{ "query": "Please summarize the whole context. It is important that you include a summary for each file. All files should be included, so please make sure to go through the entire context", "namespace": "e44de05d-07ff-4b7a-a3bd-cc08f575014d", "messages": [], "stream": false, "language_level": "", "chat_channel": "", "language": "German", "tone": "neutral", "writing_style": "standard", "model": "gemini-1.5-flash", "knowledgebase": "ki-dev-large", "seed": 0, "client_id": 0, "all_context": true, "follow_up_for": null, "knowledgebase_files_count": 0, "override_command": "", "disable_clarity_check": true, "custom_primer": "", "logging": true, "query_route": "" } INITIALIZATION Knowledgebase: ki-dev-large Base Query: Please summarize the whole context. It is important that you include a summary for each file. All files should be included, so please make sure to go through the entire context Model: gemini-1.5-flash Use Curl?: ================================================== **Elapsed Time: 0.00 seconds** ================================================== ROUTING Query type: summary ================================================== **Elapsed Time: 1.86 seconds** ================================================== PRIMER Primer: You are Simon, a highly intelligent personal assistant in a system called KIOS. You are a chatbot that can read knowledgebases through the "CONTEXT" that is included in the user's chat message. Your role is to act as an expert at summarization and analysis. In your responses to enterprise users, prioritize clarity, trustworthiness, and appropriate formality. Be honest by admitting when a topic falls outside your scope of knowledge, and suggest alternative avenues for obtaining information when necessary. 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Use as much tokens as possible to provide a detailed response. ================================================== **Elapsed Time: 0.27 seconds** ================================================== FINAL QUERY Final Query: CONTEXT: ########## File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: [ ](https://www.rogerebert.com) [ ](/search) [ Signup](/prime) Search in https://www.rogerebert.com * [Movie Reviews](/reviews) * [Great Movies](/great-movies) * [TV/Streaming](/streaming) * [Interviews](/interviews) * [Collections](/collections) * [Chaz’s Journal](/chazs-blog) * [Contributors](/contributors) [Reviews](https://www.rogerebert.com/reviews) # Grave of the Fireflies [Animation](https://www.rogerebert.com/genre/animation) 89 minutes ‧ NR ‧ 1988 [Roger Ebert](https://www.rogerebert.com/contributors/roger-ebert) March 19, 2000 6 min read In the waning days of World War II, American bombers drop napalm canisters on Japanese cities, creating fire storms. These bombs, longer than a tin can but about as big around, fall to earth trailing cloth tails that flutter behind them; they are almost a beautiful sight. After they hit, there is a moment’s silence, and then they detonate, spraying their surroundings with flames. In a Japanese residential neighborhood, made of flimsy wood and paper houses, there is no way to fight the fires. #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: Rister singles out another shot: “There’s a moment where the boy Seita traps an air bubble with a wash rag, submerges it, and then releases it into his sister Setsuko’s delighted face–and that’s when I knew I was watching something special.” There are ancient Japanese cultural currents flowing beneath the surface of “Grave of the Fireflies,” and they’re explained by critic Dennis H. Fukushima Jr., who finds the story’s origins in the tradition of double-suicide plays. It is not that Seita and Setsuko commit suicide overtly, but that life wears away their will to live. He also draws a parallel between their sheltering cave and hillside tombs. Fukushima cites an interview with the author, Akiyuki: “Having been the sole survivor, he felt guilty for the death of his sister. While scrounging for food, he had often fed himself first, and his sister second. Her undeniable cause of death was hunger, and it was a sad fact that would haunt Nosaka for years. It prompted him to write about the experience, in hopes of purging the demons tormenting him.” Because it is animated and from Japan, “Grave of the Fireflies” has been little seen. When anime fans say how good the film is, nobody takes them seriously. Now that it’s available on DVD with a choice of subtitles or English dubbing, maybe it will find the attention it deserves. Yes, it’s a cartoon, and the kids have eyes like saucers, but it belongs on any list of the greatest war films ever made. [Tweet](https://twitter.com/intent/tweet?text=Grave+of+the+Fireflies&url=https%3A%2F%2Fwww.rogerebert.com%2Freviews%2Fgreat-movie-grave-of-the-fireflies-1988) [Share](https://www.facebook.com/share.php?u=https%3A%2F%2Fwww.rogerebert.com%2Freviews%2Fgreat-movie-grave-of-the-fireflies-1988) #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: Share Next Stay “Grave of the Fireflies” is an emotional experience so powerful that it forces a rethinking of animation. Since the earliest days, most animated films have been “cartoons” for children and families. Recent animated features such as “[The Lion King](/reviews/the-lion-king-1994),” “[Princess Mononoke](/reviews/princess-mononoke-1999)” and “[The Iron Giant](/reviews/the-iron-giant-1999)” have touched on more serious themes, and the “[Toy Story](/reviews/toy-story-1995)” movies and classics like “Bambi” have had moments that moved some audience members to tears. But these films exist within safe confines; they inspire tears, but not grief. “Grave of the Fireflies” is a powerful dramatic film that happens to be animated, and I know what the critic Ernest Rister means when he compares it to “Schindler’s List” and says, “It is the most profoundly human animated film I’ve ever seen.” It tells a simple story of survival. The boy and his sister must find a place to stay, and food to eat. In wartime their relatives are not kind or generous, and after their aunt sells their mother’s kimonos for rice, she keeps a lot of the rice for herself. Eventually, Seita realizes it is time to leave. He has some money and can buy food–but soon there is no food to buy. His sister grows weaker. Their story is told not as melodrama, but simply, directly, in the neorealist tradition. And there is time for silence in it. One of the film’s greatest gifts is its patience; shots are held so we can think about