Fantasy

Arthdal Chronicles: Unfolding of the Epic Saga

TV Show Analysis

A legend unfolds,

Behold,

The mighty revelation.

Epics, narrative grand poems that celebrate the feats of a hero, and Sagas, narrative prose that deals with social histories and legends, bring forth the magnificent magical miraculous in stories to remind us of the distant charming dream we so often dream; the dream where we always win the battle.

Such heroic stories colour our humdrum thoughts, cheering the spirit’s faith in wonders.

Believing in wonders is vital for it steers us to explore life more keenly and sanguinely; our cherished wonders, packed neatly in stories, passed from generation to generation, create our mythologies.

Mythology is psychology, misread as cosmology, history, and biography.” — The Flight of the Wild Gander (1951)

by Joseph Campbell

The heroic stories, the epics and sagas, the mythologies continue to bridge the gap between the normal and the astonishing, to collect various truths sans embellishments, to fuel the burning time and to mentor the individual who approaches it.

Approaching the epics and sagas via an audiovisual means is not an offence; rather it is advantageous for all those who believe in it.

Arthdal Chronicles is an epic saga that has attempted to present Act I of mankind’s complicated story, a thoroughly entertaining and gripping version of how the journey began.

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Season One – Poster [Source – kpopmap.com]

Arthdal Chronicles is a South Korean fantasy drama TV series that takes us back to the Bronze Age in a mythical land named Arth, where different human species and tribes struggle to be on the top of the power pyramid. The tribes which are technically advanced win over the ones which are not; fear of gods and goddesses help in ruling over the masses. In the chaos of battles and betrayals, the hero, as foretold by the seers, rises amongst the so-called barbarians to win his love and tribe back.

What is fascinating is the fact that in Arthdal Chronicles the writers have given every single one of the main characters, not one but many archetypal characteristics making them grey in the purest sense. These characters drive the already-active plot making it an engaging watch.

Meet the five main characters of the series –

(Spoiler Alert – if you do not wish to know the secrets in advance then please watch the show first, though I assure you that this analysis will not tarnish your experience of watching the series.)

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[Source – kpopmap.com]

Ta-gon

The Warrior/ The King/ The Dictator/ The Intellectual/ The Lover

Ta-gon is an excellent warrior; his war tactics bring victory for the Sarem tribe making them more powerful. His secret, that he is an Igutu (mixed blood species), is his strength and weakness. The king, his father, repents not killing him as a child – a traumatic moment that shapes Ta-gon’s persona. His father stations him always on the battlefield, keeping him occupied fighting and winning endless battles, taking over more and more land, getting more salves in return.

Aware of his father’s scheme, Ta-gon plays the game of politics shrewdly and with the help of his loyal Daekan warriors overthrows his father and becomes the King of the entire kingdom. Unafraid to do the blasphemous, the terrible, Ta-gon kills his father and framers an outsider – Eun-Seom.

Ta-gon makes sure no voice rises against him. He becomes the king and very soon a dictator – for he still has a major opponent to defeat – the religious guru Aasa Ron – against whom he could not declare an open war (not unless he has secured his position).

An atypical lover, Ta-gon promises his love, Tae Al-ha, that whatever happens, they will never sacrifice themselves for each other; both tired of acting as pawns for the men in power, they decide to free themselves from this bonded life.  Tae Al-ha plays a very important role in Ta-gon’s victories as she understands the political game only too well.

While maintaining his outer image as an indomitable King, Ta-gon prefers to compromise rather than quit. He is an intellectual, a wise man who knows when to recede and when to attack.

When such a complex character is situated in a volatile scenario, explosions are bound to happen. The character growth that we witness in Ta-gon – from a warrior to a king to a dictator to a fallen hero yet not fully defeated – makes him a real, three-dimensional character.

