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Studio Ghibli reveals 8 things you didn’t know about ‘Spirited Away’
Ghibli indulged fans with a live Twitter Q&A session during a TV broadcast of the classic anime
Hayao Miyazaki’s ‘ Spirited Away ’ is one of the highest grossing anime films of all time and, thanks to its beautiful animations and fanciful premise, stands as one of Studio Ghibli ’s most popular films to date. If you’re a ‘Spirited Away’ fan, chances are you’ve scoured the internet for every secret and bit of trivia that was revealed in the decade since the film’s initial release. But do you really know everything there is to know about the Oscar-winning feature?
In a lengthy Q&A session conducted on Studio Ghibli’s official Japanese Twitter account on January 7, the studio’s staff indulged followers by responding to a few questions fans had been dying to get answers to. Even better, the account tweeted out production sketches and new artwork of some of the characters.
We’ve compiled a list of some of the most intriguing tidbits from the Q&A below, including confirmations of popular fan theories – and even a brand new update on what to expect at Ghibli Park .
No one knows exactly how long Chihiro was stuck in the spirit world
It seems this particular detail was left ambiguous both on-screen and off. Miyazaki’s right-hand man and Studio Ghibli producer Toshio Suzuki reckons it was about three days, based on the dust and leaves in and around her parents’ car. But it’s hard for anyone to know for certain – especially as the passage of time seems to change as one passes through the tunnel to the spirit world.
One location in the film was based on Yurakucho and Shinbashi
One fan asked about the inspiration behind the food stall where Chihiro’s parents sat down to eat at the beginning of the film. Rather than using one particular location as a model for the unmanned yatai (street stall), Miyazaki drew inspiration from the eateries and general atmosphere around Tokyo’s Yurakucho and Shinbashi districts.
A:湯屋の従業員は、男性はみんな蛙男、女性はナメクジ女です。これは、ジブリに入った新入社員にとっては、おじさんたちがみんな同じに見えるということの象徴だそうです。 リンは近しい先輩なので、人間に見えるのかもしれませんね。そういうこと、ありませんか？ pic.twitter.com/NYJh05qgU0 — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) January 7, 2022
Even the characters in the spirit world who look human probably aren’t
According to the studio, most of the male workers at the bathhouse are frogs while the female staff are actually slugs. The studio said this may be a reference to how the senior staff at Studio Ghibli initially all look the same to new hires. A character like Rin, who appears human to Chihiro, apparently only looks that way because she’s one of Chihiro’s direct seniors, so Chihiro can tell her apart from all the other bosses.
There’s a little No Face in all of us
Miyazaki reportedly created the characters of Chihiro, Yubaba and No Face to represent three different sides of a single person. No Face supposedly represents some of the darker personality traits we all struggle against, like obsession and greed. Apparently, No Face was named ‘No Face’ to emphasise that people are multifaceted beings who are more complex than you would know judging by just one single aspect of their character.
How did Chihiro know which pigs were actually her parents at the end of the film?
Ghibli wouldn’t give us a definite answer to this one. Instead, they pointed us in the direction of the 1971 children’s book ‘Krabat’ by Otfried Preussler. The fantasy tale is about love and black magic, and reportedly inspired the fateful test Chihiro had to pass to be reunited with her parents.
A:絵コンテには「ドラゴンボール風」と書いてありますね（笑） なぜ弾を打てたかは定かではありませんが、「湯婆婆は空中遊泳できるおばあさんなんです」と宮﨑さんは言っていました。 pic.twitter.com/6gATv69pwA — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) January 7, 2022
The scene where Yubaba blasts No Face was inspired by Dragon Ball
Looking back on it now, the director can’t recall why he made this choice, but when making the storyboard for the scene, Miyazaki specifically added a note saying ‘Dragon Ball style’. The point is, Yubaba may be a grandma, but she’s a super powerful granny who can also fly through the air.
おはようございます。 pic.twitter.com/Q0s88vq7wY — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) January 6, 2022
Chihiro and Haku could meet again
Unfortunately, that doesn’t mean a sequel is in the works, but seeing as Haku is actually the spirit of the river from near Chihiro’s childhood home, the two friends could be reunited if Chihiro revisits that same river one day.
Ghibli Park will have its very own ‘Spirited Away’ tunnel – but who knows where it will lead?
This is very exciting news for anyone collecting every bit of info about the upcoming Ghibli Park. Hayao Miyzaki’s son Goro, who is spearheading the large-scale theme park project, gave a chuckle when asked about the park and revealed that he is actually building a replica of the famous tunnel leading to the spirit world right now.
You can find the full Q&A on the Studio Ghibli Twitter account in Japanese. Unfortunately, the questions and answers aren’t in a single thread, so be prepared to scroll.
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The Folklore That Inspired Studio Ghibli’s ‘Spirited Away’
Real Stories is an ongoing column about the stories behind movies and TV shows. It’s that simple. This installment will focus on the folklore behind Spirited Away.
Studio Ghibli has produced several perfect films since its inception in 1985, but Spirited Away is arguably the most universally acclaimed. Hayao Miyazaki ’s celebration of Japanese culture and folklore explores coming-of-age themes through fantastical concepts. In doing so, the film tells a story that’s both profoundly human and utterly spellbinding. Furthermore, it’s all brought to life courtesy of some of the most enchanting hand-drawn animation you’re ever likely to see.
Spirited Away tells the story of Chihiro, a young girl who stumbles upon a seemingly abandoned amusement park. But this isn’t your ordinary vacation destination, more like a holiday resort for supernatural beings. After her parents turn into pigs, Chihiro finds herself trapped in a world of spirits and grotesque creatures. In order to get by in the new realm, she must find a job and prove that she isn’t lazy.
The premise of Spirited Away is similar to Western fairy tales like Alice in Wonderland and The Wizard of Oz , both of which are also coming-of-age tales about young girls who wind up in magical realms. Those influences are evident throughout the movie, but Spirited Away ‘s references to Japanese traditions are what makes it fascinating.
Miyazaki has discussed how he was inspired by superstitions and stories about spirits hiding everywhere. This belief is less common in the modern age, but the filmmaker has a fondness for the old ways. He finds beauty in them, as people from that period cherished things more. Reintroducing these ideas to contemporary popular culture was one of his intentions with Spirited Away .
“In my grandparents’ time, it was believed that kami existed everywhere — in trees, rivers, insects, wells, anything. My generation does not believe this, but I like the idea that we should all treasure everything because spirits might exist there, and we should treasure everything because there is a kind of life to everything.”
Spirited Away delves into the concept of kamikakushi. This entails humans abducted by the gods and taken to the spirit world. Some superstitious folks have even cited this legend as the reason why so many children have disappeared throughout the years. In some cases, it helps families cope with loss and grief that stems from such incidents. The notion of a god taking their loved ones is less grim than the more realistic alternatives.
That said, kamikakushi isn’t always associated with negativity. While many folktales detail how people returned years later, often dead or changed for the worse, some of them feature humans becoming social beings in the spirit world. It’s possible for people to enter on their own accord because they need an escape for whatever reason.
Spirited Away is a more positive take on the spirit world. It’s key to the protagonist’s self-discovery. The lessons she learns there help her forge an identity and come to terms with her problems. She’s an example of someone who enters the other realm because she fears change and comes out better for it. Stories like this do make up some of the kamikakushi lore, but the unhappy ones are more common.
In the movie, Chihiro enters the other world through a tunnel. This is also based on traditional beliefs. Tunnels, bridges, mountains, and crossroads are often viewed as gateways between this world and the spirit realm. It’s this type of attention to detail that goes a long way in the movie.
Spirited Away ’s bathhouse setting also has ties to Japan’s spiritual and religious history. In old Shinto solstice rituals, villagers invited their guardian spirits to bathe with them. The reason behind this was to ward off more nefarious supernatural beings. The bathhouse in the movie boasts an assortment of mystical characters, which is a nice ode to the gods and ghosts who have entered these locales in the past.
Most of the deities and other entities in the bathhouse are based on real gods and creatures. The most interesting character, however, is Yubaba, who is reminiscent of a yamauba mountain witch. She’s just a more toned-down version, though. In the movie, Yubaba is depicted as an unflattering old woman who can turn humans into animals. She also dotes over a giant baby, indicating that she has a nurturing nature as well. This is pretty accurate.
According to the legend, these old hags turn people into animals and eat them. But they’re also prominent birth givers with motherly instincts. The witches are said to give birth up to twelve times per year, subsequently raising their kids to become great warriors with super strength. Despite their monstrous tendencies, the witches are very kind to their families and those who deserve to be rewarded.
In the movie, Miyazaki reimagines most of the traditional lore for the sake of family-friendly entertainment. At the end of the day, Spirited Away is a work of wholly original imagination that deserves to be acknowledged as such. But the film wears its cultural influences on its sleeve, inviting viewers to learn more about them in the process.
Related Topics: Hayao Miyazaki , Real Stories , Spirited Away , Studio Ghibli
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The Ending Of Spirited Away Explained
It's fair to say that most adults, at least in the first world, probably feel they lived relatively safe childhoods. At least that's what many of them might say. But just because adults don't consider the dangers of childhood very threatening doesn't mean childhood isn't rife with risk. The world is a scary place, even for the children that adults protect with all of their strength.
