The full text is inverted through the core. Those who didn't see the film first, 143 minutes, no loss.
For the first time, I'm stuck with something else.
After the subtitles roll, Ray rings, and the two of you finally stand together. I guess someone's been smoking paper towels and I'm stuck with a problem that I don't quite know.
It's... what about that Kaguya on the moon?
I mean this Kaguya we saw from the beginning. She was picked up, returned to the moon, heard the coloured leaf sung that song, came back on a boat, left in an accident, and fell to the ground 8,000 years ago. And then, after 8,000 years, one person became Yachiyo, waiting to meet the leaf in the month reading, and when we got there, we met.
So, when this is all over, will she go again?
It's pretty. It's pretty. The other side does not buy: the robotics have not solved the most fundamental problems, Kaguya is stuck in endless cycles, and 8,000 years of waiting can never be eliminated by eating a muffin. Others put it even more seriously — where there is an inherent paradox in the cycling, this is nothing more than a failure to account for, look at high-level, and there are loopholes.
I saw it twice. Now I think that only the first of these three sentences is right.
And the second and third sentences are wrong in the same place, and I'll be clear later.
Second, let's spread the cycle.
The time line of the film is not really long, but it deliberately uses narrative sequences to circumvent you.
Kaguya escaped from the moon to the Earth and was picked up by colour leaves from electric poles, raised up, sang, red, then taken away on full moon night. And the coloured leaves were not pleased, and finished the song, which had not been finished, and sang to the moon. Kaguya heard, came back with a boat, went through an accident and fell over 8,000 years ago.
The body is gone. She became a telecom, lost her taste, lost her temperature. And then she waited for 8,000 years to build her monthly reading with her own hand, under the alias Tsukimi Yachiyo, singing in virtual spaces, waiting for the leaf that she had never met.
Here's the key: Kaguya and Yachiyo are not two.
Not reincarnation, not division, not another version of a parallel world. It's the same person, different forms at different time coordinates. The young women with silver hair and clothes and the top Vtuber were separated by eight thousand years, but not by a second person.
This must be nailed to death before all the arguments that follow are empty. I've seen too many people in the comment area talking about them as two independent individuals, and I've come to the conclusion that "What about Kaguya or Yachiyo in that month's readings?" These questions don't work at all.
Three, "Circle must have a paradox" -- that's wrong.
First deal with the best one.
A lot of people see "time cycle" as a device that automatically produces paradoxes, as if the logical book would be so wrong as long as it's closed. It's got two different things mixed up.
The paradox refers to a logical contradiction. Grandfather's paradox is a paradox because "you went back to kill your grandfather" and "you exist" can't be true at the same time. It's a contradiction. The story will collapse in this place.
And causality is another thing.
The most famous suspect in this film: the song written by the colour leaves, passed into Kaguya's ear eight thousand years ago, and Kaguya became Yachiyo, and Yachiyo used the song to lead it to be written. So who wrote this song first?
You don't have an answer. It's not because you're not looking closely, it's because there's no first cause in this structure.
But note that "no first cause" is not "controversial". The two are not the same thing logically. The former simply said that the source of information could not be traced in this closed circle, and the latter was the collapse of narratives. Such a structure has the name of a paradox, which the physicist, Novikov, does not deal with in such a way as to disprove it, but rather to give the principle of self-conciliation: everything the traveller does is part of history and thus cannot change it.
Under this principle, closed rings don't need to be "started," it's its own cause.
Let's be clear: some have argued that the circle is working, just to see if two nodes exist-- - Yachiyo made the monthly reading and wrote the song and Kaguya was taken and returned. The two nodes are established at the same time, when and only when the cycle is in operation. On the other hand, the operation of the cycle itself does not introduce paradoxes, and "time cycle necessarily leads to paradoxes" is a hypocritical proposition.
I agree with that judgment. It's flat because it doesn't work. Kaguya did not try to stop anything before he returned to his eight thousand years ago; Yachiyo guided the leaf, and every step of the way was the one that had occurred in history. Nobody rewrites anything.
Then why are there so many people who feel "unequal"?
Because they're looking for a starting point.
iv. The cycle has no starting point, so it's not what you think it is.
This is the most misunderstandingable and critical point of the whole piece.
We used to ask, "Where was the first encounter?" If monthly readings were created after Kaguya fell back 8,000 years, how did they meet in the first time line, in the world of Yachiyo?
It sounds so confusing, it's actually wrong.
A less elegant example: can you draw a circle, if you can indicate where it started? Can't. You think it has a starting point only because you're in the first place. The circle itself has no starting point.
That's why time is closed. Our viewing sequence gives it a starting point for narratives -- we saw the baby fall before we saw Yachiyo show up -- but that's just "the beginning of the story," not "the beginning of the event." In the decision theory, the future is as well in place as in the past, and there is no distinction between "first cycle" and "follow-up repeat cycle".
This cycle is only once.
In order to understand this, a lot of people's anxiety has subsided. Some say, "The last scene is not out of the loop, and Kaguya, returning to the moon, has to go back." - The idea was deceived by the concept of "circle starting". Just one thing, technically not a loop. We use the word "recycling" to describe the shape of the time line.
By the way, that explains a line in the film that can easily slip. When Yachiyo picked up Kaguya in his monthly reading, the reason used was that the virtual world was closer to the moon. That's a lie. Moon reading is a virtual space, and there's no such thing as being closer to the moon. She's directing herself -- because she has to let it happen, and it's happened.
So, is that a good ending?
Back to the problem that made me panic.
The objection is that the body is good and the consciousness is good and the fundamental problem is not solved. Kaguya was a round or a round, and 8,000 years of loneliness had not been wiped out by a single body. A happy outcome that almost eliminates its imperfections, avoids what is really heavy.
