"The Apothecary Diaries" Episode 40 Synopsis & Preview Images Released! Special Program Featuring Cast Members Set for May 16th
The synopsis and preview images for Episode 40 of "The Apothecary Diaries" (Season 2 Episode 15), titled "Festering Malice" have been released!
Additionally, a special program has been scheduled to air on ABEMA's Anime LIVE channel on Friday, May 16. In this first-ever all-male special, the show will feature Takeo Otsuka (voice of Jinshi), Katsuyuki Konishi (voice of Gaoshun), and Tatsumaru Tachibana (voice of Basen).
The second season of "The Apothecary Diaries" is currently available to stream on Crunchyroll.
※ABEMA Anime Live channel is available for viewing overseas, with certain region restrictions.
Episode 40: "Festering Malice"
Synopsis
To assist with the delivery of Consort Gyokuyo, who is suspected of having a breech birth, Luomen, Maomao's mentor in medicine and adoptive father, arrives at the inner palace's medical office. Luomen quickly identifies the current issues within the inner palace and creates a sample document for the court ladies attending the writing practice hall to copy, serving both as practice and as a way to disseminate information.
When Maomao delivers the document to the writing practice hall, she learns from an elderly eunuch that Luomen had done something similar before his expulsion from the inner palace. Suddenly, a sense of unease surfaces in Maomao's mind. To uncover the truth behind this feeling, she decides to seek out a certain individual...
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!["In This Corner of the World": Revisiting War, Legacy, and Suzu's "Corner" with Director Sunao Katabuchi [Interview]](/_next/image?url=https%3A%2F%2Fenglish-kyodo.ismcdn.jp%2Fmwimgs%2F2%2F0%2F1200x%2Fimg_20d5d1c6a034bdaaa5cab06f57423bf9480289.jpg&w=3840&q=100)
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"In This Corner of the World": Revisiting War, Legacy, and Suzu's "Corner" with Director Sunao Katabuchi [Interview]
"In This Corner of the World," the animated masterpiece directed by Sunao Katabuchi and based on Fumiyo Kono's manga, meticulously portrays the life of Suzu Hojo, a woman who marries into a family in Kure from Hiroshima and endures the devastation of war. animate Times conducted an interview with Director Katabuchi, where we once again consider the continuous aspects of our lives that connect with the past, especially as we commemorate 80 years since the end of World War II and the year Suzu-san would have turned 100. The interview delves into profound questions: What constitutes war and daily life? How do we transmit stories across generations? And how should we interpret Suzu-san's "innocence"? Together with Director Katabuchi, we revisit and reexamine the "corner" of the world Suzu inhabited. Reevaluating Suzu-san's Daily Life ――This year marks both the 80th anniversary of World War II's end and Suzu-san's 100th birthday. What are your thoughts? Director Katabuchi: When "In This Corner of the World" was released in 2016, it reached audiences globally. Early on, in conversations with overseas fans, many expressed being moved by "Suzu-san's positive outlook on life." However, I suspected this might be a somewhat Hollywood-esque interpretation. I questioned, "Was Suzu-san truly that positive?" ――It seems more like she was simply carried along by the currents of the times and society. Katabuchi: Precisely. It was an era where people had no choice but to live as if swept along by the war. Although, after the war, Suzu-san does find something new, and the ending offers a sense of hope and a future. Yet, that future simply leads to our "ordinary daily life" today. Her life didn't necessarily create a wonderful world. It might be as simple as the fact that she continued to eat meals every day, bringing us to the present. But I wanted to convey the profound significance of such seemingly mundane things. Of course, even that daily sustenance has recently become precarious... ――Daily media reports have focused on rice-related issues lately. (Note: at the time of interview, Japan is experiencing a price surge of rice in the domestic market, impacting consumers' daily lives.) Katabuchi: These reports shock me; they suggest we're not moving toward a hopeful future. When "In This Corner of the World" was first released, I observed that many viewers, unfamiliar with this type of film, interpreted it through the lens of "conventional movies." From that perspective, Suzu-san, despite her passive existence, might appear to be living actively. In the context of entertainment films, Suzu-san could be seen as quite positive. While some viewers praised Suzu-san's courage and wisdom, I found myself questioning, "Where did she have the opportunity to exercise wisdom?" Suzu-san seems to maintain a smile, yet she progressively loses her capacity for joy. 