By Katherine Joyce

This article comprises with regards to a hundred optical illusions, from photo puzzles with hidden gadgets, to shadow puppets, good gadgets that can't exist, instantly traces that wave and bend, and pulsating styles.

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Astounding Optical Illusions

This article comprises just about a hundred optical illusions, from photo puzzles with hidden items, to shadow puppets, good items that can't exist, instantly traces that wave and bend, and pulsating styles.

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The underlying artwork is largely responsible for the success of the moving images populating the screen, insofar as it harmoniously integrates appealing character designs, rife with varied wardrobes 24 Magic as Metaphor in Anime and accessories and sporadically enlivened by the inclusion of drawings in the chibi (“child-body”) mode, punctiliously detailed backgrounds, wellmodulated color schemes, and an inspired use of black-and-white, sepia, and solarized frames as well as chromatic overlays for flashbacks and moments of heightened pathos.

Ai’s past remains cloaked in mystery until half way through the first season, where Tsugumi has a vision of the preternatural girl in the context of an old bookshop packed with rare tomes. Hajime locates the venue and interviews both the toadish owner and his stunningly loquacious parakeet to obtain information about Hotline to Hell. In the process, he discovers a book containing references to a character dubbed “Purgatory Girl” and the related concept of a “Hotline to Purgatory” in a story penned and illustrated by a man named Fukumoto some fifty years earlier, which bears uncanny similarities Chapter 2: Magic Contracts 37 to Ai’s procedures.

The three characters exhibit fresh levels of complexity as the action progresses, having to negotiate their personal moral standards when Ai becomes deter- 40 Magic as Metaphor in Anime mined to punish Hajime and Tsugumi at the end of the first anime against both reason and logic. Wanyuudou is a proficient shapeshifter, often seen in the form of an elderly man garbed in a traditional yukata (cotton kimono), a long-sleeved haori (lightweight silk jacket) and a conspicuous red scarf. This morphs into the baleful red string when Wanyuudou himself assumes the shape of a black straw doll to be handed by his employer to a client.

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