Aryanism in "Nausicaa of the Valley of the Wind" I

Some four years before he made My Neighbor Totoro, Hayao Miyazaki created another Aryan-themed work called, Nausicaa of the Valley of the Wind. He put a tremendous amount of energy into this piece, as it was a completely original story with no pop-culture tie-in, and Miyazaki even crafted a manga series with the characters first. This film is an adaptation of the first two volumes. While it sacrifices much of the written works' intricacies and scope, the film version is still a great piece of storytelling. 


Sometime in the Future...
...the World's is forever changed by an event that now, 1000 years after the fact, is remembered as "The 7 Days of Fire." During the opening credits sequence we get glimpses of what when on during those days, these are quick images in a montage that seem to be resemble the memory jog of someone pondering the event. We see huge golem like figures march and unleash wanton destruction upon everything in sight. Eventually, after the chaos settles down, Earth is forever transformed with human settlements few and far apart from one another with a "Toxic Jungle" inhabited by giant insects covering the rest of the planet. Those regions are lethal for humans and can only be entered with special masks. Contact with the insects is almost completely avoided as any sort of combat results in unstoppable swarms.

The opening credits may have very well been the thoughts of one Lord Yupa, a figure similar to Gandalf in Lord of the Rings, who sees a village that has succumbed to toxicity in the very first scene. He picks up a doll whose head crumbles to dust; the doll was a child's toy and this suggests the death of Original Nobility. Has life been so violently beaten and transformed that it has lost all of its previous Nobility? The World's forest before the apocalyptic events provided Earth with oxygen, but now the jungles are toxic. This is a strong indicator of such major aberrations that they might as well be considered absolute and fundamental change. However, as we soon find out, it is a lack of hope that is the most demoralizing of illusions.

Enter a Heroine
Nausicaa is a princess in one of the few human settlements, each of these is more of a city state with government and economy, however, the Valley of the Wind is an exceptionally humble place  when compared with the others. We first see Nausicaa exploring the Toxic Jungle and finding an ohmu's (one of the huge species of insect) shell that has been shed. Knowing that this will be a valuable resource she decides to take a piece of the shell back, when she senses someone's distress. Off in the distance, someone is being chased by an ohmu and Nausicaa immediately goes to their rescue and non-violently stops the ohmu from chasing the person who is actually Lord Yupa from the opening scene.

The angry ohmu

This is a great introductory scene for the film's main heroine; she is not the stereotypical lazy aristocrat, but one committed to Aryan struggle - exploring the World and not hesitating to help someone. Note that the ohmu in this scene is blind with rage as it's home must have been disturbed accidentally by the passing Lord Yupa, but Nausicaa stuns the beast briefly with flashbangs and then soothes its anger and the bug's eyes go from bright red to a calmer blue and it makes its way back into the jungle. This scene is a total inversion from macho Lone Wolf heroics in which a muscled brute of a male takes one some beast or wrestles it away in a show of strength - here we not only have a woman but also non-violence resolving the issue; all suggesting quality of tactics and persona as opposed to quantity of strength and pure physical endurance. These themes will carry on for the rest of the film.

Also is worth noting that Lord Yupa, who has traveled far and wide in this world, still doesn't know just how Nausicaa was able to calm the ohmu. Lord Yupa unleashed the rage of the ohmu when he fired upon an insect in effort to rescue a small mammalian critter, a fox-squirrel. Yupa gives the animal to Nausicaa who is also able to calm it with some unseen force, it seems to be just her gentleness. Apparently, Nausicaa has a connection with all living things.

Enter Hope
Lord Yupa says that he is on his way to the Valley of the Wind and Nausicaa rides ahead on her glider. Interesting that her glider looks like a white wingspan and is called "Mehve" which immediately made me think of the Polish word for seagull, "mewa." As it turns out, the German word here would be "Möwe" and in the original manga written by Miyazaki, it is that word which is used for name of Nausicaa's glider. The glider is a symbol of a harmonious existence of nature and technology, of humans and animals, as well as being a fine piece of engineering - it can propel itself if need be, but usually glides so as not to waste energy.