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[Source – kpopmap.com]

Tae Al-ha

The Queen/ The Femme Fatale/ The Backstabber/ The Lover/ The Protector

One of the strongest characters in this series is Tae Al-ha, daughter of Mehol (whose tribe has the authority over all the technical advancements), Ta-gon’s love interest whom the King i.e. Ta-gon’s father, also proposes for marriage.

She is intelligent, courageous and calculative. A natural leader, she is a perfect contender to be a Queen.

Tae Al-ha desires to win the entire Arthdal Kingdom and rule it along with Tagon. For this she manipulates, tricks and kills; at times like a Femme Fatale she spies for her father and brings all the information that he wants to know about Ta-gon and his father; playing the game all along, revealing only that what must be revealed.

Until the time when his father’s plan does not hold any threat for Ta-gon, she like an obedient servant works assiduously for him, but when her father tells her that to maintain his camaraderie with the ruler, their next step would involve Ta-gon’s sacrifice, Tae Al-ha backstabs her father and takes Ta-gon’s side.

She tells her father that she has chosen a path for herself and that path will take her and Ta-gon to the throne.

As the story progresses, her and Ta-gon’s love story also progresses; she knows all his secrets; she is the one who brought up his child (the Igutu child he had found abandoned in the jungle); she is a true lover and protector as she saves Ta-gon from every threat, albeit her strong personality, her clever solutions to the problems and shrewdness keep us guessing if she is actually on anyone’s side.

Later in this series, Tae Al-ha fights the soldiers who are sent by Asa Ron (the religious leader) to kill Ta-gon; she gets badly injured but does not quit until she finishes each one of them.

Ta-gon and Tae Al-ha fall and rise together, determined throughout to win the kingdom of Arthdal.

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[Source – kpopmap.com]

Eun-Seom

The Hero/ The Messiah/ The Punisher/ The Protector/ The Innocent/ The Star-crossed Lover

Eun-Seom is very much like the classic mythological hero –at times like Krishna & at times like Christ- born in tumultuous times, is raised away from his home town, brought up by outsiders, different from the normal kids of his age, capable of doing the impossible, righteous and smart, who grows up to be the saviour of not only his tribe but all the suffering souls.

Here, Eun-seom is on a ‘Hero’s Journey’ where his adventure has begun and he is facing crisis back to back; death threatens and revives him; after undergoing an internal transformation he continues with his journey.

Slave trade is prevalent in this world and Eun-seom, betrayed by one of his own, is sold as a salve. Trapped in a mine, digging day and night, collecting precious stones, Eun-seom, feeling cheated and lonely, slowly regains his strength and rises back to fight and frees not only his friends but the rest of the slaves as well.

He like a Messiah saves the victims and like a Punisher destroys the evil-doers. It is Eun-seom who asks the warring tribes to unite if they wish to stand against the powerful lords.

In the series, he is often hailed as Aramun Haseulla – the great god who first came on Arth and settled the first tribe, while later he is called Inaishingi – the leader who, 1000 years ago, united all the warring tribes as one.

Initially, Eun-seom is also a simpleton, an innocent person, who restrains from killing anyone, he hesitates to use his power (as being an Igutu he is more powerful than Homo Sapiens), but when he sees the ways of this new world, and how the weak are suffering, he changes and accepts that he cannot win from the technically advanced race without bloodshed; he understands there is just one sin in the world and that is to show weakness. Thus, he becomes the Protector for all those who join his cause and for them he fights and kills without flinching.

Eun-seom’s character grows, he learns how corrupt this world is, a complete opposite of Iark (the place where he has grown-up); while he is in search of his true identity, his main focus remains the same –to save Tan-ya, his love. The promise that he made to Tan-ya, helps him to survive every danger, the hope of meeting and rescuing Tan-ya fuels his spirit.

Both Tan-ya and Eun-seom were born on the same day, the day Azure Comet shined brightly in the sky; their destiny was sealed that day and thus, even when apart, their heartbeats for each other. They are star-crossed lovers who are destined to change the world forever.