them, characters are glimpsed in private moments, atmosphere and nature are given time to establish themselves. #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: Japanese poets use “pillow words” that are halfway between pauses and punctuation, and the great director [Yasujiro Ozu](/cast-and-crew/yasujiro-ozu) uses “pillow shots”–a detail from nature, say, to separate two scenes. “Grave of the Fireflies” uses them, too. Its visuals create a kind of poetry. There are moments of quick action, as when the bombs rain down and terrified people fill the streets, but this film doesn’t exploit action; it meditates on its consequences. The film was directed by [Isao Takahata](/cast-and-crew/isao-takahata), who is associated with the famous Ghibli Studio, source of the greatest Japanese animation. His colleague there is [Hayao Miyazaki](/cast-and-crew/hayao-miyazaki) (“Princess Mononoke,” “Kiki’s Delivery Service,” “[My Neighbor Totoro](/reviews/great-movie-my-neighbor-totoro-1993)”). His films are not usually this serious, but “Grave of the Fireflies” is in a category by itself. It’s based on a semi-autobiographical novel by Nosaka Akiyuki–who was a boy at the time of the firebombs, whose sister did die of hunger and whose life has been shadowed by guilt. The book is well-known in Japan, and might easily have inspired a live-action film. It isn’t the typical material of animation. But for “Grave of the Fireflies,” I think animation was the right choice. Live action would have been burdened by the weight of special effects, violence and action. Animation allows Takahata to concentrate on the essence of the story, and the lack of visual realism in his animated characters allows our imagination more play; freed from the literal fact of real actors, we can more easily merge the characters with our own associations. #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: Hollywood animation has been pursuing the ideal of “realistic animation” for decades, even though that’s an oxymoron. People who are drawn do not look like people who are photographed. They’re more stylized, more obviously symbolic, and (as Disney discovered in painstaking experiments) their movements can be exaggerated to communicate mood through body language. “Grave of the Fireflies” doesn’t attempt even the realism of “The Lion King” or “Princess Mononoke,” but paradoxically it is the most realistic animated film I’ve ever seen–in feeling. The locations and backgrounds are drawn in a style owing something to the 18th century Japanese artist Hiroshige and his modern disciple Herge (the creator of Tin Tin). There is great beauty in them–not cartoon beauty, but evocative landscape drawing, put through the filter of animated style. The characters are typical of much modern Japanese animation, with their enormous eyes, childlike bodies and features of great plasticity (mouths are tiny when closed, but enormous when opened in a child’s cry–we even see Setsuko’s tonsils). This film proves, if it needs proving, that animation produces emotional effects not by reproducing reality, but by heightening and simplifying it, so that many of the sequences are about ideas, not experiences. There are individual moments of great beauty. One involves a night when the children catch fireflies and use them to illuminate their cave. The next day, Seita finds his little sister carefully burying the dead insects–as she imagines her mother was buried. There is another sequence in which the girl prepares “dinner” for her brother by using mud to make “rice balls” and other imaginary delicacies. And note the timing and the use of silence in a sequence where they find a dead body on the beach, and then more bombers appear far away in the sky. #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: [Share](https://www.linkedin.com/cws/share?url=https%3A%2F%2Fwww.rogerebert.com%2Freviews%2Fgreat-movie-grave-of-the-fireflies-1988) Pin65 65 Shares ##### [Roger Ebert](https://www.rogerebert.com/contributors/roger-ebert) Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013\. In 1975, he won the Pulitzer Prize for distinguished criticism. #### Grave of the Fireflies [Animation](https://www.rogerebert.com/genre/animation) 89 minutes ‧ NR ‧ 1988 #### Leave a comment Please enable JavaScript to view the[ comments powered by Disqus.](https://disqus.com/?ref%5Fnoscript) --- #### Now playing [ Megalopolis Brian Tallerico ](https://www.rogerebert.com/reviews/megalopolis) [ Anora Tomris Laffly ](https://www.rogerebert.com/reviews/anora) [ The Last of the Sea Women Marya E. Gates ](https://www.rogerebert.com/reviews/the-last-of-the-sea-women) [ Heretic Brian Tallerico ](https://www.rogerebert.com/reviews/heretic) [ Rez Ball Marya E. 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Lindsey ](https://www.rogerebert.com/reviews/the-thicket-film-review) [ The Mother of All Lies Monica Castillo ](https://www.rogerebert.com/reviews/the-mother-of-all-lies-movie-review) --- #### Latest articles [ Festivals & Awards TIFF 2024: Road Diary: Bruce Springsteen and the E Street Band, Elton John: It’s Not Too Late, Paul Anka: His Way 3 hours ago ](https://www.rogerebert.com/festivals/tiff-2024-road-diary-bruce-springsteen-and-the-e-street-band-elton-john-its-not-too-late-paul-anka-his-way) [ Festivals & Awards TIFF 2024: Unstoppable, Triumph, April 6 hours ago ](https://www.rogerebert.com/festivals/tiff-2024-unstoppable-triumph-april) [ Festivals & Awards TIFF 2024: Table of Contents 15 hours ago ](https://www.rogerebert.com/festivals/tiff-2024-table-of-contents) [ Festivals & Awards TIFF 2024: Paying For It, Viktor, Mr. K 15 hours ago ](https://www.rogerebert.com/festivals/tiff-2024-paying-for-it-viktor-mr-k) #### The best movie reviews, in your inbox Movie Reviews * [Roger’s Greatest Movies](/great-movies) * [All Reviews](/reviews) * [Cast and Crew](/cast-and-crew) Ebert Prime * [Sign Up](https://www.rogerebert.com/prime) Movie Genres #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: Movie Genres * [Action](https://www.rogerebert.com/genre/action) * [Amazon Prime](https://www.rogerebert.com/genre/amazon-prime) * [Comedy](https://www.rogerebert.com/genre/comedy) * [Documentary](https://www.rogerebert.com/genre/documentary) * [Drama](https://www.rogerebert.com/genre/drama) * [Horror](https://www.rogerebert.com/genre/horror) * [Hulu](https://www.rogerebert.com/genre/hulu) * [Mystery](https://www.rogerebert.com/genre/mystery) * [Netflix](https://www.rogerebert.com/genre/netflix) * [Romance](https://www.rogerebert.com/genre/romance) * [Science