Attention has previously been directed at Mawaru Penguindrumâ€™s plethora of symbolisms and visual allusions to famous works of art. Articles by other writers, containing rich analysis of the deeply philosophical elements of the story, the directing, and the real life cultural references have been some of my favorite posts in recent weeks on anime. Without a doubt, the symbolism in the anime runs deep. But how far does it go?

Unfortunately, there seems to be a general dearth of writings regarding some of the basic artistic choices employed by director Ikuhara Kunihikoâ€™s talented artists, a team which consists of notables such as color master Kunio Tsujita. This article will be an attempt to take a look at the subtle yet pivotal choices made in background art, the goal of which is to reveal another layer of carefully executed symbolism that provides further support for the showâ€™s abundance of narrative and referential content.

I will briefly outline how a dialectical relationship between line and circle reinforces the philosophical back-and-forth between the various conceptions of fate in the story, since it seems relatively true that a battle between line and circle plays a prominent role in the visual storytelling of the series. Furthermore, I will conclude in the end by briefly extrapolating from the visual analysis and providing an interpretation of meaning underlying the concept of fate in the series.

Straight Line

The use of straight line in Mawaru Penguindrum (henceforth known as Penguindrum) is immediately obvious in the opening scene in the first episode of the show, through which the viewer quickly comes to realize the symbolic importance of the train. Line, however, as a basic element of art, is symbolically more significant than the anime may let on at first. It is a versatile tool for producing contrasting effects: stability when horizontal and vertical, movement when diagonal. Stability and movement conveyed through straight lines serves as a very basic method employed by both artists and cinematographers to induce affect. Penguindrum is no exception, and we can see how gravitas is visually reinforced in the following scene.

Another thing youâ€™ll notice about lines is that they serve to divide. Lines can separate space into even components, and are occasionally employed in the middle of dialogue so viewers can literally see the divide between characters. Also note in the below image that the center piece, the glowing Tokyo Tower, is also taller than the sitting Tabuki and the standing Yuri; the lampsâ€™ reflection, Yuriâ€™s head, and the tip of Tokyo Tower form a triangle whose base is at the bottom of the screen. A triangle is formed from the intersection of three straight lines (to be really technical, any three points in two-dimensional Euclidean space), but more importantly triangles can serve as a visual cue for weight, grounding the scene on the bottom of the screen. This scene implies the stability in the couple, that they are in a sense on the same page, but at the same time divides them into separate camps despite being under the same roof. Also note that Tokyo Tower is an isosceles triangle.

Contrast this with the following, which shows the emotional power of diagonal lines. (This is also an excellent demonstration of the masterful use of color in the show, but that will be another topic for another day.)

Perhaps the most powerful use of line in composition stem from the frequent use of one-point perspective to emphasize drama and focus. Realistic perspective is dependent on the merging of lines at vanishing point; vanishing points, in turn, represent our subjective consciousness and experience of the world. Not only does perspective add realism to two-dimensions by creating the illusion of depth, but it also serves as a tool for emphasizing something on screen.

Take for example the above scene from Himariâ€™s apparent death in the initial episode with perspective lines drawn in. The positioning of the lines on the wall, the Takakura brothersâ€™ bodies, and the shadows all reach a single vanishing point in order to guide the audienceâ€™s eyes. The vertical lines, which generate visual height in the background, pull away from the center of the image, almost instilling a sense of vertigo.

Circle

Now, a circle is merely a line that is joined from head to tail and does not constitute as a basic element of art, but for various reasons I think it is crucial to identify the circle as having particular aesthetic importance as a shape in Penguindrum. The apple, which plays a prominent role symbolically by referencing both knowledge and sin, is one of the quintessential circles in the series, along with the penguin logo of Kiga Group and the round station numbers of the Tokyo Metro.

Circles represent motion if we imagine that traveling along a circle would require perpetual motion for infinity. Take for example the following shot from the first episode of the series, taken from a scene where the Takakura brothers are discussing with Dr. Washizuka Himariâ€™s medical condition. These circles, though rotating on their axis spherically, are two-dimensionally stable with their smooth circumference and unchanging shape. They are stable both two-dimensionally and three-dimensionally. This object is remarkably similar to a globe, implying the stability of the world or universe.