Hands down, there are less than a handful of filmmakers who capture the danger and fear of childhood in their films. Perhaps the most notable of them is Studio Ghibli director Hayao Miyazaki, a man who has made his fair share of wondrous and fearful children's movies over the years . The mainstream world came to recognize his talent for making these uniquely symbolic kids' movies in the 1990s and 2000s, with his reputation truly cementing itself following the Academy Award won by his film "Spirited Away" at the 2003 Oscars (via BBC ).
"Spirited Away" follows 10-year old Chihiro, a bitter and dejected girl in the midst of her family's relocation to a neighborhood far away from the one she knows. When her parents take a detour to an abandoned amusement park, Chihiro and her family are transported to the spirit realm before the latter are transformed into pigs. Stranded in the foreign world of the supernatural, Chihiro finds her only chance at returning home is to seek help at a nearby bathhouse.
To get her parents back, Chihiro must conquer the adult world
One thing about Ghibli movies is that there's never really one unifying moral or theme to take from the story. Not everything lines up perfectly to share a concise message. This is not to call it unfocused, but rather more concerned with causing a certain feeling in viewers. In "Spirited Away," that feeling is what it's like to be a young child in a strange, foreign, and ultimately adult world characterized by excess and greed.
For instance, upon their entry into the Spirit World, Chihiro's parents are turned into pigs after overindulging at a nearby food stand. Chihiro is subsequently forced to take on adult roles, landing a job at the nearby bathhouse at the cost of her full name. Now known as Sen, she is employed to cater to the needs of the bathhouse's insatiable guests. It is the farthest thing from a child-friendly environment there is.
Sen only escapes the Spirit World and regains her name by conquering her fear of the adult world. When she journeys to return a special golden seal to the witch Zeniba, she discovers something unexpected. Rather than another bitter old hag like Yubaba (Zeniba's twin who runs the bathhouse), Zeniba is more of a kindly grandmother, offering insight to the frightened Sen that shatters the conception that adulthood is just materialism. With newfound resolve and optimism, Sen is able to pass Yubaba's final test and return home with her parents.
It's also about recontextualizing one's past
In Studio Ghibli parlance, childhood is a time of freedom. The world is open, optimistic, and unrestrained. However, Chihiro embodies none of those characteristics at the start of the film. She is distraught at the idea of moving away, though her parents see it as an opportunity for her. Part of "Spirited Away" is about Chihiro realizing this herself. Compared to her time in the bathhouse, moving away becomes much more manageable and she ends the film with a more optimistic outlook on it.
This idea of recontextualizing the past is hammered home by another character named Haku. Originally introduced as Chihiro's first ally in the Spirit World, Haku seems to have a darker side to him as he knowingly follows the dastardly orders of Yubaba on occasion. This perception shatters, however, when Chihiro discovers that Haku is actually bound by a spell to do Yubaba's bidding. Like Chihiro, he too has lost part of his name and is stranded in the bathhouse.
Haku's freedom is granted when Chihiro breaks the spell midway through the film. He is further emancipated when Chihiro remembers something sudden and coincidental. Haku is the spirit of the Kohaku River, a being who once saved Chihiro when she fell into the river years prior. The river had since been destroyed, leaving Haku homeless and stranded. For both Chihiro and Haku, an understanding of the self and a reevaluation of the past is key in escaping the bathhouse.
Spirited Away Ending Explained: On Earth As It Is In Ghibli
Like any other movie, the first impression of Hayao Miyazaki's "Spirited Away" comes from its title, which, in this case, is the simplified English version of the original Japanese title Sen to Chihiro no Kamikakushi . "Sen" and "Chihiro" refer to the two given names of the film's young protagonist — emphasis on "given," since her parents and boss hand them to her with her fate from moment to moment.
The movie becomes a bathhouse crucible for forging Chihiro's character: instilling the value of hard work and the perils of greed and forgetting oneself in the struggle to make ends meet or achieve financial success. "Sen," in fact, is the Japanese word for "thousand," with the lowest denomination of bills in Japanese currency being the 1,000-yen note.
At the same time, work is a means to an end; its broader purpose serves to help Chihiro grow up and acquire the skills and life experience necessary to make her own way in the world. That it's a kami or "spirit" world is incidental. Strip away all the colorful creatures, and "Spirited Away" and its bathhouse (inspired by a real onsen on Shikoku) looks very much like a microcosm of the real world.
The title's other key word, kamikakushi , links Chihiro's story to legends in Japanese folklore where a person might disappear or die, thereby being "spirited away," if their actions or attitude put them in disfavor with the gods. The spoiled child Chihiro signs a contract with the sorceress Yubaba and enters indentured servitude in the bathhouse to learn a life lesson.
Sen to Chihiro no Kamikakushi might be a mouthful if you don't speak Japanese, but it gives a fuller picture of what "Spirited Away" and its ending are all about. Spoilers follow.
Alone with No-Face
Miyazaki has said that, for him, what "constitutes the end of ['Spirited Away'] is the scene in which Chihiro takes the train all by herself." Technically, she's not alone, as she's sitting next to No-Face, the uninvited bathhouse customer who became a monster, eating everything and everyone in his path.
At one point in "Spirited Away," No-Face is described as "the richest man in the whole wide world." He takes more bath tokens than he needs, and the bathhouse workers clamor for his gold, while Yubaba observes of them, "Your greed attracted quite a guest."
No-Face represents the insatiable hunger of capitalism, a concept introduced early in the film when Chihiro and her parents first arrive in the spirit realm on the other side of a mysterious, temple-like gate. "It's an abandoned theme park," her father declares of the world inside the gate. "They built lots of them back in the nineties. But then they went bust when the economy tanked."
This is a reference to the economic bubble bursting in Japan in 1992, less than a decade before Miyazaki and Studio Ghibli made "Spirited Away." In the first of its 12-part "Defining the Hesei Era" series, The Japan Times summed up the bubble era with a single word: excess. It was a time when consumerism ran rampant and people, as Miyazaki put it , "turned into pigs."
"Spirited Away" literalizes this transformation with Chihiro's parents, as her father follows his nose to an unattended restaurant and immediately begins filling his plate and gorging himself on food. "Don't worry, your father's here," he tells Chihiro. "I've got credit cards and cash." As if that will solve everything. For her part, Chihiro rejects No-Face and his offers of gold, telling him, "You can't give me what I want."
Free the dragon
Also on the train with Chihiro and No-Face (who is only tagging along and has regurgitated everything he's eaten by now) is the mouse form of Bo, an overgrown "butterball" of a baby who was previously afraid that contact with the outside world would make him sick. Before Yubaba's twin sister, Zenibaba, turned Bo into a mouse, he only wanted Chihiro to stay in his room and play with him under comfy cushions.
In the same way that Chihiro clung to her mother's arm, not wanting to be left alone outside the tunnel at the beginning of "Spirited Away," Bo now clings to Chihiro. He can be seen as her hyper-infantilized foil as she becomes more mature and self-sufficient, determined to deal with important worldly affairs like saving her "dragon boyfriend" Haku.
This is what sends Chihiro and company on the train to Swamp Bottom in the third act of "Spirited Away." She's come a long way from when we first met her, lounging in the backseat of her parents' car, completely at the mercy of her father's driving. Now, she's the one leading the mission to return a hanko stamp that Haku stole from Zeniba while he was under Yubaba's control.
Haku shows up in his dragon form and gives Chihiro a ride back to the bathhouse. On the way, she recalls a forgotten childhood incident her mother told her about: "Once when I was little, I fell in a river. Now it's built over. It flows underground."
This harkens back to what Zenibaba said about how "everything that happens stays inside of you even if you can't remember it." The river's name, Chihiro realizes, was Kohaku; it is Haku's real name and holds the power to free him from Yubaba's service.
'Wait, what do I do...?'
By the end of "Spirited Away," even Bo has learned to stand on his own two feet, much to Yubaba's surprise. Chihiro, meanwhile, has come of age, or perhaps just looked within to find the old soul she always possessed.
She was initially afraid to be abandoned by her parents, and in their absence, she soon latched onto Haku and relied on him to be her guide. He helped keep her from fading away when she turned intangible and was in danger of becoming a ghost. He hid her in the hydrangeas outside the bathhouse and sent her down to the lowest levels, where she met her first job reference, the six-armed Kamaji, a self-described "slave to the boilers."
Kamaji has a legion of susuwatari , or soot sprites, serving him. They carry coal for the furnace over their heads, and when Chihiro picks up a smooshed piece, she's left stuck holding it. "Wait, what do I do with this?" she asks.
It's a moment that evokes the uncertainty of being thrust into any new job or unfamiliar set of surroundings, left to sink or swim without knowing how it all works. Chihiro does have help; there's also her senpai Lin, who calls her a klutz and schools her in the ways of sir and ma'am, please and thank you. But at a certain point, Chihiro has to fend for herself and learn responsibility through grunt work, like preparing the bath for a stink spirit, which turns out to be a polluted river guardian.
Many of us go through a similar journey to adulthood (minus the stink spirit) as we strike out on our own, start paying bills independently, and maybe come to appreciate more what our parents went through to provide for us.