Nausicaa flying over the Valley

Soon after Nausicaa's return, Lord Yupa rides into a valley with many windmills and green fields. Children happily rush out to greet Lord Yupa and the whole scene bears a strong resemblance to Gandalf's entrance into the Shire at the beginning of Fellowship of the Ring, both the scene and the scenery are parallels with similar themes being communicated, albeit transposed from the rolling hills that are typical of the English countryside to mountainous landscapes of Japan. This is the Valley of the Wind.

The Valley is one of few places not yet consumed by the ever spreading Toxic Jungle, which is also degenerating human civilization as its pores cause, among others, premature aging. It seems that the Jungle's take over is inevitable.

Here we are introduced to Obaba, a wise woman who recounts a prophecy of a mythical hero's arrival; "Clad in blue and surrounded by fields of gold to restore mankind's connection with the Earth that was destroyed. He will guide the people at last to a land of purity." The Aryan symbolism here is unmistakable. A more subtle, but also effective, way that the film communicates Aryanism, and even alludes to the Aryan race, is the fact that the characters have a rather general and undefined complexion overall. Some look Asian, but many have beards that make appear like Old Germans or Slavs. Added is that there are no mentions of real world geography, we can only assume that the film takes place on Earth, but it may as well be in the same sort of realm as Lord of the Rings - a realm of universalist applicability that has been intentionally created separate from our current world so as not to be burdened by any of its constraints.

The Struggle
That night, Nausicaa, with her heightened sense of the world, detects that something is not right. Sure enough, she's right, a large crippled ship is on a crash course with the Valley. Jumping in the Mehve, she approaches the ailing vessels and attempts to warn them not to crash into the people below. We see that the ship is being attacked by insects and is soon brought down resulting in a fireball and the toxic pores of the Jungle and insect life now threaten the Valley's agriculture. Nausicaa finds a survivor amidst the wreckage, this is a princess from another settlement, Pejite, who soon dies. This will lead to complications later. This scene also shows Nausicaa's Aryan qualities as the masses are highly impulsive and in panic about the insects, and even more so when a bigger one emerges from the downed vessel's hull. The people panic and aim to tear it up with gunfire, but Nausicaa intervenes and encourages it to leave with her unique communicability. The insect flies away with Nausicaa escorting it to the edge of the Jungle where and ohmu waits for its kin. The ohmu seems baffled as to why a human, an enemy species, did not unleash the usual rage and violence, but proceeds peacefully back into its home domain.

The next day, more ships arrive at the Valley. They land and unload soldiers who begin to secure the area, including the ailing King's quarters. Nausicaa returns from a flight when the apparent invasion is underway and rushes to her father's room only to find him surrounded by the soldiers and dead. This scene is Nausicaa's only fit of rage as she engages the soldiers with a fury, but is soon stopped by Lord Yupa. This stopped what would have been a spiral of cataclysmic violence.

The newly arrived army is from yet another state, Torumekia, and the Torumekian Princess Kushana explains that they are here to help reclaim Earth for humanity for the transport that crashed last night was carrying a developing "god-soldier" - one of the golem-like beings seen in the intro, one of the beings that caused the 7 Days of Fire 1000 years ago. However, Kushana is convinced that the golem may be used to destroy the Toxic Jungle so that the remaining humans on Earth can live without constant alarm of the pores or of the insects. Kushana decides that the best place for the golem to finish developing will be right in the Valley. She decides to take Nausicaa and some of her confidantes hostage so as to ensure the good behavior of the Valley's inhabitants.

Before they leave, Nausicaa reveals to Yupa that she had been secretly growing a garden in the basement of her building, but one with non-toxic soil. The resulting plants did not give off the lethal spores and she hoped to find a cure for the ailments humans inevitably face due to the pervading toxicity. The reverting of the garden to natural states also suggest a reversion to Original Nobility.

To the Brink of Annihilation
When they leave the Valley to head towards Torumekia, a single fighter craft attacks the Torumekian ships destroying several. Nausicaa climbs out onto roof of her own ship and her presence seems to dissuade the pilot from attacking the ship, but in his moment of hesitation his own craft is hit and goes down. Nausicaa then gets everyone off of the ship, including Kushana, and they glide down to the surface, but wind up in a swamp. Kushana does not value any act of kindness and is only driven by selfishness (she was even baffled, like the ohmu from before, when Nausicaa allowed her to escape with them from the crashing ship) draws a gun and states "I give the orders around here!" She lets her impulses get the best of her. The insects in the jungle sense anger and immediately rise up from the swamp, but Nausicaa with her communicability manages to calm them.