Fiction](https://www.rogerebert.com/genre/science-fiction) * [Suspense](https://www.rogerebert.com/genre/suspense) * [Thriller](https://www.rogerebert.com/genre/thriller) Blogs * [Reviews](/reviews) * [Chaz’s Journal](https://www.rogerebert.com/category/chazs-blog) * [Great Movies](/great-movies) * [MZS](https://www.rogerebert.com/category/mzs) * [Far Flungers](https://www.rogerebert.com/category/far-flung-correspondents) * [Interviews](https://www.rogerebert.com/category/interviews) * [Tributes](https://www.rogerebert.com/category/tributes) * [Video Games](https://www.rogerebert.com/category/video-games) * [Black Writers Week](https://www.rogerebert.com/category/black-writers-week) * [Features](https://www.rogerebert.com/category/features) * [TV/Streaming](https://www.rogerebert.com/category/streaming) * [Roger Ebert](https://www.rogerebert.com/category/roger-ebert) * [Festivals & Awards](https://www.rogerebert.com/category/festivals) Ebert Co. #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: Ebert Co. * [About the site](/about) * [Contact us](/contact-us) * [Advertise with us](mailto:advertising@ebertdigital.com) * [Contributors](/contributors) [ ](https://www.facebook.com/RogerEbert) “Roger Ebert Loved Movies” [In Memoriam 1942 - 2013](/memoriam) Ebert Digital LLC © Copyright 2024 * [Terms of use](https://www.rogerebert.com/terms-of-use) * [Privacy Policy](https://www.rogerebert.com/privacy-policy) #################### File: www-rogerebert-com-reviews-great-movie-grave-of-the-fireflies-1988-51987.txt Page: 1 Context: “Grave of the Fireflies” (1988) is an animated film telling the story of two children from the port city of Kobe, made homeless by the bombs. Seita is a young teenager, and his sister Setsuko is about 5\. Their father is serving in the Japanese navy, and their mother is a bomb victim; Seita kneels beside her body, covered with burns, in an emergency hospital. Their home, neighbors, schools are all gone. For a time an aunt takes them in, but she’s cruel about the need to feed them, and eventually Seita finds a hillside cave where they can live. He does what he can to find food, and to answer Setsuko’s questions about their parents. The first shot of the film shows Seita dead in a subway station, and so we can guess Setsuko’s fate; we are accompanied through flashbacks by the boy’s spirit. Powered By 00:00/00:30 10 Grave Of The Fireflies (Studio Ghibli Fest 2018) Share Next Stay #################### File: Attack%20On%20Titan%20Review.pdf Page: 1 Context: # Illinois Wesleyan University ## Digital Commons @ IWU ### Outstanding Gateway Papers ### Writing Program 2023 # The Manga *Attack on Titan* as a Literary Medium **Joseph Song** *Illinois Wesleyan University, jsong@iwu.edu* Follow this and additional works at: [https://digitalcommons.iwu.edu/gateway](https://digitalcommons.iwu.edu/gateway) Part of the English Language and Literature Commons, and the Rhetoric and Composition Commons ## Recommended Citation Song, Joseph. "The Manga *Attack on Titan* as a Literary Medium" (2023). *Outstanding Gateway Papers*. 20. [https://digitalcommons.iwu.edu/gateway/20](https://digitalcommons.iwu.edu/gateway/20) This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact digitalcommons@iwu.edu. ©Copyright is owned by the author of this document. Image Analysis: ### Analysis of Attached Visual Content #### 1. Localization and Attribution: - **Image 1** - **Location**: This is a single-page document. - **Position**: The text is centrally located with references and citation details at the bottom. #### 2. Object Detection and Classification: - **Detected Objects**: - **Logo**: "W" logo likely representing Illinois Wesleyan University. - **Text Blocks**: Several blocks of text, including heading, subheading, author name, affiliations, additional links, and copyright information. - **Icons**: Digital Commons @ IWU logo. #### 3. Scene and Activity Analysis: - **Scene**: The image is a digital page layout likely from an academic or institutional repository. - **Activity**: The document appears to be an academic paper submission or a publication information page related to a specific paper. #### 4. Text Analysis: - **Extracted Text**: - **Heading**: "The Manga Attack on Titan as a Literary Medium" - **Author**: "Joseph Song, Illinois Wesleyan University, jsong@iwu.edu" - **Publication Information**: - "Outstanding Gateway Papers" - "Writing Program" - Year: 2023 - **Additional Text**: - Recommended citation format and links to additional works and related commons. - Copyright and permission statements. - **Significance**: - The text provides publication details of an academic paper authored by Joseph Song. It emphasizes the paper’s inclusion in Outstanding Gateway Papers and mentions the specific focus on "Attack on Titan" as a literary medium. #### 8. Color Analysis: - **Dominant Colors**: - **Green and Black**: Primarily used for logos and headings. - **Black and Gray**: Used for main text and body content. - **Impact**: The color scheme is professional and academic, maintaining a formal tone suitable for an academic publication. #### 10. Contextual Significance: - **Contribution to Overall Message**: - This image seems to be part of a larger digital academic repository. It provides crucial information for academic referencing, accessing the full paper, and acknowledging the work in a scholarly context. ### Summary The visual content is an academic page from Illinois Wesleyan University’s Digital Commons, presenting publication details of a paper by Joseph Song titled "The Manga Attack on Titan as a Literary Medium." The document includes essential publication information, author details, a proper citation format, and copyright permissions. The design employs a formal and professional color scheme appropriate for academic use. #################### File: Attack%20On%20Titan%20Review.pdf Page: 2 Context: # Joseph Song Dr. Chambers December 12th, 2022 ## The Manga *Attack on Titan* as a Literary Medium *Attack on Titan* is a globally celebrated Japanese manga written and illustrated by Hajime Isayama. The manga has sold over 110 million copies worldwide, garnering several awards which have cemented its enormous success. The narrative is set in the early nineteenth century, when a small portion of humanity has been forced to live behind gigantic walls that protect them from enormous, human-like titans who feast on human flesh. It is through the events that take place in *Attack on Titan* that the