'It will be hard work'
At the 2001 European premiere of "Spirited Away," Miyazaki spoke of resisting logic in his creative process, instead digging "deep into the well of [his] subconscious" to conjure an imaginative animated world. This involved storyboarding before the script was finalized and then letting the plot and characters develop on their own, leading him to a conclusion that was not pre-planned, though certain elements of it — like the featureless seascape outside the train, which keeps the focus on Chihiro's first interior ride "alone" — fell into place perfectly, as if the intent was there all along.
Like the tenacious Miyazaki , Chihiro learns to trust her intuition, which allows her to recognize that none of the pigs are her parents when Yubaba presents her with a lineup of them as a final test. The ending of "Spirited Away" and indeed the whole cinematic experience of it engages the viewer on a similar level, allowing them to retroactively derive meaning from parts of this strange, phantasmagorical narrative, the way Miyazaki himself did.
This is not a movie of one idea, but many, such that it can support different interpretations or just be enjoyed as a fantasy steeped in Japanese folklore. As alluded, "Spirited Away" also touches on environmental concerns, but there's enough in it to support the argument that this is a movie about finding or rediscovering and retaining one's identity amid distractions and duties — which could apply to school just as much as work.
Neither of those things are the be-all, end-all of existence, but they both give purpose. "It will be hard work," Haku warns Chihiro, "but you'll be able to stay here," and he could just as easily be preparing a child for their time on earth as opposed to the spirit realm.
Warning: the wiki content may contain spoilers!
- Spirited Away characters
- Supporting characters
- View history
Lin , also known by her Japanese name Rin , is a Yuna worker in Spirited Away . She is a servant in Yubaba 's Bathhouse in the Spirit Realm . She becomes Chihiro Ogino 's caretaker when the latter (as Sen) is assigned to her as an assistant, and helps her several times during the course of the film.
- 3 Appearance
- 4 Personality
- 6 References
- 7 Navigation
Lin entering the boiler room.
Lin is first seen coming through a small door in the Boiler Room of the Bathhouse with a basket full of small, star-shaped treats ( Kompeitō ) to feed Kamajī 's soot workers . She soon spots Chihiro and yells at her, stating she is the human everyone is looking for. Kamaji then lies, telling her Chihiro is his granddaughter, and asks Lin if she can take her to see Yubaba to get a job. Lin immediately demurs, saying she is not going to risk her life. However, Kamaji bribes her with a roasted newt which she hesitantly swipes from his hand. Lin then takes Chihiro with her, getting angry at her lack of manners and calling her a dope.
After Lin taunts the frog worker she eats the roasted newt.
Lin and Chihiro walk down the corridor and make their way to the first elevator; Chihiro sticks her face near the wall as they are ascending, and Lin coldly asks her if she wants to lose her nose. Once they are at the top, Lin and Chihiro quickly make their way to the next elevator, trying not to be seen by the other customers and workers. When they are going up, Lin reassuringly states that they are halfway there and for her to stay close. When they reach the top, the door opens on the Radish Spirit whom Lin greets with a fake smile, telling him that the elevator does not go any higher, and that he will have to use another one. Lin and Chihiro step out and make their way to the second elevator, trying to avoid the Radish Spirit slowly following behind. Lin tells Chihiro not to look at him, and they eventually make their way to the second elevator where they stand waiting. Once the door opens, several spirit customers and a frog worker exit the elevator and Chihiro and the Radish Spirit get in; the worker then sniffs the air and turns to Lin, telling her she smells just like a human. Lin then pulls out the roasted newt and asks him if that is what he smells. She teases him with it to stall for time, telling Chihiro to pull the lever to go up. Once the elevator closes, Lin shoves the roasted newt into her mouth, leaving the frog worker disappointed.
Lin gets Chihiro as her assistant.
After Yubaba finally agrees to put Chihiro to work under the name of Sen, Haku assigns her to Lin, stating that she did request an assistant. Although Lin seems annoyed by the supposed burden, once she and Chihiro are alone, she states joyfully that she cannot believe Chihiro pulled it off and that she was really worried. She then tells Chihiro to keep on her toes and to ask her if she needs anything. Lin finds Chihiro some new clothing; while she does so, Chihiro asks about Haku, and Lin states that he is the henchman of Yubaba, and not to trust him. Chihiro then begins to feel sick and kneels over, and Lin bends down and tenderly rubs her back.
Lin orders Chihiro to clean up.
Lin is seen the next day with Chihiro. Upon seeing how new Chihiro is to working in the bathhouse, Lin asks her if she has ever worked a day in her life. A frog worker then assigns Lin and Chihiro to wash the "big tub," much to her dismay. When they arrive, Lin comments that they have not cleaned it in months. After they have started cleaning, they are notified that a customer is on its way, and Lin angrily states that they are clearly being harassed. She then asks Chihiro to get an herbal soak token from the Foreman so they can soak the tub. When she comes back with the token, Lin shows her how to work the water in the tub and heads off to get them some breakfast. Lin is then seen as the polluted River Spirit crosses in front of her, causing the bowls of rice she is holding to rot instantly.
Lin's rice bowls rotting.
When Chihiro has the River Spirit in the bath and the water is flowing, Lin appears and tells Chihiro to stay where she is, and that she will not let the spirit hurt her. Chihiro tells her she thinks the spirit has a thorn in his side, and Lin rushes up to help her, tying a rope around the object. She and the rest of the staff then work together to pull the objects out of the spirit, thereby cleaning the river of its pollutants.
The next day, Lin comes up the stairs to wake Chihiro and excitedly tells her that a rich new customer has arrived at the bathhouse and is giving gold away by the handful, showing her a gold nugget from her pocket. When Chihiro asks who the customer is, Lin responds with ‘Oh, who cares?” She also tells her to stop worrying about Haku when Chihiro announces that she is going to look for him and urges her to get some more gold with her.
Later, Lin enters the boiler room after Haku is injured stealing Zeniba’s gold seal for Yubaba. She is relieved to find Chihiro there, saying that she had been looking everywhere for her. She is shocked both at the state of the boiler room and at the presence of Boh the baby and Yubaba’s bird, both having been turned into a mouse and fly, respectively, by Zeniba. Lin then tells Chihiro that Yubaba is furious with her. When Chihiro is confused, Lin explains that the ‘man with the gold’ turned out to be a monster called No-Face who says that Chihiro was the one who let him into the bathhouse. When Chihiro admits that this is the truth, Lin is appalled, asking, ‘Are you serious?!’ When Kamaji gives Chihiro train tickets to Swamp Bottom and Chihiro reassures the unconscious Haku that she will be back soon, Lin asks the boiler man, ‘What’s going on?’ He replies simply, ‘Something you wouldn’t recognise. It’s called love.’
Lin then rows Chihiro from the bathhouse to the train station . When No-Face follows Chihiro to the station, Lin yells at him that he ‘will be in big trouble if he lays one scratch on that girl’. She is last seen when Yubaba gives Chihiro the test that will determine whether she and her parents can return to the human world. She is delighted as the rest of the bathhouse workers when Chihiro passes the test, yelling ‘Atta girl!’ as Chihiro bids her spirit friends farewell.
Species [ ]
Lin is portrayed as a human being in the film. In the Japanese picture book ( The Art of Spirited Away in English) Lin is described as a byakko (Japanese: 白虎), a white tiger, in the draft, which was later changed to byakko (Japanese: 白狐) meaning white fox.. In the English picture book "byakko" is translated as (Chinese) weasel. 
Appearance [ ]
Lin has chocolate brown eyes, straight chocolate brown hair with short bangs parted in the middle and long side strands of hair on both sides of her head. The length of her hair goes past her waist, and the end is tied with a carnation pink ribbon. She wears a standard salmon colored jinbei uniform with a sunshine yellow undershirt and turquoise blue apron that most of the female staff wear and is barefoot.
Personality [ ]
Lin is very strong-hearted, stubborn and occasionally bossy. Although she has a good heart and cares for Chihiro, she is quick to go on the defensive, and her attitude and words are often sarcastic. She is also very protective, as she hides Chihiro when sneaking her to the top floor to see Yubaba, and also comforts Chihiro while attempting to cure the River Spirit by telling Chihiro she won't let him hurt her.
But she is not always cooperative. Kamajī has to give her a roasted newt to change her mind about accompanying Chihiro to Yubaba . Later on, she uses the newt to sidetrack one of her co-workers from Chihiro's human smell. When Chihiro gets a job in the Bathhouse, she is totally happy about it.
"Two Hakus?! I can barely stand one!" —Lin
- “Chow time.”
- "Where's your other bowl?"
- “From yesterday?”
- "I keep telling you to leave it out, Kamaji ."
- "You're in trouble!"
- "You're the one everyone's looking for!"
- "I'm not going to risk my life!"
- "Give me that!"
- "Okay, little girl, you better come with me."
- "Thank the Boiler Man, you idiot."
- "You know he's sticking his neck out for you."
- "You want to lose your nose?"
- "The Radish Spirit."
- "This is clearly harassment."
- "Leave me alone."
- "Those jerks."
- "They haven't cleaned this tub in months."
- "Hey, that's frog work."
- "Gee, Sen , haven’t you ever worked a day in your life?"