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In this context of food substitution, Suzu-san is told that "making Kusunoki rice including the bran is economical and nutritious." She genuinely believes this and follows the instructions. However, her mother takes the "Kusunoki rice," places it in a jar, carefully removes the bran, and then goes to eat it only after polishing. Considering the underlying meaning, we can see this quietly rejects Suzu-san's approach. The older generation, who experienced peaceful pre-war times, is implicitly disapproving of her wartime improvisation. ――As if to say, "There's no point in doing that." Katabuchi: Suzu-san pounds the rice in the bottle, believing this to be the correct way to prepare it. ――From a modern perspective, Suzu-san's actions might appear resourceful. Yet, they are subtly criticized. So, it's not simply an episode of her futile efforts. Katabuchi: Exactly. It's important to analyze the true meaning behind the mother's actions. Reevaluating The Narrative From Each of Their "Corner" ――In creating this work, you must have conducted extensive research and historical verification. Did you also manage to collect firsthand accounts from war survivors? Katabuchi: While we did gather some accounts, they weren't our primary focus. Our main approach involved reconstructing the era in our minds as much as possible, utilizing primary sources such as documents, diaries, and photographs from that period. We then used interviews to fill in any gaps. It's crucial to have a solid understanding of the context before conducting interviews; this allows you to properly grasp the meaning of the stories shared. The goal isn't to accept everything at face value, but to comprehend what's being conveyed. Relying solely on recollected narratives limits you to "only what remains in that person's memory." ――It can become too subjective. Katabuchi: Exactly. For instance, someone recounted seeing floating lights during the air raid on Kure, describing them as incendiary bombs. However, incendiary bombs actually fall with enough force to break through roof tiles. We need to be able to interpret these accounts, thinking, "Those were likely flares. The direction they described matches up as well." As time progresses, fewer people will be able to share these firsthand experiences. Only their "narratives" will remain as written records or data. We need to develop the ability to evaluate and understand these accounts from a different perspective. ――This relates to the issue of how we, as non-participants, can pass on the experiences of war. Katabuchi: Archiving firsthand accounts and diaries from that period seems to be a good approach. While personal storytelling is crucial for understanding nuances, there's a risk of losing those nuances when listeners retell the stories, and it's challenging to identify potential biases. Therefore, I believe it's best to comprehensively archive these accounts, making them readily available for reference and comparison. Among these, "diaries written during the war" are, in my opinion, the most valuable for archiving. ――Do such things still exist today? Katabuchi: Quite a few, actually. There are picture books from that era and illustrated diaries drawn by schoolgirls. Women of that time would carry two shoulder bags crossed over their body when going out, to keep their hands free. One bag contained an air raid hood, while the other held more everyday items. Looking at these bags depicted in the diaries from that period, you can see they were embroidered with flowers or cats. ――They did the embroidery themselves, right? Katabuchi: During wartime, when everything was strictly controlled and you'd think there was no room for extras, there were women embroidering cats on their bags. I've never seen a war movie featuring characters like that before. ――The air raid hood is also quite remarkable. (Note: it hangs like a shoulder bag.) Katabuchi: Air raid hoods, gas masks, and helmets aren't typical women's accessories. Yet, the unexpected appearance of flowers or cats on them completely alters our perception of wartime. I believe it's important to include these details when we mentally re-examine "what it was really like." While all spoken accounts are invaluable, it's crucial to reconsider their meaning within the broader societal context of the time. We should question if other possibilities existed and seek evidence to support them. This process of inquiry and verification, I believe, will become increasingly vital in the future. ――During the production of the series, were you already considering these ideas? Katabuchi: Before I began working on "In This Corner of the World," I was researching the historical aspects of aircraft paint. It's fascinating how different individuals describe paint colors, each imparting their own nuances. This led me to ponder the true color amidst these varied descriptions. However, I eventually discovered primary source material detailing the precise paint mixture ratios. It became clear that the diverse color tones people recalled were actually faded colors, altered by exposure to sunlight and air. Often, the truth diverges significantly from remembered accounts. Similarly, in the film's carrier-based aircraft raid, the anti-aircraft fire creates smoke that blooms like flowers in the sky. This imagery is also corroborated in the