Suzume (film): Difference between revisions

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* [[Animalistic Abomination]]: Daijin looks like a white cat, but there's something clearly off about its left eye, and that's even before it goes [[Glowing Eyes of Doom]] or sounding way too gleeful about the havoc the worm will wreak.

* [[Animate Inanimate Object]]: A chair. Specifically, the three-legged Sōta-chair that can somehow talk and walk and chase a cat.

* [[Bad Vibrations]]: A small ~~Earthquake is~~ usually signals a worm is about to escape. When this happens, someone needs to do speed door closing. ''Quickly''.

* [[Bad Vibrations]]: A small earthquake usually signals a worm is about to escape. When this happens, someone needs to do speed door closing. ''Quickly''.

* [[Blue and Orange Morality]]: Sōta says that the gods do not think the way humans do. Daijin demonstrates this throughout the course of the story by playing hopscotch with the human-made line between "good" and "evil".

* [[Book Ends]]: An early scene has Suzume cycling to school and meeting Sōta going the other way. The last scene does the same.

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* [[Christmas Cake]]: Tamaki is in her 40s and still single. One of her coworkers, Minoru, is obviously interested in her, but she doesn't seem to notice.

* [[Clarke's Third Law]]: When chair!Sōta starts moving and talking in front of Rumi's children, Suzume tries to pass it off as a chair robot with AI.

* [[Conspicuous CG]]: A lot of effort was put into blending CG elements with traditionally animated elements, but it's still easy to see that worms and some vehicles are computer generated. Shots with camera movements stand out. It's far less noticeable than other examples, but still noticeable regardless. That said, the CG is integrated so ~~good~~ you can't complain.

* [[Conspicuous CG]]: A lot of effort was put into blending CG elements with traditionally animated elements, but it's still easy to see that worms and some vehicles are computer generated. Shots with camera movements stand out. It's far less noticeable than other examples, but still noticeable regardless. That said, the CG is integrated so well you can't complain; in fact, the conspicuous artificiality of the worms helps make them all the more disturbing.

* [[Contrived Coincidence]]:

** Daijin jumps from the ferry to a passing boat, which fortunately happens to also be headed for Ehime.

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* [[The Gump]]: In an antagonist variant, the worm's escapes are responsible for various historical disasters. The [[wikipedia:1923 Great Kantō earthquake|1923 Great Kantō earthquake]] is explicitly said to be one of those.

* [[Happy Rain]]: [[Downplayed]]. When a door is closed, the worm leaving through that door transforms into rain droplets falling towards the ground. The rain subsides after a couple of seconds. It's not much, but it ''is'' more welcome than the [[Eldritch Abominations]] they were.

* [[Heavy Sleeper]]: Sōta in chair form falls asleep ''very'' often and is difficult to wake. Early on, it is played for laughs, but as the film progresses the simple fact ~~makes~~ a much darker turn: {{spoiler|Sōta's energy is being depleted as he slowly turns into a keystone}}.

* [[Heavy Sleeper]]: Sōta in chair form falls asleep ''very'' often and is difficult to wake. Early on, it is played for laughs, but as the film progresses the simple fact takes a much darker turn: {{spoiler|Sōta's energy is being depleted as he slowly turns into a keystone}}.

* [[Heroic Lineage]]: Sōta is the latest in a line of Closers tasked with closing doors across Japan before the worm can escape.

* [[Homage]]:

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* [[Talking Appliance Sidekick]]: A talking ''chair'' sidekick. Sōta remains as a walking, talking three-legged chair for half the film after being transformed against his will. Not much about him has changed; he can still run and talk. When he wants food, he does remember chairs don't need to (and can't) eat.

* [[Teen Drama]]: Majority of the drama is concentrated within the first ten minutes of the film. After the first ten minutes, drama occasionally occurs throughout the film, most involving people asking Suzume about her "boyfriend" or the troubled relationship with Tamaki.

* [[Time Capsule]]: Suzume ~~buries~~ a tin box containing items from her childhood, including a diary with a ''way'' too much blacked out pages.

* [[Time Capsule]]: Suzume buried a tin box containing items from her childhood on the grounds of her original home, including a diary with ''way'' too much blacked-out pages following the tsunami.

* [[Touched by Vorlons]]: {{spoiler|Suzume entering a door to the Ever-After while young shortly after the tsunami is apparently the reason why she can see the worm.}}

* [[Tragic Keepsake]]: The chair was made by Tsubame for Suzume as a birthday gift.

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* [[Urban Fantasy]]: The supernatural is contrasted against modern life, with social media playing a key role in Sōta and Suzume's tracking of Daijin's movements.

* [[Voices Are Mental]]: Despite Sōta becoming a literal ''chair'' with nothing close to a larynx or mouth, the chair still can somehow talk, and sound ''exactly'' like Sōta before his transformation. Becoming a chair did exactly nothing to impede his ability to communicate.

* [[Wall of Text]]: Tamaki's text messages, which are so long they fill up several phone screens. Even though the text is in Japanese, you can ''feel'' our hero is in a lot of trouble and almost taste the lecture she'll get.

* [[Wall of Text]]: Tamaki's text messages, which are so long they fill up several phone screens. Even though the text is in Japanese that doesn't get translated, you can ''feel'' our hero is in a lot of trouble and almost taste the lecture she'll get.

* [[Where It All Began]]: In order to enter the Ever After {{spoiler|to rescue Keystone-Sōta}}, Suzume must {{spoiler|travel back to her hometown, through the door she went through as a child. Back where her adventure in the Ever After all began}}.