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[Source – kpopmap.com]

Tan –ya

The Female Messiah/ The Punisher/ The Star-crossed Lover/ The Scapegoat

Tan-ya, the next Great Mother of Wahan Tribe, is also destined for great things, though initially, she does not picture herself doing anything of importance.

Her character arc develops quickly as soon her tribe is thrown in jeopardy, many die including her mother and thus, she takes the responsibility as the tribe’s Great Mother. She becomes the Female Messiah as she is the one who frees the remaining members of her tribe, including her father. She is forgiving but does not hesitate in punishing the evil-minded.

She is a nature lover and does not like living in Arthdal; she misses the simple lifestyle of Iark. She stands for her causes, loves her tribe and is willing to fight for them.

Often she and the other Wahan tribe members are used as the scapegoat in the series; when Ta-gon frames Eun-seom for his father’s murder, the public ostracises and attacks Tan-ya and her tribe. Until she becomes the high priest, she stays continuously under threat – Ta-gon, Tae Al-ha and Saya –all try to use her to achieve their ulterior motives. But Tan-ya is a fast learner, she starts understanding the structure of the power pyramid and outplays them all. She can no longer be used as a scapegoat or as a pawn.

Just as Eun-seom, Tan-ya is always thinking about him; she is worried if he will be able to survive in this new world; when Saya tells her that Eun-seom and other Wahan tribe members died in an uproar caused between salves and their lords, Tan-ya breaks down; she then decides not to give up and instead gain power to save the rest of her tribe and apologises Eun-Seom for not ending her life.

She and Eun-seom are a perfect example of the star crossed lover archetype, once separated, they do not get to meet in the first season, while they ceaselessly yearn for each other. Tan-ya before getting captured gives Eun-seom a name – dream – she tells him that he is her and her tribe’s dream, a dream that is meant to come true and so he will have to win.

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[Source – econotimes]

Saya

The Fool/ The Lover/ The Outcast/ The Intellectual

Saya is Eun-seom’s twin brother who was adopted by Ta-gon; he was brought up by Tae Al-ha and spent his childhood life trapped inside a tower. He is truly unpredictable as an individual – the Intellectual when he uses his knowledge (he is very well-read) and tricks Ta-gon and Tae Al-ha and helps Tan-ya to become the high priest, the Fool when he acts instinctively and makes mistakes (by declaring overtly that he is Ta-gon’s son) and a Lover when he for the first time does something, not for his personal but for Tan-ya’s interest.

Though he falls for Tan-ya, he repeatedly tells her lies (like Eun-seom is dead).

Saya is made to live the life of an Outcast; the fact that he is an Igutu and lives in the royal palace equals a serious crime. Ta-gon makes sure that he is locked up all the while; he wishes to use Saya as an Igutu loyal servant.

Full of mysteries, Saya acts as a devoted son, he fears Ta-gon and follows his instructions sincerely, but at times he reveals his anger and frustration and hatred towards Ta-gon and Tae Al-ha. He wants to break away and rule as the King. He can sense Tan-ya’s free spirit and wishes to be with her always.

By the end of the series, the world gets to know about his identity – that he is Ta-gon’s son – and his position becomes stronger as he and Tan-ya (the high priest) appear as a couple to the public. Though it is still not clear as to which side he truly belongs and what new plan he is hatching.

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The Arthdal Kingdom. [Source – kdramapal.com]

According to a prophecy, three powers that united and later will destroy the Arthdal kingdom are – a Sword (to slay the wicked), a Bell (to echo the Word of God) and a Mirror (to illuminate the world with truth) – Eun-seom, Tan-ya and Saya represent these three powers.

In season one, we cheer for these three characters (especially Eun-seom and Tan-ya) and thus, it will be interesting to see them as the destroyers, facing Ta-gon, Tae –Al-ha and the entire Arthdal kingdom.

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Watch Arthdal Chronicles to witness the unfolding of an epic saga.

