Dōjinshi (Part Two)

I would like to begin by examining two dōjinshi based on Studio Ghibli’s film Spirited Away. The first work, Yuya sōshi (油屋草子), focuses on the romantic relationship between Haku and Chihiro in three short stories. In the first story, Chihiro goes outside on a snowy night to deliver blankets to her parents in the pig barn. She passes out from the effects of the cold wind and is rescued by Haku. The events of the second and third stories take place after the end of the film. In the second story, an older Chihiro follows her baby brother through a familiar tunnel and returns to a world she had forgotten. She and her brother are rescued by Haku, who tells Chihiro that she must not look at him lest she remain in his world forever. After making sure that her brother is able to return home safely, Chihiro turns to look at Haku, thus sealing her fate. The third story, an alternate possibility, involves Haku making a decision of his own to journey to the human world to visit Chihiro. Throughout this dōjinshi, the characters are drawn in the Studio Ghibli house style, and a great deal of care is given to maintaining the tone and worldview of the original film.

In Senya ichiya (千夜一夜), a darker interpretation of Spirited Away is presented to the reader. The artist of this dōjinshi associates Yubaba’s bath house with traditional Japanese hot spring inns, which generally employed or were associated with female entertainers who would attend guests privately after dark. In this dōjinshi, Yubaba arranges for the young serving maid Rin to attend to the private needs of one of the bath house customers, a strange, hoary creature with many tentacles. At the last moment, Haku appears and offers himself in Rin’s place, ordering her to flee as he submits to the god. This dōjinshi thus explores the relationship of the characters before the arrival of Chihiro, as well as the more disturbing implications of a bath house for the gods staffed by people who are effectively slaves to its owner. Although the art of this dōjinshi is clearly influenced by the Studio Ghibli style, it takes on more lush and erotic tones, as is appropriate to its subject matter.

Many of the dōjinshi based on Howl’s Moving Castle deal with the continuation and outcome of the romantic relationship that develops between Howl and Sophie during the course of the film. These dōjinshi contain many confessions of love and many first kisses. Other dōjinshi emphasize the sexual tension between the two characters, which is notably absent in the film. Since Sophie is a shy girl who turns into an old woman whenever she becomes overly embarrassed or loses her self confidence, dōjinshi artists have speculated that Howl might have some trouble getting her into bed for the first time. These artists turn to scenarios suggestive of rape, which capitalize on the characterization and appeal of Howl as someone who loses control of himself in moments of intense emotion and stress. Other artists merrily suggest that Sophie hides all manner of illicit desires under her seemingly retiring exterior.

Finally, a piece titled Honogurai umi no soko kara (仄暗い海の底から), which is based on Ponyo on a Cliff by the Sea, is an example of what is called a “gag” (ギャグ) dōjinshi, which eschews any sort of sustained narrative in order to make jokes about and poke fun at the original work. This particular dōjinshi is centered around the comic figure of Fujimoto, the scatterbrained wizard who is Ponyo’s “father.” It is drawn in a style that references the Studio Ghibli house style but exaggerates the comedic aspects of the characters and their interactions with one another. These interactions mainly involve the attempts of the awkward and socially inept Fujimoto to act as some sort of father figure to the now human Ponyo, who continues to be as willful and energetic as always. Other jokes lightly suggest sexual undertones completely absent from the original film. One short story interprets the intense private conversation shared between Sōsuke’s mom Lisa and the sea goddess as being about the deliciousness of ham. Fujimoto, seeing the hungry look in the ladies’ eyes, misinterprets their conversation in a humorous way.

Part One
Part Three