This criticism is strong, but it is based on the wrong premise. It's premised on "a wheel that needs to be broken."
Now we can answer: breaking the cycle never happened at the physical level, and it didn't have to happen — because the wheel never rolls.
What really happened?
After learning the whole truth, the colour leaves did a very scary thing: abandoning the words, turning to brain science and artificial intelligence, and taking 10 years to make a body capable of carrying the Yachiyo consciousness.
Please note the nature of this. She's not "rewriting history" -- history says she would. Her choice was not an affront to cause and effect; it was itself part of the cause and effect. This is the most elegant place for the whole structure: where the free will and destiny of human beings do not fight. What you fight for is exactly what you deserve.
So the color of "good ending" cannot be determined by "doesn't break the cycle."
What makes you think so?
I think one thing: Yachiyo finally said something.
This role was always humbled until it was recognized. She was afraid she would mess up her meeting and that she would choose to leave after she knew what had been buried by time, so she never showed up. She prefers to hide behind Vtuber's status and disguise all her true words as a live line — every gentle word in the air is a set of words.
This is the cruelest set-up in the whole picture: she finally has a place to talk, but because of her fear, she can only tell the truth by hiding.
So the ring that really closed the ending wasn't the time line, it was this: the leaf followed the clue, stood in front of her and said, "Got it, I chose you."
The body is the physical evidence for this, not for it.
Six, the pot of medicine in the original book, what has become in this version?
It was all about structure, and it was time to talk about where it had been adapted — because the film was not a plot, it was a concept.
The Tale of the Bamboo Cutter ends with a pot of immortal medicine. Kaguyaji left his medicine to the Emperor before he reached the sky. The Emperor did not drink, and he was sent to the nearest mountain to burn it. And it is called Mount Fuji.
It's often seen as the end rhyme, but it's the answer to the whole story. The drug is "not dead," and "not dead" here is rejected. Kaguyaji didn't drink either -- she couldn't. She had to go back to the moon. So the pottery was never used from beginning to end, and it was only a symbol: a mortal can't ask for it, and a fairy can have it but not need it.
The movie turned it over.
Kaguya drank it.
It's not a metaphor, it's literally -- she lived for 8,000 years. The body was destroyed eight thousand years ago and the consciousness was preserved in the form of a telecommunications number, waiting for human civilization to develop enough to carry her. The price is loss of taste, loss of temperature. She remembers the smell of muffins, but she can't taste them.
This is the real horror of this edition. The tragedy in the original book is separation, separation, death; the tragedy in this version is death, a man crucified by time, seeing civilization grow from zero to sober.
The nature of the pain has changed. The original was "forgotten" -- the moment the feathers were put on, everything in the world was emptied from memory, and she forgot why she cried. This version is the opposite: she remembers it too clearly. Eight thousand years, every day.
That pot of indestructible medicine, and then a new counterpart. It's not not dead, it's unforgettable.
So what's the real cure? It's not that suffering is being wiped out. Eight thousand years of bitterness and loss of taste. It was finally someone who was willing to share that memory with her — the colour leaves turned to brain science, and in 10 years a body capable of carrying her, the memory of the eight thousand years was passed.
It's also a rewrite of the edition of "Reward." In the original book, Kaguyaji left a treasure and an undying medicine in return for the old couple who raised her; in this version, she used the proceeds of live broadcasts to free her leaves from the strain. The form went from "saving the treasure" to "creating the value," but the sentence "You warmed me, I promised you a lifetime to guard" went through the media, and it didn't change.
vii. Say something bad.
It's not my fault it's all there is to defend it, it's not my fault.
The biggest problem is the leaf.
The most precious thing in the first half of the film is the "normal" of the leaf. Parents are divorced, living alone in a rental house, working a few jobs while preparing for the exam, and the mother's darling is the "excellent colour leaf" and not her present. She said to Kaguya, "It's hard to believe: I don't want happy endings, I just want normal endings.
The role is very well-established. Then the second half destroyed her.
To put her on the ground, she was given too much capacity to write: to study, to work, to carry a baby, to write, and finally to develop a brain science, and to develop a conscious hysteria for 10 years. One of the viewers read and wrote, "The Colour Leave is Superman." That's right. The price of a role written as full of power is that her "normal" is diluted -- and the most moving part of her is just ordinary. It's for what he did.
The second issue is rhythm. A few minutes of classical adaptations, virtual idols, combat competitions, time and space travels, and consciousness uploads, and the mid-point turns are indeed on the way, with a few emotions coming to the ground. The first time it's easy to lose sense in the information density. And that's why many people first respond "I don't get it," not "I'm moved."
But let me be clear: both are trade-offs, not loopholes. They are two types of problems. You can think of it as too much, too much, but you can't say that its timeline is not equal — it's fairly flat.
VIII. FINAL
Go back to the problem that made me panic.
I asked: "Do not go again."
Now I know the question is wrong. It presupposes the presence of the "Next Round" and the presence of people outside the ring waiting to rerun. But this ring has no outside. She landed eight thousand years ago, she sang in her monthly readings for eight thousand years, and she ended up standing next to the colour leaves, a different slice of the same experience, and they existed simultaneously and only once.
So it's not the second time the story has been renewed. It's a story, finally.
The first time I looked at it was blocked because my consciousness felt that "success" had to come out of it — someone had to break something, overthrow something, pay a terrible price to deserve eight thousand years. But it's not going to break free. It's not gonna work here.
It's going to be hard elsewhere: let the man who dares not speak out.
The tail is called Ray. The circle has no starting or end, and the rays have a starting point, and then they go in one direction and don't look back. I didn't think much about it the first time I looked at it, and it didn't come back the second time -- they didn't plan to decorate it from the start.
They just let it go.