Though technically not a circle, the scene below depicts the Takakura siblings as sheep following â€œMaryâ€ around could be interpreted as a circle. Because of its round circumference, the concept of progressing in a circular fashion suggests movement in an eternal cycle, to which there is no destination. Note the swirls are an interesting aesthetic choice that mirror the curvature in the background and middleground.

Finally, Ikuharaâ€™s flair for the dramatic directly coincides with the choice of circle imagery in Penguindrum. As has been noted by others, the influence of theater, particularly Takarazuka, plays a huge part in Ikuharaâ€™s works, and this series is no different from its critically acclaimed predecessor, Utena, in using spotlights for compositional purposes. Notice in the image below how spotlights are used to similar effect as how one-point perspective is used in dramatic moments: it provides focus and emphasis in what would otherwise be a flat, nearly two-dimensional composition of the Hole in the Sky Library.

Thesis and Antithesis

I begin the final portion of this article by making a bold statement: the majority of the philosophical meaning presented in Penguindrum takes place in scenes where lines and circles conflict. Line and circle essentially represent two opposed viewpoints of Fate. Line symbolizes progression, causation, and original sin. On the other hand, circles represent the cycle of existence, embodying knowledge, harmony, and karma. In isolation, it would be much more difficult to pinpoint the exact meaning of either in the anime, but an analysis of four important “spaces” may shed light on how to interpret Fate.

First, we have the Child Broiler. It serves as a metaphorical place for unwanted children to go, before they become â€œinvisibleâ€ in the showâ€™s terminology. Upon closer inspection itâ€™s possible to identify imagery that contains both lines and circles during scenes involving the Child Broiler. Take for example the fan, which is essentially a circle with lines for the blades, or the conveyer belts, which are linear with wheels turning inside. The Child Broiler represents the possibility of becoming lost in the flow of time, the machinations of fate, be it interpreted linearly or cyclically.

Second, thereâ€™s the Library. The Library is absolutely fascinating because it represents so many things; itâ€™s a metaphysical space containing both past, in the form of memories, and even possibly future, in the form of Sanetoshi. One particularly spectacular scene that takes place in this location takes place in the ninth episode, when Sanetoshi is putting the moves on Himari as she first comes to the Library. Notice how the lights in the background and the fence in the middle ground essentially flatten the image into three layers, at the same time implying movement and stability. It is only when Himari says â€œNoâ€ does the curtains close (literally) on the scene, with the penguins packaged into a box down a conveyer belt. The Library represents how powerful memories are in shaping conceptions of fate, and that, as human beings, we look backwards into history to determine the meaning of certain events.

Third, I offer the Tokyo Metro imagery. Trains, which operate linearly and progress from one destination to another, have long since embodied the concepts of life, progress, and fate; in particular, modernists loved trains for their embodiment of movement towards fate. In addition, the show features numerous references to Night on the Galactic Railroad, a famous novel from 1927 by Miyazawa Kenji that has significantly influenced not only anime, but has a powerful presence culturally in Japan. Furthermore, the series directly draws from the traumatic experiences of the 1995 Tokyo Serin Gas Attacks. Perhaps more fascinating about these scenes is the seriesâ€™ catchphrase é‹å‘½ã«è‡³ã‚‹å ´æ‰€, which literally means the â€œplace where fate can be reached,â€ suggests that oneâ€™s destination is oneâ€™s fate. At the same time, each stop along the Marunouchi line is depicted as a circle, or a point.

Finally, the transformation scenes in Penguindrum are also riddled with design using lines and circles. Though interesting and slightly bizarre, these scenes are always precluded by Himariâ€™s declaration of ç”Ÿå­˜æˆ¦ç•¥ (â€œSurvival Strategyâ€), before the viewers are led through a turnstile and shown imagery of a round rocket progressing on tracks. The rocket transforms into a humanoid platform against a background consisting largely of lines and circles, and even the pathway that forms between the black platform (where the normal individuals are usually handcuffed) and the white platform (where Himari stands), is a long tube cut in half as so as to look like a human spine, with semicircles conjoined along a central cord.