- "There’s blood everywhere."
- " Yubaba is furious."
- "The man with the gold turned out to be a monster called No-Face, and he says that you let him into the bathhouse."
- "It's the new girl."
- "What about him?"
- "Two Hakus?"
- "I can barely stand one."
- "Here's your apron."
- "You’ll have to wash it yourself."
- "Your pants."
- "You're so puny."
- "Way too big."
- "Our food!"
- "Sen, where are you?"
- " He 's a monster."
- "He's already eaten three people."
- "Can't you manage a "yes, ma'am" or a "thank you"?"
- "What a dope."
- "You're such a dope."
- "You don't need your socks or your shoes."
- "An herbal soak token."
- "It goes straight to Kamaji, and he sends us our water."
- "Dried worm salts."
- "They're supposed to be good for you."
- "You're going to be fine."
- "I won’t let him hurt you."
- "I've got to get out of this place."
- "Someday, I'm getting on that train."
- "He just disappears sometimes."
- "It's real gold."
- "Hey, there they are!"
- "She doesn't feel so good.”
References [ ]
- ↑ 1.0 1.1 The Art of Spirited Away (Japanese), page 120
Navigation [ ]
- 3 The Boy and the Heron
Spirited Away: The Many Faces of No-Face
Spirited Away , Hayao Miyazaki’s fantastical tale about a girl named Chihiro who finds herself transported to the Spirit Realm , is hands down Studio Ghibli’s most successful film. In fact, it is the highest-grossing film of all-time in Japan , and it’s easy to see why. The film not only offers us a much-needed break from life’s everyday stressors, it also presents us with a colorful cast of memorable characters. From frog attendants to stink spirits to a bird with the head of an old woman, there’s no shortage of unique characters to take in.
But no doubt the character that leaves the biggest impression on viewers is the sullen and silent No-Face , the enigmatic tube-shaped spirit with a Noh mask as a face. Despite No-Face’s limited screen time, he manages to steal every scene he’s in. We can’t help but wonder who or what No-Face might be or might have been –a spirit, a human, or something else entirely? Miyazaki has remained mum on the subject for years, which means it’s up to us to solve this mystery. With Spirited Away now available on Max, alongside the rest of the Ghibli library , we’ve decided it’s time to put a face to the figure behind the mask by dissecting No-Face’s various appearances throughout the film.
Relic of the Past
When people think of No-Face, the first thing that likely comes to mind is his trademark white mask. But this mask serves as more than just a fashion statement. It’s also a symbol of an enduring Japanese performing art called Noh . In this traditional Japanese stage drama, the main performer wears a Noh mask, much like the one No-Face dons himself. Like No-Face’s mask, the ones worn by Noh performers bear neutral expressions. However, you’d be wrong to assume that their purpose is to conceal the actor’s emotions or face from the audience. In fact, they’re meant to do quite the opposite. Noh masks stoke the audience’s imagination, allowing them to infer meaning and emotion based on how the actor moves and tilts the mask .
Now, No-Face might not be putting on a one-man show in the bathhouse , but the way he moves and is positioned allows us to envision what he must feel like at any given moment. For instance, it’s easy to see that No-Face is lonely from the moment we first meet him on the bridge. He stands alone and stares blankly as Chihiro passes him by. We have no idea how long he’s been there, but with the way people ignore him, you’d think he was some old stone relic from a bygone era.
While we don’t believe that No-Face is literally a Noh performer, we do believe that he may represent a longing for the past. It’s no secret that Spirited Away (and most Ghibli films for that matter) seeks to highlight the nostalgia we have for the past, and No-Face is no exception. He stands on the middle of the bridge, nearly transparent. As viewers we get the feeling that he could fade away at moment, never to be seen again. We can’t help but wonder if he’s meant to represent this dying art form’s struggle to survive in the modern day.
The Legend of No-Face
But there’s another historical aspect to No-Face, this one steeped in myth. There is a Japanese legend about a creature called the Noppera-Bo , or the faceless ghost. These mischievous spirits take delight in frightening humans, particularly by appearing as someone they know to draw them in and then erasing their face to give them a scare. Miyazaki, however, flips this tale on its head by having No-Face take on the traits of someone he thinks his victim would like. He also possesses the ability to anticipate a person’s desires and to create objects to fulfill their needs, like when No-Face showers Chihiro’s greedy coworkers with gold. Later in the film, he even gives everyone a fright when he reveals the monstrous mouth–in other words, his true form–hidden beneath his mask.
When you take this and the idea of No-Face representing a bygone pastime, it’s easy to come to the conclusion that he is, indeed, a spirit. He’s literally in the Spirit Realm and Yubaba even calls him a spirit while chastising her staff for accepting his offerings. But as the film constantly reminds us, looks can be deceiving and sometimes a spade is actually a joker. Sure, No-Face appears to reside in a world of spirits, but he doesn’t seem at home there. None of the other spirits take notice of his presence until he starts showering the staff with gold. Not to mention, when Haku tells Chihiro to hold her breath as she crosses the bridge–an act meant to keep the spirits from detecting her–No-Face notices her well before she takes her first breath. Either he’s not beholden to the rules of normal spirits or he’s not a spirit all.
Putting the Away in Spirited Away
Not long after her parents are turned into pigs, Chihiro finds that she is literally fading away. If not for Haku’s quick thinking, she would’ve disappeared entirely. No-Face, curiously enough, exists in a similar state. The semi-transparent entity seems to fade in and out of locations at will–until you realize that he’s the only “spirit” in the film capable of this feat. It makes you wonder if he belongs in the Spirit Realm at all.
When we first meet the ever-sheer No-Face, he stands on the bridge that leads to the bathhouse. But this is no ordinary bridge. No-Face is shown on this bridge not once, but twice, because it represents the link between the human world and the Spirit Realm. In other words, the bridge between life and death. Don’t forget, Chihiro’s adventure in the Spirit Realm didn’t truly begin until she crossed the bridge to seek out employment under Yubaba.
Like Chihiro, No-Face may also be trapped in some weird purgatory where he’s not quite dead and not quite alive. Except in his case, when he began to fade away, no one was there to help him regain his solid form.
Making The Case for Humanity
But what could that form be? Well, aside from being bipedal, we see that No-Face is able to create arms and legs that resemble our own and can even leave behind footprints. Later in the film, when his true mouth is revealed (not the one painted on the mask), there isn’t a fang in sight. Not what you’d expect from an entity with such a carnivorous appetite. In fact, No-Face’s teeth have the omnivorous look of a human’s (though he could use a trip to the dentist). All of No-Faces’ defining features are human, albeit distorted.
This could explain why Chihiro catches No-Face’s eye and why he was the only one able to detect her on the bridge. We can only assume that he’d been standing there for some time, waiting on another human to get trapped in the Spirit Realm along with him, longing for that human connection. No-Face spends the rest of the film trying to win Chihiro’s favor. He gives her extra bath essences to combat the stink spirit and tries to win her over with riches beyond her imagination. However, his attempts to win Chihiro over with material possessions backfires every time. After all, Chihiro isn’t there to get rich, but to reunite with her family. And as much as No-Face seems to possess human traits, he doesn’t seem to understand human attachments (or Maslow’s hierarchy of needs, for that matter.)
The Child Inside
In a sense, No-Face navigates the world like a child. He seeks approval and praise from everyone, but most importantly from Chihiro, who in all actuality could be his peer. He also changes his values to match those around him and mimics those he encounters, a survival tactic employed on the playground to this day. He even goes so far as to swallow the spirits working in the bathhouse to embody their traits. This allows No-Face to speak, grow taller and take on new personas–much like a child playing dress up.
It’s also a sad attempt to fill the void No-Face feels inside. Children often don’t know how to handle tough situations like being the odd one out. In their overzealousness to prove themselves worthy, they sometimes rub people the wrong way by doing things like trying to force friendships or pretending to be something that they’re not to gain approval and popularity. No-Face truly embodies the latter when he parades around the bathhouse like a mad king, eating to his heart’s content and creating gold out of thin air. He finally receives the attention and praise he longed for–not for who he truly is, but for the mask that he’s slapped on. It’s a hollow kind of praise that does nothing to cure the loneliness in his heart.
So it’s no wonder No-Face loses his mind when he encounters Chihiro yet again–though this time he’s reached the top of the social pecking order–and she turns down his gold. This major snub sends No-Face on a rampage where he devours two more staff members, causing a panic in the bathhouse. Essentially, he threw a tantrum on par with a toddler who’s toys have been taken away. If we continue with our theory of No-Face being a child, then this response makes sense. Left to his own devices for who-knows-how-long, No-Face never received the corrective discipline and nurturing we all need to properly develop meaningful relationships with others. So he watches, and tries to learn on the fly, which leads him to presume that bonds are formed through material possessions.
The only person who can calm No-Face is Chihiro, and she does it not by giving him what he wants but what he needs, which is tough love. She shoots down his offers of food and wealth, and makes it clear that he can’t give her what she desires. No-Face can duplicate all manners of things, but not love.