The insects seem to communicate with Nausicaa by some sort of glowing yellow tentacles and Nausicaa has a vision of golden field for a few moments. It's a peaceful vision. Another contrast, slightly more subtle than violent outbursts, is that Kushana regularly insults her subordinates and they her behind her back. It's another aspect of their volatility.

The previous scene also demonstrated that the air above the clouds of the jungle is clean and breathable. This is a first major indicator that there are certain things yet to be explained about the dynamics of the Toxic Jungle. Not surprisingly, it is closest to the source of the Swastika symbol that the pollution is not present.

After the ohmu leave Nausicaa goes to see if the pilot from the down fighter is still alive. Sure enough, he is and fighting with the insects, which in turn causes them to rage. This is the gentile way that inevitably leads to a spiral of violence. It is not unreasonable to believe that it was such thinking and such a course of action that lead to the 7 Days of Fire. The golems were created to wipe out all the enemies of a nation or of an alliance, but unleashed a worldwide inferno.

Nausicaa saves the pilot with her glider, but they are then pulled down into quicksand and Nausicaa has another vision. Back in her childhood, in a golden field, she had come across a baby ohmu, which was soon killed by adults. The young Nausicaa saw no reason for the violence and this is yet another suggestion that the ohmu are not what people think they are. In fact, as it turns out, peoples entire perception of the Toxic Jungle is wrong. Nausicaa and Asbel, the fighter pilot and Prince of Pejite, have been pulled down under the jungle, but are now in a clean environment. The jungle is toxic, because it is cleaning all the pollution that people had caused during the 7 Day of Fire. The insects are so protective of the jungle, because they are guarding this secret and keeping a violent species, humans, away from it. In effect, the jungle is reverting the Earth back to Original Nobility - it's a natural process if allowed to go uninterrpted - and thus, Nausicaa's attempt to control this process back home wasn't necessary. Though, she was doing it with good intention. However, Nobility cannot be "created."

In this scene, Nausicaa tells Asbel that his people are just like the Torumekians and he reacts in rage, which is a typical gentile reaction that prevents the transcending of tribal boundries. Back in the Valley, Lord Yupa discovers the Torumekian plans to unleash the golem and leaves to find Nausicaa. The villagers start an uprising then - the spiral of violence is beginning to spin. Nausicaa and Asbel reach Pejite, but it has been destroyed by the ohmu, but because they soon find out from some surviving Pejites that it was the Torumekians who lured the insects there. A deviously clever exploitation. The ohmu, when their eyes glow red, are said to be able to fight until they starve, they literally wear themselves out with their own treachery. People, it seems, are on the same track for the Pejites get the brilliant idea of now luring the insects to the Valley to conveniently wipe out all the Valley people and the rest of the Torumekians, then they will take the golem and destroy the Toxic Jungle, which they refuse to see as anything other than wretched despite Nausicaa's and Asbel's pleas. Asbel is knocked unconscious by his fellow soldiers, while Nausicaa in imprisoned on their transport. People are really on the same track as they were one millennium ago, it seems. They just want to make treachery work for them and only for them.

The leaders man be corrupt and blind with hate like the ohmu, but some of the people are not. A few noble Pejite civilians help Nausicaa sneak out so that she can find the lure being used on the ohmu swarm. While everyone prepares for some of the biggest combat to come yet, Nausicaa finds the lure, with her keeness that allowed her to spot Lord Yupa in the very beginning when he was running from the ohmu. She ends up wounded, like the baby ohmu being used for the lure as it had hooks in its body so that it could be transported. She uses her communicability to talk to it and the prisoner ohmu sees that Nausicaa is not an enemy. It heals her using its tentacle-like antennae. Then, in her last attempt to stop the ohmu horde from killing the rest of the Earth's human's Nausicaa orders the stunned Pejite soldiers to transport her in front of the charging ohmu.