Here is the trailer –


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Our Friend Totoro

The crayon doodles, chalk scrabbled floor and walls, silly games of following the clouds, the butterflies and the wind, toying with fairy tale thoughts, dancing in the rain, eating snowflakes, and living in the inverted fable world… all this and every other childhood memory comes alive in Miyazaki’s masterpiece anime, My Neighbour Totoro.

Totoro and friends.
© Studio Ghibli [Source – IMDB]

Those whispers, secrets, and myths that we all have heard, in which the happy spirits rise to guide the one who dares and bridges her to the magic around, which world-wide have different versions, which are absurd yet possible, forms the core of this motley work.

Two little girls, Satsuki and Mei, move to the countryside in Japan along with their father, Tatsuo Kusakabe. Mama Yasuko Kusakabe is not well and so she is admitted to the hospital which is closer to this countryside house.

But she will recover and come back home soon”, says Dady Tatsuo, “when, will she be back by tomorrow?” asks four years old Mei, “there she goes again with tomorrow”, says Satsuki and they all laugh.

Mei is courageous, she even catches a soot gremlin to show it to Satsuki but it ends up only in making her hands black.

Mei and a soot gremlin. [Source – IMDB]

As Satsuki goes to school, little Mei plays around the house alone; carrying her packed lunchbox, she explores the place with a clear and light mind, giggling, following two small bunny-like Totoros to the colossal camphor tree and ultimately meeting the big Totoro there.

Totoro Who?

The Totoros playing the ocarina. [Source – IMDB]

Totoro is a furry giant animal, with whiskers, big eyes, and a bigger smile. He lives in the huge camphor tree in the forest neighbouring Satsuki and Mei’s house.

While the little Totoros collect acorns, the giant one helps it to grow; together they play the ocarina like music instruments at night, sitting high on a branch, guarding the forest, and all the beings living in it.

Totoro in some ways is like a Kami – a spirit in Japanese religion of Shinto which can be anything, from forces of nature to spirits of an honoured dead person like a King. Possessing both positive and negative qualities, these spirits are to be worshipped and thanked for their blessings and support.

Kami cannot be seen by everyone, but the one whom it chooses to reveal itself to. Being aware of the powers of Kami means being aware of the powers of nature, respecting it, and also showing gratitude for what it grants.

After Mei’s first encounter with Totoro, their father takes both the girls to a nearby Shinto shrine to thank the Kami for looking after Mei and asking it to continue looking after all of them. The shrine is next to the giant camphor tree which Mei happily recognises, but doesn’t find the way to Totoro’s den as she did the last time.

Two Little sisters, Mei and Satsuki

As children look at the world with the hope to see a miracle every second and love as if it is all theirs, it is only Mei and Satsuki who get to meet Totoro. It all starts with Mei, she sees the soot gremlins twice and then the three Totoros. Little Mei’s world, it seems, is still more magical than Satsuki.

Mei follows the littlest Totoro.
© Walt Disney Pictures [Source – IMDB]
Best friends, Mei and Totoro.
© Walt Disney Pictures [Source – IMDB]

When Mei tells Satsuki about Totoro, she tells her father that she too wants to meet Totoro, but on one occasion when Mei accompanies her to the school and draws Totoro’s image on a sheet, Satsuki feels embarrassed amongst her giggling friends, typical of a growing-up kid.

On a rainy late evening, Satsuki and Mei go to the bus stop to receive their father who had not taken an umbrella, there Totoro joins them. Satsuki is elated to see him but stays still. She then gives him the spare umbrella and shows him how to use it.

With a sleepy Mei on her back, Satsuki is surprised to know that Totoro is standing next to them. [Source – IMDB]

Raindrops falling on the umbrella from the branches above give Totoro the shivers which he enjoys; he jumps up and down and a heavy splash of raindrops fall on them and Totoro beams magnificently. The magic only multiplies then as a Cat Bus arrives there, Totoro climbs on it and leaves.

That same night, Totoro comes with his two little friends to silently perform a ritual in the yard where Mei and Satsuki have planted the acorns; the girls wake up and join the Totoros.