Chihiro also treats No-Face like a child, asking him where his home is and inquiring about his parents. The same questions you might ask a lost child seen wandering alone in a parking lot. Further taking on the caretaker role, Chihiro gives No-Face a special medicine to help cure him of the monster he’s become. The medicine causes him to have an even bigger meltdown than before. He chases Chihiro through the bathhouse, but by the time he catches up to her, he’s gotten everything out of his system–both literally and figuratively. The medicine’s done its job.
The Dutiful Child
With his body once again empty, No-Face reverts back to his initial form. He’s again unable to speak, but now follows Chihiro around like a dutiful child. When Chihiro travels to see Zeniba to find a way to save Haku, No-Face accompanies her without question. Once on the train, Chihiro even tells him to behave himself, as if he’s prone to mischief.
The whole time he walks silently behind her with his back arched in a way that resembles a child who’s just learned the true meaning of consequences. When he meets the elderly Zeniba, he acts shy and subservient, and once inside Zeniba’s house, he’s on his best behavior, eating and drinking a modest amount and even using utensils. After all, once a kid’s gotten in trouble the last thing they want is to be punished again. At least, not so soon.
It’s clear that he’s still seeking approval, but his approach has changed. Instead of forcing himself on others or trying to anticipate their needs, both actions fueled by selfishness, he tries to show that he’s compassionate by being considerate of others (he even helps Zeniba with her sewing). By the end of Chihiro’s stay, he’s practically adopted by Zeniba, who asks him to stay on as her helper. On the surface, it appears that No-Face has finally gained a purpose, but in actuality, he’s gained a family. And with that our lovable orphan gains a guardian and cures his loneliness.
Two Sides of the Same Coin
There’s one final aspect of No-Face we’ve yet to explore–the way he mirrors Chihiro. Drawing on the Noh tradition, if we’re to see No-Face as a blank slate meant to highlight the emotional response of the person who views him, then it stands to reason that he could’ve been showing Chihiro a version of herself. Perhaps, the girl she could have become if she continued on her spoiled path or succumbed to gluttony and greed like her parents.
In that sense, maybe No-Face’s entire purpose was to teach Chihiro a lesson and get her back on the right path. That could explain why he was only interested in her and tried so hard to win her over with material possessions. It could’ve all been a part of a test. It’s clear from the film that Chihiro, who started out as an arrogant brat, was spirited away to teach her to be a better person in the real world. There’s no better way to do that then to hold a mirror up to herself.
Let’s not forget that Chihiro, like No-Face, is also lonely. Her parents were turned into pigs, after all. And she was getting ready to start a new school where she didn’t know anyone–just as No-Face finds himself in a bathhouse without a single friend in sight. When No-Face throws the world’s biggest tantrum and Chihiro calms him down using the medicine, you could say that she was, in fact, calming her own nerves. It’s only then that she’s able to find No-Face a forever home and save her parents. In that sense, the whole film’s actually about Chihiro’s struggle to overcome herself, the resentful monster growing within her.
What Will Your Reflection Show?
If No-Face truly is a blank slate that reflects our impressions and expectations, then perhaps he appears differently to everyone, including to each one of us. A parent or older sibling might see No-Face as a child. A little girl might see him as a ghost and another might see his wide mouth and declare him a monster. Still, others might view him as timid and shy or even mischievous. Perhaps that’s the point, and why Miyazaki won’t say one way or the other.
In the Noh tradition, the main performer becomes the mask. When they wear it they can embody any age, gender, or social class. They can become anyone. They can become us. Perhaps that’s what No-Face is meant to be, a reflection of the most vulnerable parts of ourselves.
This is an updated version of an article first published June 5, 2020.
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Once upon a time in a realm not so distant, there lived a wizard of the silver screen named Hayao Miyazaki, whose magical touch illuminated the often obscure territory of animation. As one of the founders of the renowned Studio Ghibli, Miyazaki was a radiant beacon in the enigmatic forest of animation, enlightening and captivating audiences across generations with the intricate maze of his fantastical realities. Miyazaki’s wizardry is encapsulated in his talent for intertwining themes of folklore, environmentalism, feminism, and coming-of-age into elaborate mosaics that stimulate the mind as much as they dazzle the eyes. He paints a cosmos where ancestral spirits inhabit contemporary bathhouses, where castles meander across the heavens, and where World War I flying aces can be, of all things, pigs. Under Miyazaki’s enchantment, Studio Ghibli has been a dream machine for more than three decades. It is a dominion where the commonplace melds with the mystical, where the ostensibly mundane brims with remarkable potency. Miyazaki’s cinematic offerings whisper to us that magic lurks in every hidden corner of our reality, awaiting revelation.
Within this enchanted kingdom, a profound respect for nature beats like a heart. This adoration for the natural world is palpably portrayed in the vibrant, living landscapes of films such as “Princess Mononoke” and “My Neighbor Totoro”. Within these panoramas dwell ancient forest entities, river divinities, and animal deities — poignant symbols of the intricate bond between humanity and nature. Miyazaki doesn’t just create enthralling landscapes and compelling characters; his magic also infiltrates the narrative web he spins. Each film is an odyssey of self-discovery and personal evolution. For instance, in the mesmerising “Spirited Away”, young Chihiro traverses a surreal universe, gradually shedding her inhibitions to metamorphose into a poised, independent individual. These transformative narratives serve as potent reminders of the dormant magic within us, awakened only by the challenges we face. The worlds conceived by Miyazaki and Studio Ghibli expertly blend the extraordinary with the believable, crafting a surreal realism that leaves audiences spellbound. The meticulous attention to detail is nothing short of magical, whether it’s the effervescent lights of the spirit realm in “Spirited Away”, the complex machinery of “Castle in the Sky”, or the quaint European architecture in “Kiki’s Delivery Service”. But Miyazaki’s enchantment isn’t all about grand adventures and mythical creatures. His narratives also celebrate the mundane magic of everyday life. He delicately infuses ordinary moments with a sense of beauty and awe, reminding us that magic is not always about breathtaking journeys or legendary beasts but can also be found in simple joys and acts of kindness. Themes of flight often punctuate Miyazaki’s narratives, symbolising freedom and the boundless potential of the human spirit. This motif, from Nausicaä’s glider in “Nausicaä of the Valley of the Wind” to the airborne castle in “Howl’s Moving Castle”, serves as a vivid testament to the human aspiration to transcend limitations and reach for the stars. The soundscapes of Studio Ghibli, predominantly scored by Joe Hisaishi, are the final magical elements that complete these animated epics. Hisaishi’s music communicates directly with the heart, augmenting the emotional resonance of each scene. Much like Miyazaki’s stories, these melodies linger in the memory long after the film ends, keeping the magic alive. In the world crafted by Studio Ghibli and Hayao Miyazaki, magic isn’t some vague idea; it’s a tangible, palpable element of life. This magic doesn’t just live on the screen; it permeates beyond it, coaxing us to behold our world with awe and recognise the magic inherent within us and our surroundings. So, if ever the world feels void of magic, recall Miyazaki’s wisdom: “Whenever someone creates something with all of their heart, then that creation is given a soul.” That, in essence, is where you’ll uncover genuine magic – in the crux of creation, in the essence of imagination, and in the enduring tales spun within the magical universe of Studio Ghibli and Hayao Miyazaki.
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20 best spirited away quotes, ranked.
From characters like Chihiro, Lin, and Haku, the best Spirited Away quotes reveal more about the Studio Ghibli movie's themes and message.
A spell-binding tale with themes of identity and the blurred lines between good and evil, Spirited Away is an entrancing adventure that's chock-full of mystery and memorable Spirited Away quotes. Spirited Away from Studio Ghibli is the Oscar-winning masterpiece by director and animator Hayao Miyazaki. One of Ghibli's most well-known works, it follows a young girl named Chihiro, who is in the process of moving to a new town with her parents. On the way, they stumble into a mysterious Spirit Realm, where Chihiro gets separated from her mom and dad. The story sees Chihiro adapting to and exploring this unfamiliar place, and trying to reunite her family.
The movie explores themes of growing up, memory, and consumerism, and these ideas are reflected in the words of the film's characters. Spirited Away contains a fair few bizarre Studio Ghibli creatures based on folklore that are meant to indoctrinate Chihiro, rebranded Sen, into Yubaba's strange and mystical prison. Her two biggest companions become Haku, a river spirit who has forgotten his identity, and the bathhouse worker Lin, who yearns to leave the Spirit Realm. While the narrative zeroes on in Chihiro's experiences and arc, due attention is paid to side characters and their own respective stories, often resulting in memorable or wise Spirited Away quotes.
20 "I Finally Get A Bouquet And It's A Goodbye Present. That's Depressing.”
One of the best Spirited Away quotes serves as the perfect introduction to Chihiro's character and where she starts her arc before she enters the Spirit Realm. Chihiro starts Spirited Away feeling dejected. She has to move away from the life that she knows, which includes her friends, and though she has a beautiful gift from them, it only serves to remind her of her current situation. This quote serves to highlight both the loneliness and unexpected humor within Chihiro. It shows her childish response to the kind gesture that her friend made, establishing the point from which she will grow over the course of the movie.
19 “I've Gotta Get Out Of This Place. Someday I’m Getting On That Train.”
