lost on the Cape (岬のマヨイガ, Misaki no Mayoiga) as it is possible to make do.

A (マヨイガ, mayoiga) being a house of the lost and (岬の, misaki no) being located on a Cape is a relatively accurate translation, but the actual problem is that the very concept of a Mayoiga does not exist in the English speaking world. A strange house found in the woods is usually occupied by a witch and the story of Hansel and Gretel is quoted in this movie.

In Japanese mythology, (マヨイガ, mayoiga) is entirely salvific. That is if you are lost, then the house will appear to you and grant you goodness and help if you take something from it.

迷家-マヨイガ Lost House – Mayoiga translated into English as “The Lost Village(2016)”, an anime series, turns the concept of a mayoiga on its head. In this anime, its the mayoiga that is Lost and that functions as a haunted village. This interpretation of a mayoiga is not the way Japanese mythology sees the mayoiga.

When we look up a mayoiga in “The Legends of Tono(1910)” by Kunio Yanagita, sec 63, a mayoiga is entirely good and healthy for all those people who are lost.

“The Ancient Magus’ Bride” created a 3 OVA prequel called “Those Awaiting a Star(2016)” and in that work, the mayoiga saves the life of Riichi Miura who then saves Chise Hatori with a book and charges her to fulfill his destiny for his beloved which he is unable to do now for reasons which are shown. She does fulfill her duty to Riichi, but fails to understand the book which he has given to her “The Lonely Little Star” and she leaves it behind. Being a magic book, it finds it’s own way to England and back into the hands of Chise Hatori who now begins to understand what Riichi Miura was trying to teach her about the lonely little star.

As in all tales, every storyteller is free to invent, modify and reinterpret existing myths as he or she sees fit for their own story.

The House of the Lost on the Cape (岬のマヨイガ, Misaki no Mayoiga) was written by MS Reiko Yoshida who is somewhat famous in anime having penned many famous screenplays such as Silent Voice, Liz and the Bluebird, Violet Evergarden, Marimite, The Heike Story, Aria, Non-Non Biyori, K-on, and many others. She is one of our favorite authors and she knows how to touch feels.

In this work of The House of the Lost on the Cape (岬のマヨイガ, Misaki no Mayoiga) she is in excellent form, and produces a very quiet story about tragedy deeply embedded in Japanese mythology. How to move on from this profound grief and despair? MS Yoshida suggests quite directly that one way to heal and prevent a spiral out of control into deep depression and even suicide, is mythology which in this film acts as a healing agent for our two main characters. Yui (ユイ) and Hiyori (ひより) are two young girls who have lost everything in life. Their family’s have been taken in total, and they are both orphans totally alone until they are taken in by Kiwa (キワ), a very strange older woman who claims that she is their Grandmother (she is half real and half imaginary herself), and she lives in a mayoiga out on the cape. Kiwa has deep roots in myth, and knows many mythological characters. Even she is possibly mythological and she is a story teller herself.

Interestingly MS Yoshida tells a story about a storyteller and her tales.

What is so very precious in this movie is to watch Yui and Hiyori closely as they slowly change from being lost in grief and sorrow and loneliness to becoming fully human again. If you watch this film, I would suggest that one concentrate on these two girls as they experience directly the full force of imagination as it impinges upon their real personalities and lives. It is quite well done, with lots and lots of feels.


In this film, MS Yoshida argues the same points as J.R.R. Tolkien and C. K. Chesterton who were of the opinion that certain human problems could only be discussed in a highly mythological setting.

It is common today to be highly cynical and trollish about such things, and one argument that is made often is that a story is not “real”. This is actually a silly take on any story or work of art which by their very nature are entirely imaginary. Several years ago there was a fad in sculpture to make human statues out of poly chrome that were so lifelike and realistic. But as many artists themselves were quoted as asking, “What is the point of exactly reflecting reality in art? Does that ever truly say anything?”

Several thinkers have embraced this same point of view. C. K. Chesterton(1874-1936), Carl Jung(1875-1961), J. R. R. Tolkein(1892-1973), C. S. Lewis(1898-1963), Mircea Eliade(1907-1986), and Terry Pratchett(1948-2015) all shared in one form or another the belief that mythological stories were critical for human growth. Chesterton, Tolkein, and Eliade did so to support Roman Catholic Orthodoxy, Lewis for Protestant beliefs, and Jung for general mystical beliefs. While Pratchett shared many of the views of these others, he was decidedly non-orthodox and did not have an agenda in support of a specific Faith system. Instead he used many modern storytelling techniques, such as irony, satire, and humor to tell his fantastical tales.

Terry Pratchett made this exact claim explicit in his “Hogfather” where Death says, “No, humans need fantasy to be human, to be the place where the falling angel meets the rising ape…. Yes, justice, mercy, duty, that sort of thing….You need to believe in things that aren’t true, how else can they become?”

Press Red Arrow Above to Play

If you do not believe in human love, how is love to become?

Please do not pass on The House of the Lost on the Cape (岬のマヨイガ, Misaki no Mayoiga). You will have missed a work of subtle beauty and endearment, and of wonder and awe at the realization of profound artistic values.

Live well and thrive!


© 2022 Folwine P. Pywackett mox028.odt


If you are interested in this important distinction, the following is a further link into a much larger and more abstract discussion.

“Belief” is different than “Faith” and is more fundamental. “Faith” is the rigid adherence to fixed dogmas and formulas as they are expressed in various religious and political discussions. One “Faith” tradition conflicts and denies the validity of other “Faith” traditions. “Belief” is more foundational and underlies all systems of various conflicting “Faith” traditions. The distinction is itself foundational.

