

風の又三郎
A foreign transfer student from the city arrives one day in a Japanese country town. Enchanted by his air of mystery, his classmates nickname him "Matasaburou the Wind Imp" after a local legend. Eventually they become friends and spend many days playing in the countryside. One windy day, Matasaburou returns to the city, leaving his classmates to speculate that he really was Matasaburou the Wind Imp and that he flew away on the wind.
A foreign transfer student from the city arrives one day in a Japanese country town. Enchanted by his air of mystery, his classmates nickname him "Matasaburou the Wind Imp" after a local legend. Eventually they become friends and spend many days playing in the countryside. One windy day, Matasaburou returns to the city, leaving his classmates to speculate that he really was Matasaburou the Wind Imp and that he flew away on the wind.
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Supporting
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Supporting
Supporting
Supporting
Kamezuki
December 30, 2021
A decent children's story appropriate for bedtime, featuring the voices of Mayumi Tanaka (Saburou) and C.W. Nicol (Narrator). Based on a story by author Kenji Miyazawa, the plot basically follows the synopsis above: a mysterious red-haired boy, Saburou Takada, starts attending a rural school, and his appearance and actions pique the curiosity of his fellow students, one of whom insists that Saburou is actually a wind god from an old legend. After their initial reluctance to get to know him, the kids eventually befriend and play with Saburou, and then an incident occurs that reaffirms the main kid's belief that Saburou is indeed the windgod. At the end, Saburou leaves the school just as suddenly as he came... like the wind. The animation style is unique in that it is limited and the characters look almost like cardboard cutouts moving against a stationary background most of the time. This, coupled with the narration, gives this OVA a storybook feel. The backgrounds tend to be vague and abstract. The characters' faces, in my opinion, aren't pleasant to look at; the kids are kind of ugly, and Saburou looks a little scary/evil. But that's just part of the style. The music is nice, and both lyrics and composition fit the story well. Interestingly, there's a scene in which a rendition of "Camptown Races" starts playing, which caught me by surprise, but the context somewhat fits. As for the voices, Saburou is voiced by Mayumi Tanaka, but that might be hard to catch because Saburou doesn't have that many lines. In fact, most of the characters don't have too many lines, except for the narrator, voiced by Welsh-Japanese author and environmentalist C.W. Nicol. Most of the other characters are not voiced by professional voice actors, and it shows -- the performances are lacking, especially the teacher, whose delivery sounds decidedly wooden. Since this is short, there are some questions left unanswered, but maybe they don't get answered in the original story, either. However, it is structurally, aurally and visually decent enough to watch.
zettai-jin-stray
October 7, 2025
Adapting a short story by Kenji Miyazawa, Rintaro brings his A game, even though a modest and unassuming project. The presentation is dreamlike with impressionistic backgrounds, flat, solid coloring without outlines, and simplistic 80’s synth music. It has a nostalgic feel, not simply for being an old, unpopular OVA, but as the story was published in the 30’s, having a hazy feel and storybook-like visuals were fitting. I personally loved the drama Rintaro created with the use of long takes and flat compositions, there’s a lot of stillness to the animation too. The children voice acting felt authentic. For the story, the transfer student comingto a rural location is a curious thing. While it might seem like this rural location is subject to this foreigner like boy who can read Japanese and speaks the language without a dialect and to his ambiguously existing magic powers, as well as to his father with his mining company, symbolizing modernizing forces, the anime cleverly subverts this notion of progress by not just by pulling all focus from metropolitan life and the world of adults, but by the children whose horizons are limited not by these things, whose rooted life allows them to shape the organic world, and it is here that Rintaro’s impressionism and expressionism are most fitting. Without showing anything hideous, a new idea of center and of development are imagined.
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