While on the surface one of the best Spirited Away quotes from Lin could simply voice her desire to escape her current life in the overbearing bathhouse, it also serves a greater purpose. It's suggested that Lin has worked at the bathhouse for a long time, and she is skilled at her job. Because of this, the quote implies that Lin doesn’t necessarily want to escape the physical space of bathhouse, but rather that she desires to build her own life. Additionally, this desire to leave gives Lin and Chihiro a common goal, allowing them to grow closer to one another.
18 “Come On! Quit Eating! Let’s Get Out Of Here!”
This is one of the most central Spirited Away quotes, and marked the initial downfall of Chihiro's parents. It not only suggests that Chihiro instinctively knew that the food her parents were eating was not meant for them, but also serves as a way to show that she is fundamentally different from her mother and father. Furthermore, there is something about this line children can connect with; a lack of parental understanding. More specifically, that parents often don’t heed the warnings of their children. Ignoring Chihiro's plea soon proves to be a big mistake, as her parents' greed leads to them being transformed into pigs.
17 “If You Make Sen Cry I Won’t Like You Anymore.”
One of the best Spirited Away quotes shows that despite the initial distrust and prejudice Chihiro (Sen) experienced from the bathhouse staff and residents, there are individuals there that learn to look past their expectations and see Chihiro for the individual that she is. This quote, in particular, comes from one of the most unlikely sources. Spoken by the baby Boh to his mother Yubaba, it also shows how much he has grown as a person from Chihiro's friendship. Boh defies his mother's expectations by siding with Chihiro, and by asserting his own will on behalf of someone else, rather than for selfish reasons.
16 "The Radish Spirit!"
In terms of the best Spirited Away quotes, this exclamation references one of the best spirits from Spirited Away , the Radish Spirit. It illustrates the exuberance of the characters in the film, and the uniqueness of characters that Miyazaki creates. While most spirits are not the main characters in the movie, they do a great deal to flesh out the Spirit Realm, showing its many sides. Some are resented by staff, some are benevolent, some come purely to test the staff, and some have darker motives. The Radish Spirit would later become an ally to Chihiro, and Lin's greeting of him shows that she doesn't fear him.
15 "Quit Whining. It's Fun To Move To A New Place, It's An Adventure."
Studio Ghibli characters are not known for being meek, which usually leads to the best Spirited Away quotes. Viewers only meet Chihiro's mother for a few brief scenes at the start of the film, but even in this small time, a clear dynamic is established between the parents and their daughter. Chihiro starts the movie as a demanding, upset child. Her parents have no patience for her behavior, not considering their big move from her point of view, and urge her to see the change as an opportunity. At the same time, this line hints at the huge adventure to come, though it's not the sort that Chihiro's mother imagined.
14 "So, Your Name’s Chihiro? What A Pretty Name! And It Belongs To Me Now."
One of the most memorable Spirited Away quotes comes from the antagonistic owner of the bathhouse, the witch Yubaba, and it explains both the premise of the film and how she is able to keep others under her control. After Lin leads Chihiro to Yubaba, the witch admits that she took an oath to give anyone work who asks for it. However, this job comes with a catch. When Yubaba presents Chihiro with a contract, she quickly renames her Sen, declaring that her old name belongs to her. Haku eventually explains to Chihiro that taking away her name in Spirited Away and making her forget is how Yubaba keeps people trapped.
13 "I Don't Need Any Help, This Place Is Full Of Soot."
One of the best Spirited Away quotes facilitates a highly-amusing and imaginative scene. When Chihiro arrives in the Spirit Realm, she is told by Haku to go to the boiler man and ask him for work. When she finally finds him, he curtly remarks that he has all the help that he needs. The audience is then introduced to the soot sprites (also known as Susuwatari), soot creatures that look like small fluff balls with big eyes, and who previously featured in My Neighbor Totoro . One of the best non-human Studio Ghibli characters , they capture the whimsy of the Spirit Realm, showing that not everything in the place is scary.
12 "Play With Me Or I’ll Break Your Arm."
Boh is Yubaba's giant baby son who she keeps locked away, and he says a couple of the best Spirited Away quotes. Like the other side characters, Boh gets his own arc and his current state of mind is easily guessed when upon meeting Chihiro, he threatens her. When Chihiro first encounters Yubaba's monstrous offspring under a sea of blankets, he suggests that she should play with him, or else he'll break her arm. This quote is a stark representation of how much Boh grows in Spirited Away , from a shut-in antagonist to a loyal ally.
11 "Thank The Boiler Man, You Idiot."
Soon after meeting Kamajī the boiler man, one of Spirited Away 's characters with mythological origins , Chihiro meets Lin, the bathhouse worker. Initially, Lin gives Chihiro a hard time, insulting her intelligence and seeming displeased that she will have to help her find a job. While it's a harsh introduction, Lin's Spirited Away quotes are similar to Kamajī's first words to Chihiro, and yet only a few minutes after he speaks them—when Lin walks in and is alarmed to see a human—the boiler man protects her by claiming she is his granddaughter. This parallel points to the fact that Lin, like Kamajī, will soon become a friend to Chihiro.
10 "We Don't Want Her. She'll Stink The Whole Place Up."
The bathhouse workers.
Once Chihiro enters the Spirit Realm, she finds herself completely out of her depth, resulting in some funny Spirited Away quotes from the Realm's inhabitants. Although she finagles her way into getting a contract to stay on and work, it doesn't do her much good when she comes face to face with her fellow workers. Nobody wants to take Chihiro on as a co-worker, citing her foul human "smell" as the reason. This prejudice adds to Chihiro's feelings of isolation in the story but also motivates her to prove her worth as a hard worker so that the group will accept her.
9 "This Is A High-Class Place I’m Running Here!"
Yubaba has few Spirited Away quotes that elicit laughter from the audience, but this is certainly one of them. While Yubaba is explaining the finer points of Chihiro's new job, she proudly declares that she's running a high-class establishment and that Chihiro would do well to behave herself. The bathhouse can hardly be considered "high-class" if Chihiro's first customer is a river spirit who has a bicycle and a ton of other trash stuck in his body and the establishment is run by people who have been stripped of their identity. Regardless, it says a lot about Yubaba's character and points out the differences between her and her sister Zeniba.
8 "I Promise I'll Get You Out Of Here...Just Don't Get Any Fatter Or They'll Eat You!"
Spirited Away sees Chihiro learning to be independent, but ironically, she landed in her sticky situation in the first place as a result of her parents' own greed. One of the best Spirited Away quotes refers to the fact that they refuse to stop eating at a sacred buffet intended for spirits, and as punishment are turned into pigs. The teachers in this tale are not the parents. Indeed, as is the case in many of Miyazaki's films, the parents are just as flawed as the children. In a way, this acts as an equalizer and sets up Chihiro as the protagonist to be treated as a complex individual.
7 "No-Face, If You Even Put One Scratch On That Girl, You’re In Big Trouble."
One thing that's clear about Lin is that she fears little, and some of the best Spirited Away quotes are because of this. After Chihiro has made the journey from co-worker to ally and mentee in Lin's eyes, she takes Chihiro to the station to see Zeniba but Chihiro wants to invite No-Face along. Lin vehemently protests this, as No-Face has only recently regurgitated all of the food and workers he's eaten. The quote showcases just how much Lin has grown to care for Chihiro and her safety over the course of Spirited Away , when she was initially annoyed and reluctant to lend a helping hand.
6 "If You Completely Forget...You'll Never Find Your Way Home."
Haku gives Chihiro a piece of paper with her name on it with one of the most enlightening Spirited Away quotes. Yubaba took Chihiro's name, decreeing that she would now be known as Sen, in doing so gaining control of her and preventing her from returning to her old life. Haku has forgotten his own true name, and doesn't want the same thing to happen to Chihiro. This quote illustrates one of several instances where Haku helps Chihiro, and also speaks to the mutability of identity, and how holding on to the identity that one prefers is not always a given, but takes conscious effort.
5 "I Can't Believe You Pulled It Off! You're Such A Dope, I Was Really Worried."
Lin cares more for Chihiro than she originally intends to, leading to some of Lin's most heartwarming Spirited Away quotes. In fact, this is the case with many of Spirited Away's characters, showing that beyond assumptions and prejudice, real connections can be formed. Initially, Lin seems like a hardened worker with only her own interest in mind, but as the movie progresses it's revealed that she is a kind young person hoping to find a way to change her life for the better. Lin's blunt treatment of Chihiro ultimately comes from a place of care, even if her words can seem thoughtless at times.
4 "I Remember You Falling Into My River, And I Remember Your Little Pink Shoe."
One of the biggest triumphs in Spirited Away is that Chihiro keeps hold of her identity, and Haku regains his. Out of all the Spirited Away quotes, this is the most likely to bring tears to audiences' eyes as Haku reclaims his identity of the Kohaku River spirit and affirms Chihiro's story that he remembers when she fell into the river to retrieve her little pink shoe. The fact that Haku saved her life many years prior and the love between Chihiro and Haku is one of the sweeter elements of the movie. No one expected that while trying to help Chihiro keep her identity, Haku would rediscover his.
3 "Welcome The Rich Man, He's Hard For You To Miss; His Butt Keeps Getting Bigger, So There's Plenty There To Kiss!"