wartime experience anthology compiled by Kure City. The anthology describes various smoke colors, ranging from burnt brown to purple. Interestingly, the same collection includes recollections from American military personnel, who also observed "a variety of colors." At that point, I couldn't help but think, "There are simply too many different colors mentioned." ――But why were the shells colored? Katabuchi: The shells were filled with dye to identify which cannon they were fired from. The correct answer was found in a report by the American military who came to Japan after the war to investigate Japanese military technology. According to this report, there were only six colors. Moreover, it even listed the names of the dyes used and the exact percentages of each component. ――That's quite a detailed investigation. Katabuchi: This doesn't align with eyewitness accounts of dark brown or purple shells. When people say "there were many colors," we should understand it as "there seemed to be a lot of colors." By questioning "what were the actual colors?" from a different perspective and investigating further, we can finally obtain an objective answer. ――So it's about preserving the importance of narratives and testimonies while uncovering the truth from a different angle. It's not about believing or disbelieving, right? Katabuchi: I'd say it's about treating these narratives as clues and using them to search for the actual historical landscape. Finding out about specific dyes and their exact percentages brings us to an incredible level of realism. ――As viewers, how should we approach such narratives? Katabuchi: There's a similar incident related to Isao Takahata's "Grave of the Fireflies." In the film, incendiary bombs are depicted igniting mid-air as they fall. These bombs are essentially iron cylinders filled with napalm, a gel-like form of gasoline, contained within nylon bags. ――So, that's why they cause widespread fires? Katabuchi: Their design is to penetrate roof tiles, stop in the attic, and then unleash the ignited napalm bag like a firework. However, it's puzzling why they would ignite while still falling. Takahata-san tasked his assistant director with researching this mechanism, but the response was, "No such mechanism exists." Takahata-san, however, insisted, "I personally experienced running from these falling, burning bombs. My sister was even injured by them." Indeed, many others have provided similar accounts. Yet, this doesn't align with objective information regarding the purpose and mechanics of incendiary bombs. ――So, Director Takahata actually experienced this? Katabuchi: The assistant director conducted thorough research with the Self-Defense Forces, confirming there's no mechanism for mid-air ignition. Considering this, which account do you believe is correct? ――I can't help but think the investigation must be right. Katabuchi: We later discovered the answer, thanks to someone who had done proper research. Interestingly, it wasn't a university researcher. It was someone driven by a desire to understand the "corners" of the world. ――Could you explain how this mechanism worked? Katabuchi: Incendiary bombs were deployed as large cluster bombs, each containing 38 smaller bomblets. The main bomb would mechanically open, releasing the 38 bomblets to fall individually. These bomblets were designed to ignite the napalm only after penetrating roof tiles. Once ignited, the napalm bags would erupt like fireworks, setting the attic ablaze. It was an incredibly dangerous weapon. ――So, the fire would start after the bomb made impact? Katabuchi: Yes, it would launch napalm fireworks into inaccessible ceiling spaces. Once the gel-like gasoline adhered to the underside of the ceiling, it would cause devastating fires that quickly consumed houses. Because of this purpose, they weren't meant to ignite mid-air; premature ignition would render them useless. However, many American bombs and incendiaries at the time were duds. Often, the parent bomb failed to disperse, leaving the bomblets clustered together. In such scenarios, there was a backup plan. If mechanical dispersion failed, explosives were reportedly included as a secondary measure to forcibly scatter the bomblets. This might have led to premature ignition of the bomblets, and such a theory has emerged. ――So, the bomb didn't behave as it should. Both the testimony and the assistant director's research were accurate. Katabuchi: Precisely. It seems many people witnessed what appeared to be an accidental event. ――And it was ordinary citizens, like us, who investigated this. Katabuchi: The individual who conducted the research even published their findings in a doujinshi (laughs). Suzu-san was even featured on the cover. ――So it was actually distributed (laughs). Katabuchi: It would be wonderful to have more individuals worldwide who are experts on various "corners" of history. People who can admit, "I may not know everything about the war, but I am knowledgeable about this specific aspect." Some are experts on the cuisine of that era, others on the clothing. ――It's like everyone contributing their part, little