Their prayers are heard and the plants sprout magically to form a giant tree, just like the camphor tree, right before their eyes. Totoro then takes all of them to the top of the tree to sit on the branch and play the ocarina.

Totoro’s magic in action. [Source – IMDB]

Next morning the girls find that the tree has vanished, but the seeds have indeed sprung; both of them then repeat the ritual ecstatically shouting “I thought it was a dream, but I was wrong.”

Mei repeats whatever Satsuki says, she gets excited when Satsuki is, dances along and follows her everywhere trying to match her speed, happy to be around her elder sister. But when she gets the news that their mother will not be returning soon as planned, she gets angry.

Both the sisters argue and Mei leaves for the hospital all by herself to give her mother an ear of corn that Granny had said would make her perfectly healthy.

A determined Mei. [Source – IMDB]

In the evening when Satsuki realises that Mei is not at home, she, Granny, Kanta, and his family all start looking for her. Sure that Mei must have left for the hospital Satsuki takes to the road, running all the way and calling out Mei’s name, but she does not find her there.

Satsuki then goes to meet Totoro, praying to the camphor tree to allow her to meet him; she tells Totoro that Mei is missing and she cannot find her on her own.

Meow!! The Cat Bus is here.
© Walt Disney Pictures [Source – IMDB]

Totoro smiles and immediately calls the Cat Bus, the destination indicator blinks Mei’s name, an awed Satsuki climbs on the bus and on its many legs the Cat Bus leaps from one farm to another, tiptoeing from one utility pole to another, finally stopping at the roadside where Mei was sitting and crying.

The Cat Bus then takes both of them to the hospital; there sitting on a treetop the little girls feel relieved to see their parents together and happy.

Both Mei and Satsuki come across as two real-life girls – their mannerism (in the first scene, sitting together in the small lorry, sharing candies), their reactions (when Mei sees the soot gremlins she freezes, holding her frock tightly), their silly arguments (when Satsuki teases Mei that she is afraid at night and that is why she cannot sleep alone), when happy (after meeting the Totoro for the first time Satsuki is overjoyed, she asks his father to hold both of them and they jump into his arms) when sad (both are disappointed to know that their mother will not be coming home soon), all these actions in totality make them appear like two actual kids.

Mama and Daddy Kusakabe

Tatsuo Kusakabe with his dear daughters. [Source – IMDB]

Both Tatsuo and Yasuko Kusakabe are loving, supporting, and open-minded accepting parents. They know that it is a tough time for the girls as they have been staying away from their mother and have shifted to a village for her sake, thus, they do not discourage them from any vibrant idea of theirs.

Whenever the girls talk about soot gremlins, Totoro and the Cat Bus, they both show excitement, honestly interested in their tales.

Tatsuo always listens to them and joins them in their fun activities. Yasuko misses both of them and worries for Satsuki as she knows she takes more responsibility than others do in her age.

Mei’s gift for her mother. [Source – IMDB]

When Yasuko tells her husband that she thought she saw Mei and Satsuki sitting on the tree, smiling, Tatsuo, familiar with the Totoro story by then, picks up the corn with the inscription ‘for mama’ on it lying on the window-sill and says that they must have been here.

Granny and Kanta

Granny gets happy on knowing that the girls saw the soot gremlins. [Source – IMDB]

Mei and Satsuki’s neighbours, other than the Totoros, are Kanta’s family. While Granny is caring and full of warmth, Kanta hesitates even to talk to Satsuki.

On two occasions – delivering them lunch on their first day and giving his umbrella when it is pouring heavily – he simply hands over Satsuki the lunch box and the umbrella, grunting and without uttering a word.

A shy Kanta. [Source – IMDB]

As time passes by, they become like family to the Kusakabes; when Mei leaves for the hospital on her own, Granny gathers the whole village to look for Mei and Kanta goes to the hospital on a bicycle to check the way for her.

