Welcome To Oz
+07/08/2025
++ This is the second in a series of posts about Mamoru Hosoda's + films. The previous entry can be found + here. The next + one will be available in a few weeks. +
++ It's 2009. The iPhone is brand new. The Wii and the DS are + juggernauts, sitting in nearly every home in Japan. The + internet is no longer the reserve of weird nerds and + teenagers: it has well and truly arrived. Your boss + posts on facebook. Brands have signed up to twitter. +
++ But even as the world becomes ever more digital, the world + keeps turning, and summer arrives just as it always has. +
++ The Girl Who Leapt Through Time may have leant on nostalgia, + but it was also a remarkably forward thinking film. It asks + the viewer to savour the time they're given, to look to the + future with bright eyes. Summer Wars, meanwhile, is a + remarkably futurist film, imaging a world where everything, + from train timetables to microwaves to provincial government, + is controlled through one central, worldwide application. And + yet, despite all that Summer Wars is a film about history. +
++ I'm being a little bit facetious here - the A-plot in Summer + Wars is undeniably a sci-fi bananza, but it is also a straight + remake of Hosoda's earlier work on Digimon: Our War Game. You + may know it as the middle third of Digimon: The Movie. +
++ And look, fair cop to Hosoda - he fuckin' nailed it with that + short. It survived basically uncut into the movie (which + cannot be said of the other two shorts that make it up) and + then gets remade with the serial numbers filed off in Summer + Wars, and it still absolutely rips. +
++ But the magic of Summer Wars is how it weaves the story of the + Jinnouchi clan through each beat of the a-plot. Wabisuke and + Sakae are the most important members to the plot, being the + creator of Love Machine and the matriarch of the family, + respectively, but each member has a chance to shine in their + own way. +
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