by little. Katabuchi: I believe this desire to delve into the details can serve as a counterbalance to forming conclusions based solely on images and emotions. Reexamining Suzu-san's "Innocence" ――In our earlier conversation, you expressed a desire to delve into Suzu-san's character, particularly how she isn't entirely innocent, as symbolized in the "Imperial Edict on Surrender" scene. Katabuchi: In the original work, Suzu-san states, "We also committed acts of violence, so we have no choice but to submit to violence." This accurately portrays the reality of Japanese society at that time, a fact I do not dispute. ――In the film, Suzu-san's dialogue was altered to reference the food she was consuming. Katabuchi: I pondered, "What should be conveyed here to truthfully depict Japan's colonial rule?" Even among the Korean audience who viewed "In This Corner of the World," there are people who said it's established during the war. However, it actually commenced in 1910, and even earlier in Taiwan. ――Indeed, this predates Suzu-san's birth. Katabuchi: Taiwan has a warmer climate than Japan, while the Korean Peninsula is colder. I encountered historical accounts detailing the struggles to cultivate rice with a taste comparable to Japanese rice in these diverse climates. We must consider who benefited from these endeavors: the consumers in Japan. Suzu-san was consuming a portion of this daily. ――And that's how she became an accomplice in the violence. Katabuchi: In this context, her involvement was more direct than mere complicity. She directly consumed that rice. While there are no scenes depicting Suzu-san committing violence against anyone, she ate rice every day, didn't she? ――Are you suggesting that the act of eating itself was a direct form of violence? Katabuchi: Precisely. The rice her mother prepared, even the "Kusunoki rice," likely included grains from Taiwan and Korea. Even on the night the war ended, they cooked and ate the remaining rationed rice, and they will continue to do so. The core message is, "We will bear this burden as we live on." I believe we need to emphasize this meaning once again. ――I thought I understood, but it seems direct violence isn't limited to attacks with weapons or physical assault. Katabuchi: That's correct. Some argue it's simply a matter of Japan's wartime food self-sufficiency rate not reaching 100%. However, during the Edo period, they managed to eat without imports. If we question why it wasn't 100% in the Showa era, it's because Japan possessed overseas colonies. ――Is it akin to thinking, "We can just outsource it"? Katabuchi: Yes, exactly. They incorporated these "outsourcing destinations" as part of their own country, but fundamentally, these were other nations. We must consider that Suzu-san consumed rice under these circumstances and thoroughly re-examine this issue. ――With ongoing conflicts worldwide, this film's screening is particularly timely, and I anticipate a strong audience response. Katabuchi: Though of course, it offers a different angle than Suzu-san's perspective. Currently, wars are raging in Ukraine, Russia, Gaza, Iran, and Israel, affecting countless lives. Suzu-san was also a civilian subjected to bombings. She mirrors the experience of those living through these conflicts. If we can see those under threat today as being akin to Suzu-san, it offers a crucial insight. ――The new promotional visual highlights the "right hand," a powerful motif in the film, symbolizing Suzu-san's loss and the many casualties of war. Katabuchi: This new visual shows "Suzu-san being caressed by the right hand." Interestingly, as the war nears its end, Suzu-san becomes defiant, declaring, "This is our fight." The hand isn't caressing that specific part of her. So, why is Suzu being caressed in this way? I hope viewers will ponder this question when they see the visual. ――And the answer to that is...? Katabuchi: (Smiling) ... ――You won't tell us? Katabuchi: That's something for each viewer to discover for themselves. ――It's a contemplation for every viewer after experiencing the film. If we had more time, I might even come up with a good answer... Katabuchi: A good answer? Come on, this isn't a quiz show (laughs). ――(Laughs) I'll take it home as homework. Thank you very much for today. [Interview: Taira / Photography: Shuntaro Nishizawa / Editing: Inari Ogawa] About "In This Corner of the World" Synopsis The unprecedented circumstances 18-year-old Suzu has to face. The story begins when, in February 1944, for better or worse, Suzu becomes a bride in Kure, a major base of the Japanese Navy at that time. This was the city where the Navy's largest battleship, the 'Yamato', was also based in. As a bride in a strange land and coming from Hiroshima City, Suzu becomes the wife of civil official Shusaku Hojo. Moving in with her new husband's kind parents, she starts her new life along her very strict sister-in-law Keiko and her sweet daughter Harumi. Along with the nice neighbors Mrs. Chita, Mrs. Kariya and Mrs. Domoto, she discovers the joys of everyday life in Kure. However, supplies become scarce gradually, forcing Suzu to