reader can reflect critically on topics relevant today, such as racism, genocide, and revenge through the formal ways that manga presents complex narrative in an accessible, visual format to readers. Before analyzing the manga as a narrative text, what follows here is a summary of the general story. It begins by focusing on the Eldians, a population who live behind walls for protection against the giant, man-eating titans on their island home, “Paradis Island.” The narrative focuses on Eren Jaeger, an Eldian soldier who holds the unique power of turning into a titan. For most of the manga, the origin of the titans and the motive behind their attacks is clouded in mystery. However, as the story progresses, it is revealed that countries exist beyond the walls of Paradis Island, and that the titans were created to attack the Eldians as a form of brutal and unfair punishment. Marley, the continent primarily responsible for the blatantly racist and genocidal effort to wipe out Paradis Island, justifies their prejudice by calling the Eldians a “cursed race,” referencing events from thousands of years in the past. #################### File: Attack%20On%20Titan%20Review.pdf Page: 3 Context: What is striking about **Attack on Titan** is how the social problems presented in the story are articulated through particularities of the manga as a visual medium. To begin with, one of the main differences that makes manga a unique literary medium is its visual narrative structure. In manga, images are the primary focus in conveying narrative while verbal information is secondary. The verbal aspect of manga simply conveys dialogue, thoughts, and a small amount of narrative text. Thus, “(t)to 'read' manga is to read images” (Rommens 1). The large emphasis on images rather than text in manga marks a contrast with conventional Euro-American comics, which exhibit a tendency to use a large amount of textual information in explaining the narrative, characters’ emotion, and dialogue. By eliminating as much textual information as possible, manga becomes a unique literary medium where it accomplishes the difficult task of “uniting the seemingly incompatible acts of reading and watching” (MacWilliams 298). Manga accomplishes this unique style by conducting its narrative on two levels: **interpanel** and **intrapanel**, with intrapanel components found to be particularly relevant to formulating the #################### File: Attack%20On%20Titan%20Review.pdf Page: 4 Context: # Interpanel Components in Manga “Interpanels are essential to manga's unique narrative structure because of how its organization achieves a central focus on images and how they structure narrative progression. The freedom behind the design of interpanels allows the author to immerse their reader into the story by creating different perspectives or tenses in the story, or as Xiran phrases it, helps ‘establish and consolidate the concept of ‘unmarkedness’” (Xiran 585). For example, in figure 1, the gutter of the page was colored to be black, and each panel flows with different angles on the conversation between three characters: Mikasa, Jean, and Hange. The black gutters create an immersive feeling for the reader, causing them to visualize the night sky and a sense of secrecy behind the conversation the characters are having since, in the story. ## Key Components - **Interpanels**: The panels that divide the page into multiple sections. - **Gutter**: The space around the panels, called the “gutter.” ![Figure 1](image-url-placeholder) *Figure 1: Illustration of interpanels and gutters in manga.* --- Visual analysis was closely inspired by Xiran Yang's and Jonathon Webster's *To Be Continued: Meaning-Making in Serialized Manga as Functional-Multimodal Narrative*. Image Analysis: ### Comprehensive Examination #### 1. Localization and Attribution - **Image Location and Numbering:** - There is a single image located in the middle of the page. - **Image Number:** Image 1 #### 2. Object Detection and Classification - **Image 1:** - **Objects Detected:** - Manga panels: These are rectangular sections with images and text. - Characters: Illustrated individuals within the manga panels. - Text bubbles: Contain dialogue or thoughts of the characters within the manga panels. - **Key Features:** - Black and white illustrations typical of manga, with distinct outlines and shading. - Characters have expressive faces and varied poses to convey emotions and actions. - Text bubbles are oval or round, with text inside. #### 3. Scene and Activity Analysis - **Image 1:** - **Scene Description:** - The image is a depiction of a manga page layout with different panels containing illustrations and dialogues. - The panels include scenes of characters interacting in various ways. - **Activities:** - Characters are shown conversing and interacting with each other. - The arrangement of the panels suggests a sequence of events or dialogue. #### 4. Text Analysis - **Image 1:** - **Extracted Text:** - From the document: The text discusses the structure of manga panels, mentioning "Intrapanel components of manga," "multimodal continuum," "gutter," and references to Xiran. - Manga panels contain dialogue, though the specific text in the speech bubbles is too small to read clearly. #### 5. Diagram and Chart Analysis - **Image 1:** - **Diagram Analysis:** - The diagram highlights different parts of a manga page: "Page," "Gutter," and "Panel," using colored lines (red, yellow, and green respectively). - The diagram visualizes the concept of a manga page layout and how the space is organized. #### 6. Product Analysis - **Image 1:** - No specific products depicted for a detailed analysis. #### 7. Anomaly Detection - **Image 1:** - No anomalies or unusual elements detected. #### 8. Color Analysis - **Image 1:** - **Dominant Colors:** - Black and white for the manga panels. - Colored lines (red, yellow, green) used to highlight different sections (Page, Gutter, Panel). - **Impact on Perception:** - The stark black and white of the manga contrasts with the highlighted lines, aiding in differentiating and understanding the components of the layout. #### 9. Perspective and Composition - **Image 1:** - **Perspective:** - The image is an overhead view of a manga page, as if looking straight down at it. - **Composition:** - Panels are arranged in a traditional manga layout, with various panel sizes and shapes. - The colored lines and labels help to denote different parts of the page structure. #### 10. Contextual Significance - **Image 1:** - The image serves as an educational illustration to explain the components of a manga page layout. - It helps readers understand how different sections are designated and their role in storytelling. #### 11. Metadata Analysis - Not available for this image. #### 12. Graph and Trend Analysis - **Image 1:** - No graphs included for analysis. #### 13. Graph Numbers - Not applicable. #### Additional Aspects - **Ablaufprozesse (Process Flows)** - No explicit process flows depicted. - **Prozessbeschreibungen (Process Descriptions)** - The process described relates to how manga panels are organized and the significance of their layout. - **Typen Bezeichnung (Type Designations)** - The types specified include "Page," "Gutter," and "Panel." - **Trend and Interpretation** - Trends in manga layout emphasize visual storytelling through different panel arrangements and creative use of spaces (gutter). - **Tables** - No tables included in the image. #################### File: Attack%20On%20Titan%20Review.pdf Page: 5 Context: Hange and Mikasa are trying to convince Jean to rebel against the newly created Jaegerists and their goal of mass genocide. The different angles in each panel and their flow enable the reader to visualize who is taking part in the conversation and where it is taking place, allowing the dialogue between the characters to convey what is occurring. The organization of these images structures the narrative flow to visually demarcate the relationship between the characters. Above in Figure 1, Mikasa and Hange are shown in one panel while Jean is shown in the opposite panel, highlighting that Jean is not on Mikasa and Hange’s side. Furthermore, after introducing the characters, Isayama shows an overview and a central focus on Hange, since she is the only one who speaks on this page. Intrapanel components are more complicated since they are situated inside each panel. The major groupings in intrapanels are the verbal and graphic elements; however, | Onomatopoeia | Effect Lines | Speech Bubble | Image | |---------------|--------------|---------------|-------| | | | | | Image Analysis: ### Analysis of the Attached Visual Content #### 1. **Localization and Attribution:** - **Image Numbering:** - **Image 1**: Positioned in the center of the page. #### 2. **Object Detection and Classification:** - **Image 1**: - **Objects Detected:** - Characters: Three characters in manga style. - Speech Bubbles: Various shapes containing text. - Onomatopoeia: Manga sound effects. - Effect Lines: Dynamic lines often used in manga to indicate movement or emotion. - **Classification:** - Manga Panel: Black and white comic-style illustration. #### 3. **Scene and Activity Analysis:** - **Image 1**: - **Scene Description**: This is a manga panel scene where two characters, Mikasa and Hange, are trying to convince another character, Jean, to rebel against the newly created Jaegerists. - **Activities**: Conversation and confrontation are ongoing. Jean appears apprehensive and standoffish, while Mikasa and Hange are assertive and persuasive. #### 4. **Text Analysis:** - **Image 1**: - **Text Detected**: Various dialogues inside speech bubbles. - **Significance**: The text drives the narrative and reveals that Mikasa and Hange are attempting to persuade Jean to join their cause against the Jaegerists. It helps readers understand the storyline within this manga context. #### 5. **Diagram and Chart Analysis:** - **Not Applicable for Image 1**. #### 6. **Product Analysis:** - **Not Applicable for Image 1**. #### 7. **Anomaly Detection:** - **Not Applicable for Image 1**. #### 8. **Color Analysis:** - **Image 1**: - **Color Composition**: Black and white; traditional for manga. - **Dominant Colors**: Black, white, and various shades of gray. - **Impact**: The monochrome palette is typical for manga and emphasizes shading and linework to convey mood and emotion. #### 9. **Perspective and Composition:** - **Image 1**: - **Perspective**: Standard manga composition with close-up and medium shots. - **Composition**: Organized in panels, each illustrating a segment of the conversation. Characters are placed strategically to reflect their interactions and emotions. #### 10. **Contextual Significance:** - This manga panel is part of a larger narrative, clearly discussing a critical juncture in the story where characters are deciding on their next course of action. The images and text together allow readers to follow the shifting dynamics between the characters. #### 11. **Metadata Analysis:** - **Not Applicable**. #### 12. **Graph and Trend Analysis:** - **Not Applicable for Image 1**. #### 13. **Graph Numbers:** - **Not Applicable for Image 1**. #### Additional Aspects: - **Ablaufprozesse (Process Flows):** - **Not Applicable for Image 1**. - **Prozessbeschreibungen (Process Descriptions):** - **Not Applicable for Image 1**. - **Typen Bezeichnung (Type Designations):** - **Not Applicable for Image 1**. - **Trend and Interpretation:** - **Not Applicable for Image 1**. - **Tables:** - **Not Applicable for Image 1**. Overall, the image is a crucial scene from a manga, conveying a pivotal point in the story through carefully composed illustrations and dialogue. The use of speech bubbles, effect lines, and onomatopoeia enhances the narrative and emotional intensity. #################### File: Attack%20On%20Titan%20Review.pdf Page: 6 Context: # Manga Narrative Techniques Manga is not strictly regulated to have both in each panel or even the whole page. More specifically, manga generally contains images, effect lines, and speech bubbles. Image "refers to a realistic or at least a partly iconic image, like a person, a brush, or a slice of French toast" (Xiran 588; see Figure 2 where various elements are indicated, with Gabi outlined in pink). ## Effect Lines Effect lines are extremely flexible in terms of their role in representing external stimuli and filling up vacancies. They can either be straight, curved, or in the form of onomatopoeias, which is the main difference between western comics and Japanese manga. In Figure 2, there are several instances where Isayama uses effect lines, namely the onomatopoeias and the straight lines on the rifle, to depict motion. ## Speech Bubbles Speech bubbles are simply representations of dialogue between characters, and their connotation can be different based on the shape, frame, or lining. In Figure 2, speech bubbles are used to convey the conversation of Eren, Gabi, and Pieck. ## Circular Storytelling The combination