The way of the Aryan

The way of the Jew

Meanwhile, Kushana unleashes the unfinished golem and it manages to fire off some terrifying laser blasts before completely falling apart. Her dreams of cataclysmic victory instantly shatter and crumble to hopelessness. The charging ohmu cannot be stopped by anything at her disposal now.

Nausicaa is set down right before the ohmu charge and it plows right into her, sending her high up into the air and back down into the midst of charging insect feet and kicked up dust.

For a few terrifying moments everyone prepares for mutually assured destruction, but then, inexplicably, the ohmu then stop... from high up in the air we see the raging red glowing of the swarm's eyes starts to turn into a calm blue from one spot that soon spreads throughout the entire giant multitude of ohmu. They lift Nausicaa on their glowing yellow antennae, whose clothes are now blue (from the blood of the wounded ohmu) and she appears to be walking in a golden field - Nausicaa is the mythical hero that found the link between humanity and nature so as to herald in a new Golden Age. She is the embodiment of the symbolism of the Swastika.

Arya Returns

Part II

Perceiving Aryanism and National Socialism

I can imagine that one day long ago when a system of mathematics, that eventually became one of Persia's greatest achievements in the form of algebra, started to play a key role in various transactions and this made certain sneaky merchants angry as it is harder to lie with numbers than it is with simple sleight of hand. Perhaps many of these dishonest merchants saw the logic of mathematics as "evil" since their schemes were now easily disprovable.

An analogous situation occurred in Germany when Adolf Hitler rose to power and very quickly started to push out all the Jewish schemes from the economy. Hence, National Socialism has been branded as "evil," since it caused trade, culture and society in Germany to be truly of the people and by the people thanks to its revolutionary new system. Those who did not wish to participate in, as well as those who sought to subvert, the new order were detained and set on course to be re-educated in camps. Hitler knew the dangers of subversion as it was such actions that caused the German defeat in the First World War... a war during which not one shell impacted German home territory. Marxist organized strikes, engineered class conflict, crafted hate of the intelligentsia and ethnic groups in addition to other subversions caused rampant chaos in Germany and in the newly created eastern nations of Czechoslovakia and Poland - strife in the Sudetenland and uprisings in Silesia as people felt displaced or left out from where they wished to be. No doubt that the sloppy Treaty of Versailles was meant to cause all of this. If it wasn't proven before, it was proven now - the masses are asses.

Enter Adolf Hitler. He had been carefully watching events unfold since his first sojourn as a student in Vienna - the futility of the parliamentary system, the dishonesty of the Press, the decaying of culture all at the hands of puppeteers who relished in chaos amongst the Goyim for it allowed them to implement their own selfish solutions and appear to be like geniuses and saviors - a perfectly fitting solution for the Jewish ego.

He saw what needed to be done

Out of chaos cannot come an order, but rather an order must be made from the chaos, for the chaos was Germany herself. Hitler wasn't seeking to advance the country, but first revert it back to a stage from which it can successfully advance - he believed in the Original Nobility of the Germans.

However, he also displayed a belief in the Nobility of other nations, namely the Slavs, who at the time were a great nuisance to Germany. Russia was overrun by Judeo-Marxists, the Czechs and Poles were aggressive about their new borders and the regions from Pomerania down to the Sudetenland saw ethnic strife, but most critically, the Soviets had already launched a war, barely after the conclusion of the giant preceding one. The Bolshevik onslaught was pushed back by the Poles after going as far as the outskirts of Warsaw. From this the Poles saw the USSR as their enemy, but also, in one of their greatest blunders, didn't see their German ally who had put forth conditions for the co-existence of Poland (as well as the Czechoslovak state) next to Germany as a joint buffer against Judeo-Bolshevik terror. The wise Hitler recognized his nation's real enemy and the enemy of all nations of men: it was the Jew who out of the chaos of the Great War was still busy creating more and more chaos on all fronts - social, geopolitical, economic.

The sleight of hand of the ancient dishonest merchant had grown to horrific proportions. The ancient herder's manipulative tactics had adapted into an intimidating and complex force.

Adolf Hitler didn't back down in cowardice of it all, he wasn't baffled into fear by the sheer scope of it, he wasn't selfish and thus didn't keep the solution to himself for his own gain.