One of the most likable Studio Ghibli characters , No-Face, first appears as a mysterious spirit offering gold to the bathhouse workers. No-Face puts their greediness and selfishness on display. This quote summarizes that arc in a humorous way, as the staff tries to please No-Face in order to earn as much gold as they can from him. No-Face, on the other hand, consumes everything around him but is never satisfied. He tries desperately to please Chihiro, implying that his initial gluttony was a symptom of loneliness. Ultimately, the character has a happy ending, finding a quiet life that suits his true nature with the witch Zeniba in the countryside.
2 "Staying In This Room Is What Will Make You Sick!"
Chihiro has surprisingly one of the wisest Spirited Away quotes when she confronts Boh over his captivity. Boh is convinced that if he goes outside he will be exposed to deadly germs. He tells Chihiro not to touch him, declaring she will make him sick. This quote is Chihiro's reply, which signals a turning point in her growth as a character. The quote contrasts directly with the Chihiro that audiences were first introduced to. By this point in the narrative, Chihiro has learned the hard way that exposure helps one grow, and she recognizes that Boh is being harmed, not protected, by being so coddled.
1 “Once You've Met Someone You Never Really Forget Them. It Just Takes A While For Your Memories To Return.”
Spirited Away has ultimately a bittersweet ending . While Chihiro and her parents experience life-changing events in the Spirit Realm, they leave without retaining their memories of them. Though altered as an individual, Chihiro forgets those who helped her get there. However, one of the best Spirited Away quotes suggests that these memories could return someday. Yubaba's twin sister Zeniba says this line to Chihiro, and it's relevant not only in regard to the movie's conclusion but also in reference to the lost memories and names of the bathhouse workers. As the best Spirited Away quote, it summarizes the movie's themes in a poignant and simple way.
Rosatom starts production of rare-earth magnets for wind power generation
November 11, 2020 5:17 pm
T VEL Fuel Company of Rosatom has started gradual localization of rare-earth magnets manufacturing for wind power plants generators. The first sets of magnets have been manufactured and shipped to the customer.
In total, the contract between Elemash Magnit LLC (an enterprise of TVEL Fuel Company of Rosatom in Elektrostal, Moscow region) and Red Wind B.V. (a joint venture of NovaWind JSC and the Dutch company Lagerwey) foresees manufacturing and supply over 200 sets of magnets. One set is designed to produce one power generator.
“The project includes gradual localization of magnets manufacturing in Russia, decreasing dependence on imports. We consider production of magnets as a promising sector for TVEL’s metallurgical business development. In this regard, our company does have the relevant research and technological expertise for creation of Russia’s first large-scale full cycle production of permanent rare-earth magnets,” commented Natalia Nikipelova, President of TVEL JSC.
“NovaWind, as the nuclear industry integrator for wind power projects, not only made-up an efficient supply chain, but also contributed to the development of inter-divisional cooperation and new expertise of Rosatom enterprises. TVEL has mastered a unique technology for the production of magnets for wind turbine generators. These technologies will be undoubtedly in demand in other areas as well,” noted Alexander Korchagin, Director General of NovaWind JSC.
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B-2 Spirit Stealth: 25 Facts About The Most Advanced Stealth In History
Posted: January 7, 2024 | Last updated: January 7, 2024
The B-2 Spirit, often referred to as the Stealth Bomber, stands as a pinnacle of technological innovation and strategic prowess in the realm of military aviation. Developed by Northrop Grumman for the United States Air Force, the B-2 represents a remarkable fusion of cutting-edge engineering and stealth technology. Since its maiden flight in 1989, this iconic aircraft has redefined the concept of strategic bombing, boasting an unmatched ability to penetrate heavily defended airspace without detection.
With its distinctive flying-wing design, radar-absorbing coating, and intercontinental range, the B-2 not only serves as a potent nuclear deterrent but also exemplifies the pinnacle of operational flexibility, showcasing its prowess in both conventional and nuclear missions. As a symbol of air power sophistication, the B-2 Stealth Bomber remains a cornerstone of the United States’ strategic military capabilities, embodying the principles of stealth, precision, and global reach.
The development of the B-2 Spirit, colloquially known as the Stealth Bomber, stands as a testament to the technological prowess of Northrop Grumman in collaboration with the United States Air Force. Beginning in the 1980s, this groundbreaking project aimed to create a strategic bomber with unprecedented stealth capabilities, capable of penetrating heavily defended airspace undetected. The B-2’s successful development marked a significant milestone in military aviation, showcasing Northrop Grumman’s engineering excellence and delivering a platform that redefined the standards of modern aerial warfare.
The B-2 Spirit, soaring into the skies for its inaugural flight on July 17, 1989, marked a historic moment in aviation history. This test flight not only validated the aircraft’s revolutionary design but also paved the way for its formal introduction into service in 1997. The eight-year gap between its maiden flight and operational deployment underscores the meticulous testing and refinement process, solidifying the B-2’s status as a technological marvel and a cornerstone of the United States’ strategic air power.
The B-2 Spirit’s formidable reputation is rooted in its cutting-edge stealth technology, a groundbreaking feature that enables the aircraft to navigate through heavily fortified airspace with virtually undetectable radar signatures. The aircraft’s unique shape, radar-absorbing coating, and other classified innovations collectively contribute to its ability to slip past enemy defenses, offering a decisive advantage in strategic operations. This advanced stealth capability underscores the B-2’s role as a premier asset in the United States Air Force, capable of executing precision strikes and maintaining a formidable deterrent presence on the global stage.
Shape and Coating
The B-2 Spirit’s iconic flying-wing design and radar-absorbing coating are integral components of its revolutionary stealth capabilities. The aircraft’s distinctive shape minimizes its radar cross-section, reducing the likelihood of detection and enabling it to operate covertly deep within heavily defended territories. Complementing this, the specialized coating absorbs and scatters radar signals, further enhancing its ability to evade enemy detection systems. This meticulous attention to stealth design renders the B-2 nearly invisible to adversaries’ radar, solidifying its role as a strategic asset in achieving surprise and precision in both conventional and nuclear missions.
The B-2 Spirit’s exceptional intercontinental range, extending beyond 6,000 nautical miles without the need for refueling, underscores its unparalleled capability for extended strategic missions. This extensive operational reach allows the bomber to traverse vast distances, making it a crucial asset for global power projection and the execution of precision strikes deep within enemy territory. The B-2’s impressive range not only enhances its flexibility in responding to evolving geopolitical challenges but also ensures its pivotal role as a versatile and formidable force in the United States Air Force’s strategic arsenal.
The B-2 Spirit’s formidable strength lies in its extraordinary payload capacity, capable of accommodating an impressive 40,000 pounds of either nuclear or conventional munitions. This immense carrying capability not only underscores the B-2’s versatility in delivering a diverse range of payloads but also positions it as a potent force for both precision strikes and strategic deterrence. The ability to carry such substantial loads further amplifies the bomber’s effectiveness in executing a wide array of mission profiles, ranging from surgical strikes to broader strategic bombing campaigns.
B-2 Spirit Crew
The operational prowess of the B-2 Spirit is exemplified by its crew configuration, consisting of a two-person team comprising a skilled pilot and a mission commander. This small but highly specialized crew underscores the aircraft’s advanced avionics and automation systems, designed to handle the complexities of modern warfare with optimal efficiency. The collaboration between the pilot and mission commander enables seamless execution of the B-2’s diverse mission profiles, from precision strikes to strategic nuclear deterrence, highlighting the aircraft’s adaptability and the crew’s expertise in navigating the evolving challenges of global security.
The B-2 Spirit’s remarkable cruising altitude capability of up to 50,000 feet (15,240 meters) plays a pivotal role in its strategic advantage. Operating at such elevated altitudes not only provides the bomber with a significant tactical advantage by placing it above most conventional enemy defenses but also enhances its overall survivability by exploiting the thin air at higher altitudes. This altitude flexibility allows the B-2 to conduct missions with increased stealth, evading potential threats and ensuring precise execution of its strategic objectives.
Global Strike Capability
As a pivotal component of the United States’ nuclear triad, the B-2 Spirit stands as a cornerstone of the nation’s strategic capabilities, offering an indispensable global strike capability. With its ability to deliver both nuclear and conventional munitions, the B-2 ensures a versatile and potent response to evolving geopolitical challenges. This global strike capability not only reinforces the United States’ deterrent posture but also signifies the B-2’s integral role in maintaining national security by projecting force across the globe when needed.
At the forefront of global security, the B-2 Spirit assumes a critical role as a nuclear deterrent, leveraging its capability to deliver both nuclear and conventional munitions. Serving as a powerful symbol of strategic resolve, the bomber’s capacity for precision and devastating strikes adds a layer of deterrence to potential adversaries. This dual-purpose capability not only underscores the B-2’s significance in shaping global security dynamics but also reaffirms its role as a cornerstone in the United States’ commitment to maintaining a robust and credible nuclear deterrent.
The B-2 Spirit, with its cutting-edge technology and advanced capabilities, comes with a high production cost, leading to the construction of a limited fleet of only 21 bombers. This exclusivity makes the B-2 one of the most expensive aircraft globally, highlighting the intricate balance between technological innovation and budgetary constraints in military aviation. The limited production of the B-2 emphasizes its elite status and the strategic value placed on each aircraft, showcasing the United States’ commitment to maintaining a select and formidable fleet of these exceptional bombers.
