Suzume (film): Difference between revisions

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* [[The Alleged Car]]: Serizawa's fancy-looking convertible doesn't have a roof that can close properly, which becomes troublesome when it starts raining.

* [[Ambiguous Innocence]]: Daijin. {{spoiler|The first time it speaks, it declares that it likes Suzume, but that Sōta is an obstacle, and binds him into the three-legged chair to "volunteer" him to be a replacement keystone, and seems too cheerful about the damage the worm will do. The way it shrinks into itself and runs away after Suzume declares her hate for it following the use of Sōta as a keystone over Tokyo, though, suggests that it wasn't being sadistic but genuinely did not expect Suzume's adverse reaction to its behaviour, and it's more docile when it next reappears. When it helps find the door Suzume went through when young, Suzume wonders aloud if it wasn't maliciously opening doors to let the worm through, but instead leading them to doors that were going to open. Finally, when it sees that Suzume is willing to sacrifice herself to become a keystone as a substitute for Sōta, it helps her free him and goes back to being a keystone in her stead.}}

* [[Amusement Park]]: The third door is located in an abandoned amusement park in Kobe.

* [[Another Dimension]]: The Ever After, where the souls of the dead go and {{spoiler|worms are held by keystones}}. It is impossible for living grown-up characters to reach the dimension; the only possibility of entering the dimension is going through a [[Portal Door]] at a young age or, {{spoiler|if you're grown up, going back through the door you used to enter the dimension as a child}}.

* [[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.

* [[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.

* [[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.

* [[But Now I Must Go]]: {{spoiler|After the sealing of the worm and returning of the two keystones, Sōta tells Suzume that he can't go back yet because there are still other doors out there to close. He promises to find her again once he's done that, though, and keeps the promise.}}

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* [[Contrived Coincidence]]:

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

** Suzume and Sōta meet Chika in Ehime while the latter is riding a scooter, which allows them to reach the abandoned school that is the worm's next place of emergence in time.

** Rumi's car passes by the bus stop where Suzume and Sōta are waiting, and she and her family happen to be going home to Kobe where Daijin was believed to be going. Daijin later appears at her bar.

** {{spoiler|Serizawa just happens to be outside Ochanomizu Station when Suzume is passing by. Then Tamaki just happens to find her there as well, as opposed to any of the many, many other stations in Tokyo she could have tried looking at.}}

* [[Cosmic Keystone]]: There are two Keystones that keeps [[Eldritch Abominations]] trapped in the Ever After dimension. If a Keystone is missing, then ~~the entirety of~~ a worm can escape into the real world. When that happens, if it collapses ~~into~~ the ground, it will be very bad and a lot of people will die.

* [[Cosmic Keystone]]: There are two Keystones that keeps [[Eldritch Abominations]] trapped in the Ever After dimension. If a Keystone is missing, then a worm can escape into the real world. When that happens, if it collapses onto the ground, it will be very bad and a lot of people will die. If both are dislodged, things will go [[From Bad to Worse]].

* [[Creative Closing Credits]]: The film proper does a [[Close on Title]] after Sōta and Suzume close the door near Suzume's old house. The first part of the credits then play over an epilogue showing {{spoiler|Sōta and Suzume parting ways at a train station and a montage of Suzume and Tamaki returning to Miyazaki while visiting the people that had been met along the way.}} The rest of the credits are in the standard white-on-black.

* [[Cute Kitten]]: Daijin. He is, however, far more devious than his cute looks would suggest.

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** {{spoiler|Suzume falling from the Tokyo sky}} resembles the similar occurrence in ''[[Weathering with You]]''.

** {{spoiler|Sōta and Suzume parting ways at a train station at the end is very similar to Takaki and Akari doing the same}} in ''[[5 Centimeters per Second]]''.

** "[https://www.youtube.com/watch?v=UJwtKY_iWkM Rouge no Dengon]" ("Lipstick Message") is played as Suzume travels to her hometown far, far away. A delivery truck with a black cat is seen. What other film plays "Rogue no Dengon" during a long trip which ''also'' involves delivery services? ''[[Kiki's Delivery Service]]''. Given "Rogue no Dengon" is an iconic song in ''Kiki's Delivery Service'', it's impossible for a [[Hayao Miyazaki]] fan to ''not'' think of Kiki during the sequence. Shinkai cited ''Kiki's Delivery Service'' as a major source of inspiration for the film. Although there are no flying witches in ''Suzume'', the film overall has far more [[Studio Ghibli]] vibes than previous Shinkai films.

** "[https://www.youtube.com/watch?v=UJwtKY_iWkM Rouge no Dengon]" ("Lipstick Message") is played as Suzume travels to her hometown far, far away. A delivery truck with a black cat is seen. What other film plays "Rogue no Dengon" during a long trip which ''also'' involves delivery services? ''[[Kiki's Delivery Service]]''. Given "Rogue no Dengon" is an iconic song in ''Kiki's Delivery Service'', it's impossible for a [[Hayao Miyazaki]] fan to ''not'' think of Kiki during the sequence. Shinkai cited ''Kiki's Delivery Service'' as a major source of inspiration for the film. Although there are no flying witches in ''Suzume'', the film overall has far more [[Studio Ghibli]] vibes than previous Shinkai films, picking up the baton from ''[[Children Who Chase Lost Voices]]''.

* [[Implausible Deniability]]: Suzume's attempts to explain to Tamaki where she's going get increasingly thin.

* [[In a Single Bound]]: Both chair!Sōta and Daijin make blatantly superhumanly massive jumps.

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

* [[Travel Montage]]: A montage of a journey to Suzume's childhood home, set to Serizawa's catalogue of Japanese pop songs such as "[https://www.youtube.com/watch?v=UJwtKY_iWkM Rouge no Dengon]".

* [[Unusually Uninteresting Sight]]: Even when ~~reality~~ is about to ~~end~~, and over half the screen is red, the average person never comments on anything. [[Justified Trope|Justified]], in that [[Muggles]] cannot see worms.

* [[Unusually Uninteresting Sight]]: Even when the worm is about to fall on Tokyo to destroy the city with its impact, and over half the screen is red, the average person never comments on anything. [[Justified Trope|Justified]], in that [[Muggles]] cannot see worms.

* [[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.