of both interpanel and intrapanel components is what allows manga to place a primary focus on imagery and make verbal information secondary. *Attack on Titan* is distinguished by Isayama Hajime’s unique approach to manga narrative, working with the formal elements presented here to make the manga accessible and informative on the topics of vengeance, racism, and violence. Unlike many *mangakas*, a term to label many Japanese manga authors, Isayama began writing *Attack on Titan* with a clear plan for its ending from the beginning, contrasting many manga in the mainstream action and adventure genre. This is evident with Isayama’s circular storytelling technique, which is the idea that the story ends where it begins. An example of Isayama’s utilization of circular storytelling is in the connections between the characters on opposing sides, specifically Eren with Reiner and Gabi, and Armin with Bertholdt. At the very beginning of the manga, Reiner with his armored titan destroyed the walls that protected Eren and the rest of the citizens on Paradis Island, resulting in the death of... #################### File: Attack%20On%20Titan%20Review.pdf Page: 7 Context: Eren's mother. Reiner was a warrior of Marley and, in his mind, he was trying to save the world. However, when he is instructed to enlist in the Eldian army as a spy, he learns that the people on Paradis Island are good people who are victims of genocidal discrimination from Marley and the rest of the world. Decades later, before Eren attacks Marley with his titan, Eren discusses with Reiner that “over the sea, inside the walls, we are all the same.” (Isayama 2022). The reason why this connection is memorable is because of Isayama’s unique application of intrapannelling and interpanelling, which articulates Reiner’s fear due to his realization of Eren’s goal of eliminating Marley and all the innocent civilians in it. In the image on the left, Isayama blurs out the background and creates a central focus on Reiner’s facial expression to convey his horror. Isayama also tilts the panels of Eren’s recollection of his time at Marley, creating visual support for his realization that Marley and Eldia are the same. The intrapanel of both Falco and Reiner’s faces shows the absolute fear that they are experiencing as they come to realize that Eren will make the same choice as Reiner and “save the world” in his mind, effectively murdering many. Image Analysis: ### Comprehensive Analysis of the Attached Visual Content ## 1. **Localization and Attribution:** - **Image 1:** (Top-left position) - **Image 2:** (Top-middle position) - **Image 3:** (Top-right to center position) - **Image 4:** (Bottom-left position) - **Image 5:** (Bottom-right position) ## 2. **Object Detection and Classification:** - **Image 1:** - Objects: Human faces - Key Features: One character is speaking, text bubble included. - **Image 2:** - Objects: Human eyes, emotional expression. - Key Features: Extreme close-up, showing intense emotion. - **Image 3:** - Objects: Group of people, all with expressive faces. - Key Features: Depicts fear and determination; some characters seated, one character standing. - **Image 4:** - Objects: Human faces, conversational setting. - Key Features: Close-up on characters, conveying intensive dialogue. - **Image 5:** - Objects: Characters sitting, one character standing, conversation occurring. - Key Features: Scene of serious discussion. ## 3. **Scene and Activity Analysis:** - **Image 1:** - Scene: Close-up of a man speaking. - Activity: Man stating "I’M THE SAME AS YOU...” - **Image 2:** - Scene: Close-up of human eyes. - Activity: Intensely focused expression, probably recollection or realization. - **Image 3:** - Scene: Group with varied emotional expressions in a tense or dramatic situation. - Activity: Sitting or crouched characters are reacting to a standing character’s statements. - **Image 4:** - Scene: Characters in close conversation, looks of distress and realization. - Activity: Emotional dialogue. - **Image 5:** - Scene: Intense dialogue between characters about serious matters. - Activity: Seated characters talking attentively to a standing character. ## 4. **Text Analysis:** - **Image 1:** - Text: "I’M THE SAME AS YOU..." - **Image 3:** - Text: "BUT THERE ARE GOOD PEOPLE WHO... SURE, THERE WERE PEOPLE WHO PISSED ME OFF." - **Image 4:** - Text: No specific text visible. - **Image 5:** - Text: "YOU’RE... ONE OF..." - Analysis: Captions express emotional and dramatic realizations of the characters. ## 7. **Anomaly Detection:** - **Image 3:** Blurred background that creates focus on Reiner’s facial expression. - **Image 4:** Tilted panel that emphasizes Eren’s recollection and realization. ## 8. **Color Analysis:** - **Images:** Black and white, high contrast. - Dominant Colors: Monochromatic black and white, with various shades of grey. - Impact: Emphasizes drama, enhances emotional intensity and focus. ## 9. **Perspective and Composition:** - **Perspective:** - Image 1: Frontal close-up view. - Image 2: Extreme close-up of eyes. - Image 3: Mixed close-ups and medium shots. - Image 4: Frontal close-up. - Image 5: Group conversational view. - **Composition:** - Arrangement: Close-ups and dramatic mid-shots are used to enhance emotional impact and dialogue intensity. - Focus: On faces, expressions, and crucial dialogues. ## 10. **Contextual Significance:** - **Contribution to Overall Message:** - Dialogue and facial expressions convey the psychological and emotional tension of the characters, supporting the narrative’s themes of realization, fear, and dramatic conflict. ## 13. **Graph Numbers:** (Not Applicable to the current visual content) ## **Ablaufprozesse (Process Flows):** - **Presented Emotional and Psychological Realization Processes:** Characters are in confrontation, realization, and reflection about past interactions and current intentions. ## **Anomaly Detection Continued:** - Use of blurring and tilting panels to emphasize focus and mental states, highlighting the narrative device used by the creators to portray internal conflict and shifts in perception. ## **Trend and Interpretation:** - **Illustrated Trends:** - Consistent use of close-ups to show character emotions. - Use of focused background to draw attention to significant narrative elements. Overall, the visual content reflects intense emotional exchanges, dramatic themes of realization, and nuanced character interactions that play crucial roles in moving the storyline forward within a tense