THE ANSWER

"I have no hesitation in saying that in those men who seek to-day to embroil the patriotic movement in religious quarrels I see worse enemies of my country than the international communists are." ~Adolf Hitler

It applies to every country and international relations.

Revert the mess of society back to this:

Thus, making it possible to progress forward to this:

The key perception that we must see is that National Socialism is as German as Algebra is Persian or Geometry is Greek. Each has its source and will forever be known as hailing from there, but the applicability of each is so universal that it should be absolute standard. Algebra and Geometry are standards, however, National Socialism is not. Algebra's application, though, has been corrupted by the Jew who is at the ridiculous point of pulling numbers out of thin air, or simply typing them into a digital interface, so as to push forward his false transactions - it's the same old lying merchant and manipulative herder at work.

The result:

Confinement

Aryanist solution and continuation of Hitler's Kampf:

FREEDOM

Original Nobility in "My Neighbor Totoro"

Most of the Aryan themed works that I have examined here tended to focus on the militarist aspects of Aryanism. High adventure makes for exciting storytelling, however the extent of Aryanism is much farther and more diverse. A key aspect that I have not yet covered would be the concept of Original Nobility, which is defined as such:

Original Nobility
Belief that nobility is the initial condition of all sentience, lost over time in the world. Implies Arya as process of reversion rather than process of advance. Implies high opinion towards children and their perspectives.

The 1988 animated film My Neighbor Totoro shows this idea very well as two young sisters move into a countryside home with their father after their mother is hospitalized. The woods surrounding the home have some very interesting beings living in them and these particular entities can only be seen by children.

The film starts with Mei and Satsuki, along with their father who is driving, on the road in the countryside to a new home. This immediately ties into Aryanism as they are making their to what is clearly a farming community and they have come from a big city, which ends up making only one, very brief, appearance in the film. The young girls are filled with a genuine children's enthusiasm as they wave and greet the people they pass. When they reach the house, the girls' gusto doesn't pause for a second as they explore each and every corner.

Discovering The Past
Things start to get interesting when they open the house bath. As the door opens and daylight streams in, a black mass of what initially appears to be vermin, scatters away into cracks in the wall and back to darkness. The girls are slightly hesitant about entering, but this feeling clears quickly and they begin to look for signs of the little creatures they had just seen. This is a key moment, as I have a feeling that most grown people (as I did) would react with disgust towards what they saw in the bath. It would be taken as a "bug problem" and an exterminator would be called to look the house over. This spawning of disgust is absent from girls' dispositions towards this unexpected sight. When they go to open the windows upstairs, Mei goes so far as to try and capture one of the scurrying black puffs before it makes it into a crack in the wall. She succeeds and this scene has yet another important bit: the little dark puff is shown to have eyes and a reaction of fear as it sees that it is unable to make it with the rest of its crowd. By now it is certain that whatever these little creatures are, they are not "vermin."

Downstairs, the girls meet "Granny" - no relation to their family, but the elderly lady will serve as their caretaker and says that Mei and Satsuki can call her "Granny." This initial extension of warmness to people one has just met reflects the gestures of the girls as they waved to people in the countryside during their ride over. Granny also knows about the "soot gremlins" and explains that they live in uninhabited houses, but may peacefully move out if the new residents prove to be good people. She also says that only children can see these soot gremlins, and that she used to be able to see them when she was a child. In the woods near the house, there is a very large camphorwood which seems to have magical qualities. When Mei and Satsuki appear to be used to their new home, the soot gremlins drift in the wind and end up at the tree.

One gets the impression that these opening scenes focus very much on Mei and Satsuki. So much so that some viewers may be wondering where the "plot" is. Plot usually centers around a conflict or a problem, yet here, the most dramatic story element - a mother ailing in the hospital - is only in the background. The film is decidedly much more about discovering and exploring (especially the past, which ties in with Arya being a reversion) rather than dealing with problem or conflict. Nobility, as defined by Aryanism, is very much about preventing conflict and, more importantly, preventing the seeds that will lead to such confrontations from ever even sprouting. Thus, with their Original Nobility still strong, Mei and Satsuki don't see and or even feel need for conflict in this story. In fact, they approach all of life with a great enthusiasm - both help Granny clean the house, there is even a great comedic shot of Satsuki dashing back and forth, in and out of frame, as she sponges the floor; Satsuki also makes lunch for everyone in the morning and is mindful about being in school on time; the younger Mei stays home and explores the woods; while father works, either at home or at a university in the city.