Granny hugs Mei when she returns with Satsuki. The four of them walk back home together as the cheerful closing track plays in the background.

The Charm of the Era

The film is set in the late 1950s Japan when life was simpler and the pace was kinder. On arriving at their new home, Mei and Satsuki get excited about seeing every new thing – the timeworn house (‘it could be haunted’, says Satsuki), the collapsing patio, the soot gremlins, the water pump, the small bridge that takes them to their house, the stream and of course, the giant camphor tree.

The melodious stream near Mei and Satsuki’s house. [Source – IMDB]

Raindrops falling in the rice paddies, the sudden downpour, the drizzles dripping from tree leaves, the puddles, all these scenes are beautifully captured in the film.

Totoro is overwhelmed with joy when raindrops fall on his umbrella which he is holding for the first time, this brings back memories of childhood.

Such simple happy actions become a habit unknowingly; whether it is raindrops falling on the umbrella for some or say, crushing the dry autumn leaves for others, it always gives us a sudden boost of cheerful energy.

Imagery & Music

The wonderful work done by Hayao Miyazaki and Kazuo Oga, the art director, makes the anime world truly alive.

The countryside. [Source – IMDB]

The cushiony clouds, the rapturous scenery, the quiet stream, and every rock and leaf complement each other, aiding in and not shying from embracing the modernity.

When Mei, Satsuki, and their father visit the shrine for the first time, the ambience and even the cool moistness of the hidden place catches us and we are struck by the glory of the huge camphor tree.

And what gives the imagery this soothing life-like quality is the music in the film. The excellent soundtrack, composed by Joe Hisaishi, gives the film a mythical tone as if opening a door to a magical dream world while keeping it firmly grounded in its times.

Especially the score titled “The Huge Tree in the Tsukamori Forest”, which plays whenever we see the camphor tree in its glory, has become analogous to the spirit of the film. It is an uplifting majestic tune that marks the listener’s entry into a secret world.

The Credits Roll

The story goes on as the credits roll at the end. We see Mei and Satsuki spending time with their mother – taking baths together, reading storybooks – as they had been hoping to for a long time.

The girls continue living in the same region, making new friends, bonding with the old ones, making a snow Totoro in winters, and enjoying their childhood days.

Totoro’s home is one of the best places in the world. [Source – IMDB]

My Neighbour Totoro is considered to be, both by the critics and the masses, one of the best Anime fantasy films of all time. Totoro has become a cultural icon and the film has a worldwide cult following.

Apart from being the company logo and appearing in Studio Ghibli’s other productions, Totoro has also appeared in Disney Pixar’s Toy Story 3.

Such is the love for the film that an asteroid discovered in 1994 and a velvet worm species discovered in Vietnam in 2013 were named after Totoro.

A smiley giant, guardian of the forest, Totoro does not have a dialogue in the film; apart from speaking his name out loud to Mei, he only beams, roars, flies, plays the ocarina, eats and sleeps.

His simplicity makes him a more welcomed, accepted, and believable character by one and all. Mei and Satsuki’s neighbour, the guardian of the forest, Totoro is a true friend, yours as well as mine.

Our friend Totoro. [Source – IMDB]

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My Neighbour Totoro

Written and Directed by – Hayao Miyazaki; Production company – Studio Ghibli; Music by – Joe Hisaishi; Cinematography by – Hisao Shirai; Edited by – Takeshi Seyama

Here is a children’s film made for the world we should live in, rather than the one we occupy. A film with no villains. No fight scenes. No evil adults. No fighting between the two kids. No scary monsters. No darkness before the dawn. A world that is benign. A world where if you meet a strange towering creature in the forest, you curl up on its tummy and have a nap.

Roger Ebert, the film critic.
Read his review of My Neighbour Totoro here.

You can now watch the film on Netflix. Enjoy!


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Fantasy

Was it the past?
It was so fast
But at last
 
 
I felt
Like I dreamt
Easy mountain melt
 
 
Blink
To link
Vision reaching the brink.
 

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