One might think of Belief as a set whose members are all other Faiths and their traditions, dogmas, and rituals.


by Edwin Markham(1852-1940)

HE DREW a circle that shut me out—
Heretic, rebel, a thing to flout.
But Love and I had the wit to win:
We drew a circle that took him in!

For a very detailed discussion of the Anime Aria and the function and need for “belief” please see

Akebi’s Sailor Uniform (明日ちゃんのセラ服)

SPOILER ALERT: Many spoilers follow, read at your own risk

Anime(2022) Series, Season 1, 12 Episodes, 24 minutes each

D: Miyuki Kuroki
W: Rino Yamazaki from manga by Hiro
M: Kana Utatane
STUDIO: CloverWorks

ANN 7.605
MAL 7.74
IMDB 7.3



Komichi Akebi (明日 小路, Akebi Komichi)

The Akebi family

Sato Akebi (明日 サト, Akebi Sato) Father
Yuwa Akebi (明日 ユワ, Akebi Yuwa) Mother
Kao Akebi (明日 花緒, Akebi Kao) Younger sister


See the Wikipedia entry for supporting characters




Akebi’s Sailor Uniform Official Trailer

Please Press Red Arrow

Akebi’s Sailor Uniform is most definitely an SoL (Slice of Life) / CGDCT (Cute Girls doing Cute Things) anime without any doubt.

There is literally no plot and no action. There is not even any angst or heavy drama. If you are a fan of “Non Non Biyori” or “YuruYuri” or “K-on”, then you will love Akebi who is the singular Main Character, where everything that happens centers around her.

Akebi’s mother went to Roubai Girls’ Academy and she wore the Sailor Uniform which has been very traditional in Japanese Middle Schools. Akebi wants to also wear the sailor uniform and so her mother makes her the uniform. But on her first day, she finds out that uniform has been replaced by more grown up suits so she is conspicuous and stands out for all to see. But the school administration allows her to wear the old style because it was at one time, an official Roubai uniform.

Roubai Girls’ Academy is a rather upscale, elite Middle School located out in the country where many of the best family’s send their daughters and many board in the school dorms.

Akebi’s class 1-3 has 16 girls including Akebi and most of the anime focuses on these girls. All 15 girls are given stunning and detail characters. Most of the anime is about Akebi’s adventures with all 15 of her homeroom girls. They are so finally drawn and brought to life that they seem so very real!

And yet, “Akebi’s Sailor Uniform” is not realism by any stretch. Akebi lives an ideal life, with a beautiful loving family, and she literally lives in a fairy-tale Gingerbread house! (What no dysfunctional family? Is that not against some modern rules?) Everything that does happen in this anime is good, really good, and wholesome enuf to twinkle the cockles of your heart.

Warm and fuzzy is the emo spread very thick, and its a wonderful feeling. “If only reality could be like this”. So the charge against the anime of being unrealistic is specious, and nonsense in the face of any anime itself which writes its own rule book on realism.

The first charge by critics is that this anime is Sol and very boring because there is no action. Well there is no accounting for taste. It is what it is. If this is you, then you will not enjoy “Akebi’s Sailor Uniform” and you should stay far away.

The second charge by critics is that of being unrealistic, a fairy-tale. Who doesn’t like fairy-tales? Well once again, if you want Noir and grit, you will not find any in “Akebi’s Sailor Uniform”. Everything in this anime is covered in pixie dust.

But the third charge is lewdness, that the sexuality of “Akibi’s Sailor Uniform” is obvious and unmistakable. This is an outrageous and preposterous charge. There is nothing lewd in “Akibi’s Sailor Uniform” which is one of the most wholesome stories in quite some time. I suppose for some critics, they have to object to something, and should two girls show caring, concern, and affection for each other then that is obviously lewd. This attitude is simply exasperating and is literally preposterous in the most egregious form possible.

Affection among human beings is not necessarily sexual. We have a name for special kinds of same-sex relationships in bromance/sormance, i.e. brother love, sister love. These are real relationships and they can resemble a Romance in intensity, but we distinguish them by using a similar name to Romance in using the “-mance” suffix ending. These kinds of relationships can be just as intense as a Romance, and sometimes even more so, but they are not sexual. As if all things about affection and love were nothing more than sex! Some people have sex on the brain, and filter their reality through some very dark lenses.

Now it certainly is obvious that “Akebi’s Sailor Uniform” does indeed have some voyeuristic elements in its art work. The frame of the story often likes to linger on certain scenes and subjects, such as girl’s feet or legs. This exists in the art work of the manga by Hiro. But we would hardly call this lewd in any sense of the imagination. The framing of the story also likes to linger on the gorgeous scenes of the bucolic countryside where Roubai Academy is located. This work is, after all is said and done, an SoL, slow moving story of 16 girls in Middle School all interacting with Akebi. Framing and lingering is what SoL does, it is almost required by the nature of a Slice of Life story.

And if you enjoy gorgeous artwork in your anime, then you will be fulfilled by “Akebi’s Sailor Uniform” where, as one pundit said, you could take just about every scene from this anime and mount it on your wall as a work of art. It really and truly is stunning, the artwork involved and on display by CloverWorks.

This is an excellent review of this wonderful anime,

Please press Red Arrow in Center

Live well and thrive!

If you enjoy Slice of Life anime, then “Akebi’s Sailor Uniform” is


© 2022 Folwine P. Pywackett mox027.odt