narrative structure. #################### File: Attack%20On%20Titan%20Review.pdf Page: 8 Context: innocent citizens as an act of war. Another instance of Isayama’s utilization of intrapannelling and interpanelling is to highlight the parallels between Gabi and Eren. As shown in the two images below, Isayama chooses the same positioning of the panels and the same angles in the panels when showing Eren and Gabi putting up their hair while looking at themselves in the mirror. ![Image 1](image1_url) ![Image 2](image2_url) This visual connection between the two characters adds another layer of similarity between the two, beyond their shared stories and motives. In the beginning, when Eren was a child, he decided to enlist in the Eldian army as an act of revenge against the titans for eating his mother. Gabi, in a parallel case, decided to take revenge against the Eldians when Eren attacked Marley, murdering amongst the innocents Gabi’s friends Udo and Zofia. This connection emphasizes circular storytelling because the same events that happened at the beginning of the story are Image Analysis: ### Analysis #### 1. **Localization and Attribution:** - **Image 1**: - Location: Left side of the page. - Description: A black-and-white comic strip featuring a character tying their hair in front of a mirror. - **Image 2**: - Location: Right side of the page. - Description: Another black-and-white comic strip depicting a different character tying their hair, similarly in front of a mirror. #### 2. **Object Detection and Classification:** - **Image 1:** - Objects: Mirror, sink, towel, and a character (presumably a young man). - Key Features: The character is looking at themselves in the mirror while tying up their hair; the reflection shows a determined expression. - **Image 2:** - Objects: Mirror, sink, a pair of scissors, hairbrush, a character (presumably a young woman). - Key Features: The character is also looking at themselves in the mirror, tying up their hair; the scene includes a close-up of various grooming tools. #### 3. **Scene and Activity Analysis:** - **Image 1:** - Scene Description: The character is in a bathroom, tying their hair while staring into the mirror. - Main Actor & Action: The character (possibly Eren) is acting with a sense of purpose and intensity. - **Image 2:** - Scene Description: Similar to the first image, this character is also in a bathroom, preparing their hair. - Main Actor & Action: The second character (possibly Gabi) engages in the same grooming activity with a focused expression. #### 4. **Text Analysis:** Various text elements are present: - **Image 1**: - Text in bubbles: "We can't win." "I won't forget." "Fight." - Bottom text: "Continued in the next issue." - **Image 2:** - Text in bubbles: "Wait for me, Falco." The text captions emphasize determination and reflect on the characters' motivations. #### 6. **Product Analysis:** Both scenes include basic bathroom fixtures: - **Image 1:** Plain bathroom features, simple mirror, and sink. - **Image 2:** Similar bathroom aesthetics with additional grooming tools such as scissors and a hairbrush. #### 9. **Perspective and Composition:** - **Image 1:** - Perspective: Eye-level shot from behind the character, capturing their reflection. - Composition: Symmetrical arrangement focusing on the mirrored reflection. - **Image 2:** - Perspective: Also an eye-level shot; the composition includes close-ups of tools for added detail. - Composition: Similar symmetry with an emphasis on the character's facial expressions and actions. #### 10. **Contextual Significance:** The images serve to parallel the characters' actions and experiences: - The visual similarities draw a connection between the characters' motivations and narrative arcs. - Highlights themes of revenge and determination within the broader story context. ### Summary The provided comic panels highlight parallels between two characters through mirrored actions and settings. Both depict moments of preparing in front of a mirror, symbolizing a moment of introspection and resolve. These scenes emphasize their motivations and character development, supported by textual elements that convey determination and future actions. The visual and thematic connections strengthen the narrative's exploration of revenge and shared experiences within the story. #################### File: Attack%20On%20Titan%20Review.pdf Page: 9 Context: # Analysis of Isayama’s Manga Structure in *Attack on Titan* In this section, we will explore the unique storytelling methods used by Isayama in *Attack on Titan*. A significant aspect of this narrative structure is the interconnectedness of events, particularly what happens at the end, illustrated through the parallel of Eren and Gabi. The circular storytelling employed by Isayama emphasizes the unending cycle of war and violence present in the world of *Attack on Titan*, and it may offer insights into our understanding of real-world issues. Another notable element of Isayama’s approach is how he showcases the flow of information and shifts in perspective. In *Attack on Titan*, the perspective is primarily focused on specific characters, particularly Eren, highlighting a “peculiar approach to narrative structure” (Ursini 1). As a result, readers gain a deeper understanding of *Attack on Titan* as the characters themselves evolve. ## Key Revelations One pivotal revelation occurs when it is disclosed that Reiner and Bertholdt can transform into titans like Eren. Their actions are central to the destruction of the walls that led to the death of Eren’s mother. This revelation is particularly impactful because, prior to this moment, Reiner and Bertholdt are perceived as allies. The twist comes when they utilize their titan powers as a last resort to capture Eren and exploit his titan abilities. ### Shifts in Perspective Another example manifests after a significant narrative time skip, during which the focus shifts from Eren to his friends. They grapple with understanding the drastic change in Eren’s personality and explore his motivations for seeking a genocide against the outside world. In the accompanying image, Mikasa and Armin enter into a heated discussion with Gabi, and they become momentarily frozen in shock as Eren abruptly enters the room. This moment is further accentuated by the use of effect lines, which visually communicate the tension and surprise of the scene. In conclusion, Isayama’s skillful narrative structure and character development create a rich and intricate story