make do with whatever she can for food and clothing, still being able to sometimes draw a nice picture of their daily life. One day, Suzu gets lost in the city and meets a courtesan called Rin who is somehow linked to her. On another time, she meets her old classmate Mizuhara who has become a sailor in the cruiser 'Aoba', an encounter with unexpected mixed feelings. On March 19th 1945, Kure suffers several air raids that fill up the sky, and many things that Suzu cherished are lost. However, everyday life goes on. But then, the Summer of 1945 arrives... Cast Suzu Hojo: Non Shusaku Hojo: Yoshimasa Hosoya Harumi Kuromura: Natsuki Inaba Keiko Kuromura: Minori Omi Tetsu Mizuhara: Daisuke Ono Sumi Urano: Megumi Han Rin Shiroki: Nanase Iwai Entaro Hojo: Shigeru Ushiyama San Hojo: Mayumi Shintani Juro Urano: Tsuyoshi Koyama Kiseno Urano: Masumi Tsuda Ito Morita: Hisako Kyoda Kobayashi's Uncle: Nozomu Sasaki Kobayashi's Aunt: Tomoko Shiota Chita-san: Hiromi Seta Kariya-san: Kotone Tachibana Domoto-san: Kikuyo Seya ©Fumiyo Kouno/Futabasha/Konosekai no katasumini Project ※Some parts of this text have been translated using machine translation
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- SoraNews24
Evangelion voice actress reveals she's been waiting 11 years for free condoms she was promised
Fellow voice actress' lament at missing meat prompts Megumi Ogata to share her own story of unfulfilled promises. One of the stranger aspects of Japanese show business has to do with TV shows where people try to win prizes in quizzes, competitions, and other challenges. It's not the contests themselves that are strange, nor are the prizes, usually things like a night in a nice hotel or a modest-sized bundle of some sort of luxury foodstuff. What's odd is that the participants aren't regular people chosen randomly from the audience or through an application process. Instead, the people trying to win a night at a hot spring inn or a seafood dinner are themselves already celebrities, people who could presumably afford to simply pay for such relatively attainable luxuries out of their regular show business earnings without any real worry as to the cost. As a result, I've always sort of wondered if celebrities really care all that much about the prizes they win, especially since the contests are usually segments of variety shows where the guests are already earning appearance fees and/or promoting their current work projects and personal brands. But it turns out some stars really are looking forward to the prizes they've won, as anime voice actress Satomi Akesaka is wondering why she hasn't received her… 🐄🐄🐄🐄🐄 🐄🐄🐄🐄🐄🐄 🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄 🐄 — 明坂聡美(あけさかさとみ)※声優です (@akekodao) July 30, 2025 In September of 2024, Akesaka, whose most recent credits include A Wild Last Boss Appeared's Benetnasch and I Was Reincarnated as the 7th Prince so I Can Take My Time Perfecting My Magical Ability's Talia, appeared on Say You to Yoasobi, an anime voice actor/actress-centered variety show on Japan's Abema streaming service. As part of her appearance, Akesaka won some wagyu beef, but nearly a year later, she still hasn't gotten to taste it, because the show's producers never shipped it to her, as she recounted in a Twitter post on July 30. ▼ 'It's summer, so can I share a scary story? The prize of domestic-raised wagyu beef (value of about 20,000 yen [US$135]) that I won last year on Say You to Yoasobi…still…hasn't arrived…' 夏なんで怖い話してもいいですか？去年の『声優と夜あそび』の優勝商品、国産和牛(約2万円分)………… まだ………届いてません………………… — 明坂聡美(あけさかさとみ)※声優です (@akekodao) July 30, 2025 Nearly 12 full months is definitely a long time to have to have been kept waiting. Still, that's a drop in the temporal bucket compared to voice actress Megumi Ogata, most famous for voicing Evangelion's Shinji and Sailor Moon's Sailor Uranus, who chimed in with a reply revealing that she's been waiting over a decade for a shipment of condoms that she was promised. 明坂…かわいそうに…オレも怖い話していいです？アニソンAAAの優勝賞品、コンドーム1年分…………まだ………届いてません……………………ま、届いてもアレですがﾎﾞｿｯ (緒方会として4人でグループ勝利したやつね！😁#橋本みゆき #AiRI #佐咲紗花 — 緒方恵美 (@Megumi_Ogata) July 30, 2025 'Akesaka…I feel so sorry for you… Can I share a scary story too? I still haven't received…the prize I won from Anison AAA…a year's supply of condoms…' AAA in this case is an acronym for 'Act Against AIDS,' with Anison AAA being an anime music AIDS awareness event. Ogata appeared as part of a four-person performing unit at Anison AAA's third iteration which was held at the Zepp Tokyo music club…all the way back in 2014. The very next day after Akesaka shared her story about her unfulfilled beef promise, the official Say You to Yoasobi Twitter account sent a reply saying that that they are scrambling to set things right, and are hoping to have the wagyu beef in her hands sometime this week. As for Ogata's case, though, it appears that the last Anison AAA was held in 2019 and the event is now discontinued, so she's probably on her own for procuring prophylactics. Source: Twitter/@akekodao, via Hachima Kiko, Twitter/@Megumi_Ogata, Lantis Top image ©SoraNews24 ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter!