At the heart of the B-2 Spirit’s exceptional flight performance is its sophisticated fly-by-wire system, a cutting-edge technology that elevates the bomber’s maneuverability and stability to unprecedented levels. This advanced system relies on computerized controls to interpret pilot inputs, optimizing the aircraft’s responsiveness and enhancing its ability to navigate through diverse and challenging airspace conditions. The integration of the fly-by-wire system underscores the B-2’s status as a technological marvel, where precision and adaptability are crucial for successful execution in both conventional and strategic missions.
In a departure from conventional military aircraft design, the B-2 Spirit distinguishes itself by eschewing afterburners, a testament to its focus on stealth and efficiency. This unique feature not only reduces the infrared signature of the bomber but also contributes to its overall mission effectiveness by minimizing fuel consumption. The absence of afterburners aligns with the B-2’s strategic role, emphasizing a balance between operational stealth and fuel efficiency, crucial for its extended-range and long-duration missions.
The B-2 Spirit’s cutting-edge stealth capabilities come with the challenge of maintaining its specialized radar-absorbing coating. The meticulous maintenance of this coating is paramount, as any damage or wear could compromise the bomber’s ability to operate undetected in heavily defended airspace. The commitment to promptly repairing and preserving the stealth coating underscores the dedication to sustaining the B-2’s crucial role in strategic operations, where maintaining invisibility to enemy radar is a vital component of its effectiveness.
The B-2 Spirit’s operational flexibility is a result of its capability to operate seamlessly in all weather conditions while evading sophisticated enemy defenses. This adaptability allows the bomber to execute strategic missions with precision and effectiveness across diverse environments, ensuring it remains a reliable asset in any operational theater. The B-2’s capacity to navigate through adverse weather and evade enemy detection underscores its versatility, making it a formidable force capable of responding to a spectrum of military challenges.
The B-2 Spirit’s dynamic wings, capable of changing shape mid-flight, represent a technological innovation that enhances its operational versatility. This shape-shifting capability allows the bomber to optimize its configuration based on specific mission requirements, enabling it to seamlessly transition between different profiles, from high-altitude strategic bombing to low-altitude penetration. The adaptability provided by this feature underscores the B-2’s capacity to execute a range of mission profiles with precision, maintaining its effectiveness in the ever-evolving landscape of modern warfare.
Precision Guided Munitions
The B-2 Spirit’s integration of precision-guided munitions represents a technological leap in modern warfare, significantly enhancing its ability to execute surgical and highly accurate strikes. This capability allows the bomber to precisely engage designated targets with minimized collateral damage, showcasing its adaptability in meeting the demands of contemporary military operations. The incorporation of precision-guided munitions reinforces the B-2’s role as a strategic asset, capable of delivering devastatingly accurate firepower while maintaining the flexibility to address diverse mission objectives.
The B-2 Spirit’s sustained relevance is attributed to its adaptability, exemplified by a series of avionics upgrades implemented over the years. These enhancements reflect a commitment to staying ahead in a dynamically evolving technological landscape, ensuring the bomber remains at the forefront of strategic capabilities. The continuous evolution of its avionics systems not only reinforces the B-2’s operational longevity but also underscores the aircraft’s capacity to integrate cutting-edge technologies, enhancing its performance in the face of emerging challenges on the global stage.
Long Service Life
The B-2 Spirit, introduced in the late 20th century, boasts an impressive longevity, with plans to remain in active service for several more decades. This sustained operational life is made possible through a commitment to ongoing upgrades, ensuring the bomber’s capability to meet evolving strategic demands. The B-2’s enduring service is a testament to its technological resilience and the strategic importance assigned to this iconic aircraft in the United States Air Force’s arsenal.
Operation Allied Force
The B-2 Spirit made its combat debut during the NATO-led Operation Allied Force in 1999, demonstrating its pivotal role in modern warfare. During the campaign in Kosovo, the B-2 played a strategic role by conducting precise and effective bombing missions, showcasing its ability to operate in diverse theaters and contribute significantly to multinational military efforts. The success of the B-2 in Operation Allied Force underscored its combat readiness, solidifying its reputation as a crucial asset in contemporary air campaigns.
Nonstop Flight Record
In a testament to its unmatched range and endurance, a B-2 Spirit achieved a historic milestone in 1997 by completing a nonstop around-the-world flight in just over 44 hours. This record-setting feat not only showcased the bomber’s exceptional capabilities but also highlighted its versatility and global reach, emphasizing the strategic importance of an aircraft capable of rapid, long-duration deployments to respond to emerging threats or contingencies. The B-2’s ability to circumnavigate the globe without refueling underscored its significance as a premier asset in the United States Air Force’s strategic arsenal.
The B-2 Spirit’s air-to-air refueling capability enhances its operational range and endurance, allowing for extended missions without the need for returning to base. This feature significantly contributes to the bomber’s flexibility, enabling it to operate over extended distances and remain on station for prolonged periods, crucial for strategic deployments and complex mission scenarios. The B-2’s proficiency in air-to-air refueling underscores its adaptability and capacity to effectively execute a wide range of strategic and tactical objectives across global theaters.
Maintaining Strategic Advantage
The B-2 Spirit occupies a central position in the United States’ military strategy, playing a pivotal role in maintaining a strategic advantage on the global stage. Its advanced stealth capabilities, intercontinental range, and ability to deliver both nuclear and conventional munitions underscore its significance in shaping the nation’s military deterrent and power projection. As a versatile and formidable asset, the B-2 remains at the forefront of modern warfare, contributing to the United States’ ability to address evolving geopolitical challenges while ensuring a credible and decisive military presence.
Strategic Arms Reduction Treaty (START)
The inclusion of the B-2 Spirit in the New START treaty underscores its role in shaping international arms control efforts. As a key component of the United States’ nuclear triad, the B-2’s adherence to strategic arms reduction agreements reflects a commitment to global stability and the prevention of nuclear proliferation. Its inclusion in such treaties highlights the significance of the B-2 not only as a powerful military asset but also as a diplomatic instrument, contributing to broader efforts aimed at curbing the spread of strategic nuclear weapons.
The development of the B-21 Raider represents the United States Air Force’s commitment to advancing its strategic bomber capabilities. Positioned as the successor to the B-2 Spirit, the B-21 aims to build upon the successes of its predecessor, integrating cutting-edge stealth technologies and modern avionics to maintain and enhance the nation’s ability to project power globally. As the B-2’s successor, the B-21 Raider is expected to play a pivotal role in shaping the future of long-range precision strike capabilities and maintaining the United States’ air dominance well into the 21st century.
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Moscow Metro – Spirit of a City EP | Review
Article Published: April 3, 2014
That populist revival hasn’t really let up since – just look at White Lies, Airbourne Toxic Event, and too many other bands to name here – and, with the release of their debut EP, ‘Spirit of a City’, Limerick band Moscow Metro are the latest to join the cause. Here, they’ve offered up four tracks in that dark and brooding vein, which, although solid and polished in their own right, sound perhaps too close to the myriad of others that have gone before them to leave any real lasting mark.
What the four-piece has produced is an exploration of the kind of themes perfect for moody posturing (death, break-ups, social ennui), underpinned by an expansive and echo-laden soundscape. Drums pound and crash behind speedy, driving guitars and synths, building towards almost-anthemic hooks. Seán Corcoran’s vocals, meanwhile, take on rich, sober tones uncannily close to Matt Berninger of The National, which often counteract the insistence of the music behind them.
It’s a well-constructed, well-produced and confident record, but the problem is that there’s not enough distinction between the tracks to make any particular one stand out, and they sound so close to their influences that it actually gets distracting. Opener Spirit of a City ? It may as well be that Editors track being belted out on a dancefloor back in the day. Future Fades and Where It All Ends ? They could be old lost demo tapes from The National. If you toned the synth down, you could probably even throw the remaining track, Headlights , into that latter category as well.
Is it a bad thing to know what you like and be influenced by that? No. Is it a bad thing to know what you like so well that it becomes less of an influence and more of an identity? Probably. It’s a pity that Moscow Metro haven’t pushed outside the post-rock revivalist boundaries with this EP. There’s clearly a lot of talent and energy there; it would be good to see that used to make something other than the well-worn sound of ten years ago.
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#video MOSCOW METRO ‘Spirit of a City’
LIMERICK band Moscow Metro have released a video for ‘Spirit of a City’ from the forthcoming EP of the same name. “‘Spirit Of A City’ explores several dark themes – feeling trapped by your situation, death and loss, social tensions and escaping the aftermath of a failed relationship,” says the band. Meeting through mutual friends, the quartet’s early rehearsals took place in a storage warehouse, a ten foot by ten metal box that shook with sound vibrations, leading to the inspiration for their name. Today Moscow Metro’s music is epic in sound and universal in language. In the coming months Moscow Metro will tour Ireland and Germany, playing Whelan’s Dublin on March 13 and Nenagh Arts Centre on March 29 before moving on to play Karrera Klub, Berlin, May 24 and joining The National and Warpaint at The Maifeld Derby Festival in Mannheim on May 30.
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