that captivates and engages readers, encouraging them to reflect on broader themes of conflict and identity. Image Analysis: ### Comprehensive Examination of the Attached Visual Content: #### 1. **Localization and Attribution:** - **Image 1:** Positioned at the top-left in the middle of the page. - **Image 2:** Positioned at the top-right in the middle of the page. - **Image 3:** Positioned at the mid-left in the middle of the page. - **Image 4:** Positioned at the bottom in the middle of the page. #### 2. **Object Detection and Classification:** - **Image 1:** - **Objects Detected:** - Three human-like characters. - Speech bubble with text. - **Classification:** - The characters appear to be part of a manga/comic scene, drawn in black and white. - **Image 2:** - **Objects Detected:** - A human-like character. - Speech bubbles with text. - **Classification:** - A manga/comic scene with a close-up of a character’s face. - **Image 3:** - **Objects Detected:** - Two human-like characters. - Speech bubble with text. - **Classification:** - Another manga/comic scene. - **Image 4:** - **Objects Detected:** - A human-like character (close-up). - **Classification:** - A manga/comic style close-up of a character’s face with visible emotional expression. #### 3. **Scene and Activity Analysis:** - **Image 1:** - **Scene Description:** - Three characters are having a conversation. Two are facing another character. - **Activities:** - Characters engaging in dialogue, with one character possibly responding to or addressing the other two. - **Image 2:** - **Scene Description:** - A close-up of a character’s face and speech bubbles. - **Activities:** - The character is speaking, likely addressing someone not shown in the frame. - **Image 3:** - **Scene Description:** - Two characters appear to be in an argument or serious dialogue. - **Activities:** - Intense conversation or confrontation between two characters. - **Image 4:** - **Scene Description:** - Close-up of a character with a pained or emotional expression. - **Activities:** - The character is reacting emotionally, possibly to information or an event. #### 4. **Text Analysis:** - **Image 1:** - **Text Extracted:** - Speech bubble: "Reiner, Bertholdt" - **Contextual Significance:** - Likely identifying characters involved in the conversation. - **Image 2:** - **Text Extracted:** - Speech bubble: "I can..." (Text partially obscured) - **Contextual Significance:** - The character is likely stating an intention or ability. - **Image 3:** - **Text Extracted:** - Speech bubble: "Die..." - **Contextual Significance:** - Potentially a command, demand, or expression of intense emotion. - **Image 4:** - **Text Extracted:** Not applicable, as there is no visible text. - **Contextual Significance:** Not applicable. #### 5. **Color Analysis:** - **Images:** - Each image features black-and-white manga/comic-style art. - The dominance of grayscale colors evokes a traditional manga feeling, focusing on the narrative and emotional expressions without color distraction. #### 9. **Perspective and Composition:** - **Image 1:** - **Perspective:** - Eye-level perspective, focusing on three characters. - **Composition:** - Balanced arrangement with characters occupying the frame, showing a conversation scene. - **Image 2:** - **Perspective:** - Close-up of a character’s face. - **Composition:** - Tight framing on the character’s face, emphasizing their expression and speech. - **Image 3:** - **Perspective:** - Eye-level view of two characters. - **Composition:** - More dynamic, possibly depicting an argument or intense conversation. - **Image 4:** - **Perspective:** - Close-up on a character’s face. - **Composition:** - Emphasizes the character’s emotional state. #### 14. **Contextual Significance:** - **Images:** - The images serve to illustrate and enhance the textual analysis provided in the document. They offer visual support to the narrative discussion about the manga *Attack on Titan* and help to convey the complexity and shifts in perspective discussed in the text. #################### File: Attack%20On%20Titan%20Review.pdf Page: 10 Context: when Eren arrives as well as a perspective focus on Mikasa and Armin as they become frightened, realizing he had walked inside. Through these intrapanel and interpanel component applications, Isayama was able to show that the perspective shifted from Eren onto his friends, resulting in Eren becoming the villain of the last arc of the story. In conclusion, the uniqueness behind manga’s emphasis on visual language conveys important modern issues like violence, revenge, and the cycle of hatred through a simple and artistic way. This simple and artistic manner of expressing messages gives meaning to manga for its ability to act as a literary medium and gives the author freedom in conveying their topics or issues they choose to cover through their manga. The freedom given to authors allows a variety of manga to be enjoyed by readers throughout the globe, simultaneously entertaining and educating readers about important issues. #################### File: Attack%20On%20Titan%20Review.pdf Page: 11 Context: # Works Cited Rommens, Aarnoud. “Manga Story-Telling/Showing.” *Image & Narrative*, vol. 1, 2000. Groensteen, Thierry, and Ann Miller. “Comics and Narration.” *Comics and Narration*, University Press of Mississippi, 2013. Yang, Xiran, and Jonathan Webster. “To Be Continued: Meaning-Making in Serialized Manga as Functional-Multimodal Narrative.” *Semiotica*, vol. 2015, no. 207, 2015, pp. 583–606. [https://doi.org/10.1515/sem-2015-0066](https://doi.org/10.1515/sem-2015-0066). Ursini, Francesco-Alessio. “Themes, Focalization and the Flow of Information: The Case of Shingeki No Kyojin.” *Comics Grid*, vol. 7, no. 1, 2017, p. 2. [https://doi.org/10.16995/cg.83](https://doi.org/10.16995/cg.83). MacWilliams, Mark W. “Japanese Visual Culture: Explorations in the World of Manga and Anime.” *Japanese Visual Culture*, Routledge, 2008, [https://doi.org/10.4324/9781315703152](https://doi.org/10.4324/9781315703152). ########## """QUERY: Please summarize the whole context. It is important that you include a summary for each file. All files should be included, so please make sure to go through the entire context""" Consider the chat history for relevant information. Use all information included. Use as much tokens as needed. Important: If you find information separated by a | in the context, it is a table formatted in Markdown. 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