The transformation scene is especially important because of one word: Himariâ€™s â€œImagine!â€ as soon as she finishes transforming. This strange space in which Himariâ€™s transformed self attempts to change fate, namely her sickness, suggests the opposite of the deterministic type of fate that is so pronounced throughout the series. It is in these transformation scenes that we learn first about Momokaâ€™s diary, and the fact that Kanba has tried so hard to keep Himari alive. Fate, as represented through transformation, is not predestined, but rather controlled by the decisions an individual makes. It’s worth mentioning that in the particular scene above, Ringo is fighting up the steps in order challenge Himari.

Dialectic

How exactly can we expect resolution in the conflicting interpretations of the fate in Mawaru Penguindrum if symbolic imagery such as line and circle are used for conflicting purposes? I do not want to make any particularly hasty judgments before the series has even finished airing, but I do think there is one clue regarding as to whether the line or the circle will come out on top: the apple. This fruit has played a central role throughout the series as it embodies sometimes contradicting ideas. Among the concepts that an apple symbolizes are those of original sin, knowledge, and cause and effect.

The idea of repentance and sin does not seem to be the direction of the story as it is. I think one important reason for this lies in the fact that the actions of Tabuki and Yuri seem to be wrong compared to the very existential and fallible choices of the Takakura brothers; Kanba believes that he can change the world, while Shouma is responsible for and must act for the sake of Himari. The story of Adam and Eve plays center role here, but the story is reversed: it is Himari who receives the apple from Shouma. After Shouma asks her if she knows the story of Adam and Eve, Himari lies and says she does not, but in the end her choice is to accept Shoumaâ€™s kindness despite knowing the tale in actuality. This action suggests that the choice made by Himari, despite having full knowledge of what was being asked, was an important event in the Penguindrum world.

Another reason lies in the roles of the two fruit girls, Momoka and Ringo. Interestingly enough, Ringoâ€™s name in kanji is written as è‹¹æžœ, which is the modern way of writing apple in Chinese, compared to the usual Japanese characters æž—æªŽ, which also came from China but are less used in modern day Chinese. This choice is purposeful, most likely so that Ringoâ€™s name is similar to Momokaâ€™s (æ¡ƒæžœ) such that they have the same ending kanji. These two names however, are not only connected to fruit symbolism, but also bear philosophical meaning. The character æžœ in Chinese and Japanese also contains the meaning of â€œresultâ€ or â€œeffect,â€ such as in the case of çµæžœ or æˆæžœ (both meaning result, though with different nuances).

One particular word is å› æžœ (inga or yinguo), which is the Japanese and Chinese Buddhist term for karma, or the Law of Cause and Effect. It should be noted here that in Buddhism, karmic law dictates not only natural cause and effect, but moral cause and effect. Buddhaâ€™s original teachings in a sense argued for both natural and moral influences on oneâ€™s fate; moral decisions made by a person are, in some sense, dependent on the situations that person finds themselves in. For example, correct moral decisions for a beggar and correct moral decisions for a prince may be the same, but their differential circumstances mean that their choices carry weight differently per person.

There is a similar parallel to this in Kantian philosophy. Although events that occur in space and time are physically deterministic (each physical event has a physical cause), there is a sense in which moral choice can be considered free for us to decide. Kantâ€™s philosophy is extremely complicated, so I will not attempt to go in-depth here, but I will say that Kantâ€™s ultimate point is to suggest that there is a sense in which humans can choose for themselves, that there is some sense of freedom in moral decision making, despite the fact that human lives seem to progress linearly.

Unfortunately, I will conclude here by saying that Mawaru Penguindrumâ€™s message seems to require resolution between the two concepts of choice and determination, and that the symbol of the apple will be crucial in this development. Lines and circles in the art of the show reinforce the battle between different conceptions of fate, and it seems obvious that whatever philosophical meaning the narrative will contain, the art will supplement it. However, the analysis in this article is nowhere near exhausted. It would be wise to pay further attention to the artistic choices employed in the series, and here I have merely suggested one way of looking at some of the visual symbolism so far in the series.

Notes

I made some changes to a couple of paragraphs in this article thanks to the criticism and recommendations of some readers below in the comments section and elsewhere. Thank you everyone for your input.