One morning Mei sees a peculiar creature in the garden and happily chases after it. Much like her and Satsuki's reaction the soot sprites, she isn't afraid or distrusting of it, there is no negative reaction on her part and there is no need for one in her young state.

Mei chasing the sprites

Mei chases the little creatures down a hidden tunnel in the brush and to the base of a large tree, the giant camphorwood seen before. The shot when the sprites rush into a crack in the tree bears a strong visual resemblance to the black puffs scurrying into cracks in the house walls suggesting that Mei is now seeing a more clear (and more complex) version of the entities. This is then taken to the next level when she falls down the hole, after looking down it, and sees an even bigger version! This new creature virtually identical in composition to the others just much bigger. Mei names him "Totoro" - this is said to be a mispronunciation of the Japanese word for "troll" - however, given the theme of Original Nobility, there is another consideration for us to make. This is that it's the word "troll" that is actually inaccurate, while Mei, with her unspoiled perspective, sees the magic beast more clearly and honestly than any modern language can.

Later, she tries to lead Father and Satsuki to Totoro, but now the hidden tunnel doesn't seem to lead where it did before. The way has been lost for an unexplained reason... this apparently turns into a non-issue when they find the tree, but the hole in it is gone, much to Mei's disappointment. Satsuki even laughs a little at Mei for being childish at this point. Father tries to calm her and says the "the keepers of the forest" are only seen when they want to be seen. This is, in a sense, accurate as the sprites Mei initially chased turned invisible in effort to hide, but even this didn't allow them to escape the keenness of a child. Father's explanation of "the keepers of the forest" is also interesting. He is an adult and long passed from his state of original nobility, but he still retains some memory of it, however it is only the young Mei who sees the spiritual energies of the tree in the clearest way. Satsuki is older and, at this point, has yet to see the sprites and Totoro.

She does in the next key scene as the girls wait for Father at a bus stop. Note that they decided to wait out here due to the rain and they brought an umbrella for him - a nice bit of selflessness. Father seems to be late as he is not on the first bus to come by. It is getting dark and late and Mei falls asleep on Satsuki's back. It is then that Totoro appears. This is an interesting scene visually, as it is rainy and dark and the girls stand under one street light, effectively a small bright bubble in near total darkness, when Totoro makes his appearance by stepping into the lit part of the country road. The brightness is representative of Original Nobility as it can be seen in today's world: a small field of light that will soon disappear, but from which profound insights can be spawned - the only true bit of Arya in today's callous World. In this small field of light, the girls receive a small gift from Totoro - a little bag - before he rides away on a cat-shaped bus!

Re-Growth of Idealism
The bag contains little golden kernels, which the girls had seen laying around the garden before. The first sprites that Mei chased also had these in a little bag. They plant these seeds, which at first don't grow. Father explains to them that it takes time, but the girls are not content. One night they see Totoro and the sprites dancing by where they planted the seeds, so they go out to them and get taken for a wild flying ride and back to the garden where the seeds grow into a group of trees including what appears to be another huge camphorwood. This ends up being only a dream, as the next morning the new trees are gone, however, there are young sprouts in the garden and it is suggested that the trees will eventually grow. Seed symbolism is very relevant to Aryanism and the golden seeds indicate the mythical golden age - gold has no monetary or materialist connotations to Aryans, but rather symbolizes fields of fertile crops basking in sunlight - in other words, under the Swastika. On a side note: a degraded version of this notion appears in the national anthem of the USA as "amber waves of grain" - amber is a precious stone and a symbol of vanity, thus connecting fertile crops to the idea of an exploitable resource. Aryanism is not confined to such base calculations.

Idealism takes Flight

Up to this point in the film, idealism was seen mainly on a symbolic and metaphorical level - sprites, Totoro, magic trees. However, with the sprouting of the kernels in the garden we begin to see that this idealism starts to crossover into girls' real world. The inciting incident here is actually some bad news: Mother cannot make a scheduled weekend visit due to some complications in her treatment. This upsets Mei very much, while the older Satsuki tries to deal with the problem in a "mature" way. She even yells at Mei, "Grow up!" She seems to be abandoning ideals for empirical methods. On the other hand, Mei, though distressed she may be, decides to go on her own to the hospital with some of Granny's garden vegetables in order to cure her mother. This is interesting as it carries on the seed symbolism as plants are essentially mature seeds and vegetables are cultivated plants; Aryan symbolism once again.

The aforementioned one appearance of the city is right before this sequence when Father learns that Mother will not becoming home for the weekend; he is in his university office at the time and hence, the big city is linked to depressing news, while the countryside is linked to idealism in the film. The hospital where Mother is staying is not quite in the big city, but also clearly not fully in the countryside, it's in a small town, an intermediary region. Interestingly, in an earlier scene when Father and the girls went to visit Mother, a picture on the wall of a tree can be seen. This suggests that, like Father, she is still aware on some level of "the keepers of the forest" - she cannot see them as Mei and Satsuki can, but her Original Nobility is not fully lost.

While searching for Mei, Satsuki gets really distressed, but doesn't give up; she literally runs and runs and runs, looking here there and everywhere she can. This drive of hers was seen earlier when they were cleaning the house and when she made lunch for everybody - she has a strong commitment to helping others - a sense of duty to family and community. After much searching her feet are dirty and this mirrors the scene where Mei had dirty hands after catching the soot sprite. Not surprisingly, in the very next scene Satsuki goes to the camphorwood and down the hole where she falls and lands on Totoro. Here the Cat-Bus is summoned and takes Satsuki to Mei and then takes them to see Mother at the hospital. They look, from a distance, through the window and see Father and Mother talking and learn that Mother was only kept in the ward due to a cold and will visit next weekend. The picture of the tree can be seen once again in this scene.

Idealists making Noise

The Cat-Bus is an interesting character. Not only can it be seen by children, but also by animals, suggesting that mankind's materialistic existence, to which animals are not as confined to, has blocked it from seeing true ideals. The Cat-Bus's travel routes are also completely unconfined to roads and it makes its way through the countryside any which way it can; it can cut across and over predetermined and conventional boundaries to achieve its goal - something Aryanism must do to succeed.

The term "Aryan" is inexorably linked to the concept of "Aryan race" about which there are enormous misunderstandings, most of these are deliberately calculated and propagated by Zionists. The fact is that Aryans define their racial idealism as such:

Racial Idealism
Sense of belonging with a race according to relation to an abstract ideal that cuts across conventional categories.

Conventional categories being skin color, ethnicity, religion, etc...

It is with this symbolic idealism that Satsuki finds Mei. It also allows the girls to leave an ear of corn, one from Granny's garden, on the hospital window sill where it is seen by the parents. Once again, the line between idealism and current reality is blurred with the two fields moving still closer together.

Other Matters
There is another child character in the film, Kanta, who doesn't seem to notice Totoro and the other magical beings. This seems odd as he lives in the countryside, away from the pressures of the megalopolis Tokyo. However, this once again suggests cutting across conventional lines: a person doesn't see or not see Totoro based on where they're from, but from the sense of nobility they possess. Kanta doesn't seem to have it, he doesn't treat his work very seriously and he thinks that the house that Mei and Satsuki explore with such enthusiasm is actually "haunted." Thus, Kanta is a Gentile and for all intents and purposes has been brainwashed beyond reversion. The closest thing he does to a truly good deed is offer his umbrella to Satsuki and Mei in one scene, but then immediately he nervously runs off. Just like he is scared of the house, he is scared of the people around him who possess noble traits. Many real World Gentiles are like this as they succumb to defensive tribalism.

Conclusion
Given what comes out of Hollywood these days, this is a very unique film. It is originally from Japan, but it did get a US release in 2005 with popular American actors supplying voice talent, however, it did not have a major theatrical run. Thus, as with virtually all other works that have similar themes, it was lost amidst the babble only to be seen and understood and appreciated by a few.