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The Wolf Children Ame and Yuki (Director: Mamoru Hosoda) |OT| Pixar Approved!
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Tranced Shadow
Member
Just a quick correction to the OP - the Edinburgh screening is on the 21st October. I won't be able to go, as it's too late in the evening for me to get back home for work the next day D:
Thanks, I corrected it.
Much better than I expected. Really great with generally good pacing and the girl's laughter was wayy too infectious for my theatre crowd. My non-anime watching friend was kinda bored at the beginning, but I think he liked the movie by the end.
The director really improved a lot since The Girl Who Leapt Through Time.
The director really improved a lot since The Girl Who Leapt Through Time.
Not many elaborate impressions 'per se', but I liked how it made Bobby Rubio to purchase SUMMER WARS immediately after:
http://twitter.com/Bobby_Rubio/status/243223405623652353Twitter / Bobby_Rubio: Just saw "The Wolf Children ... said:
http://twitter.com/Bobby_Rubio/status/244997909416914944Twitter / Bobby_Rubio: Chilling with a bottle of #Ramune ... said:
But...
http://twitter.com/Bobby_Rubio/status/245039031153471488Twitter / Bobby_Rubio: Summer Wars was aight. I liked ... said:
So, there it is! That now usual opinion.
Also Grant Alexander, whose twitter account was already posted by hosannainexcelsis, gave some more impressions about it. As an interesting piece of complementary data about them; Bobby Rubio and Grant Alexander collaborated in Gurren-Lagann's thematic charity book Believe in Yourself, and were two of the hosts for the latest visit from GAiNAX members to Pixar Animation Studios in California, this past year:
CHASING ROCKETS: GAINAX at PIXAR
http://bobbyrubio.blogspot.com.es/2011/02/gainax-at-pixar.html
Grant Alexander: Gainax at Pixar
http://grantalexander.blogspot.com.es/2011/02/gainax-at-pixar.html
More information about that trip from Satsuma Potato's blog:
One Potato Two San Francisco with Company G Day 2
http://kurouzu.blog63.fc2.com/blog-entry-884.html
This was really good. I found Hosoda's last two films to be good, but overhyped (especially Summer Wars, which was a film of great parts but a narrative mess), but I have to admit he's the real deal.
The detail in the observation of daily life is wonderful, from the background figures in the city scenes to the way Hana observes her children playing.
Was pleasantly surprised to find that the music was by Takagi Masakatsu. His first score? I've thought for a while that his music is very cinematic.
Two things that bugged me.
The detail in the observation of daily life is wonderful, from the background figures in the city scenes to the way Hana observes her children playing.
Was pleasantly surprised to find that the music was by Takagi Masakatsu. His first score? I've thought for a while that his music is very cinematic.
Two things that bugged me.
Hosoda spends a lot of time developing the subplot of Hana's interactions with the neighbouring farmers, especially the old man, only for it to go nowhere. Granted, it doesn't really need to, and the material is lovely, but it's verging on wasted screentime, given some of the film's omissions.
Speaking of which, the lack of pay-off to the relationship between Ame and Yuki was a huge letdown. We watch the children play together, go through life's early steps together, Yuki sticking up for Ame at school, and then ultimately he leaves without saying goodbye. As I recall, their final scene together is the fight, which ends miserably. It feels very wrong to close out this aspect of the film in such a bitter way. Some hint of forgiveness and acceptance at the end would not only have added more emotional satisfaction to the piece, but also would have been more in keeping with the love for each other that the siblings held.
Speaking of which, the lack of pay-off to the relationship between Ame and Yuki was a huge letdown. We watch the children play together, go through life's early steps together, Yuki sticking up for Ame at school, and then ultimately he leaves without saying goodbye. As I recall, their final scene together is the fight, which ends miserably. It feels very wrong to close out this aspect of the film in such a bitter way. Some hint of forgiveness and acceptance at the end would not only have added more emotional satisfaction to the piece, but also would have been more in keeping with the love for each other that the siblings held.
Yeah I don't think Masakatsu generally does soundtracks. Hosoda was listening to his music while doing the storyboards, and he liked the music so much he felt he had to get the guy on board to do the actual music for the film.
Anyway, here's my take on those two points:
I really don't think all that development goes "nowhere" at all. It's extremely important to establish that Hana has managed to settle into the countryside community, and that she has other people to talk to and help her out when she needs to. Why? Because the film essentially ends with both her children moving on. She continues to stay behind on her own, so that development is essentially the difference between a happier or a much lonelier "ever after" for her as a character.
The other point is pretty interesting, and I hadn't really thought of it that way. It's true that their relationship never really fully recovered, but perhaps there is no way for it to really repair itself in a satisfying or realistic way. Once they had both reached a point where they were set on their paths in life, I think it would be hard to show any sort of compromise without making it feel particularly forced for a happier sort of conclusion. That's not to say they won't meet up again some day in the future and make up, but they're still rather young, and at this point the important thing for both of them was clearly to find their own way to stick by it to take that first step into independence.
The other point is pretty interesting, and I hadn't really thought of it that way. It's true that their relationship never really fully recovered, but perhaps there is no way for it to really repair itself in a satisfying or realistic way. Once they had both reached a point where they were set on their paths in life, I think it would be hard to show any sort of compromise without making it feel particularly forced for a happier sort of conclusion. That's not to say they won't meet up again some day in the future and make up, but they're still rather young, and at this point the important thing for both of them was clearly to find their own way to stick by it to take that first step into independence.
The score is really beautiful by the way. Great stuff.
Fair point. I don't know, I guess I'd just like to see maybe a glimpse of her interacting with the villagers at the end to tie it back in?
It's one thing to talk about a happier sort of conclusion, but what we have is a downright miserable conclusion to that relationship.
There hadn't really been a hint at trouble in Ame and Yuki's relationship until that scene, and it's hard for me to believe that it would push them to a point where no forgiveness and understanding was possible. Brothers and sisters fight. Then they forgive each other and move on. Sometimes they have disagreements about the way the other chooses to live their life, but it comes from a sense of care, not spite. Even when they feel frustration about not being able to get through to one other, they go on loving each other. That's the reality of family life. Depicting it would also have been more dramatically interesting than what we got.
It's bizarre to me that Hosoda and Okudera missed this, because the film is otherwise great at capturing family dynamics.
There hadn't really been a hint at trouble in Ame and Yuki's relationship until that scene, and it's hard for me to believe that it would push them to a point where no forgiveness and understanding was possible. Brothers and sisters fight. Then they forgive each other and move on. Sometimes they have disagreements about the way the other chooses to live their life, but it comes from a sense of care, not spite. Even when they feel frustration about not being able to get through to one other, they go on loving each other. That's the reality of family life. Depicting it would also have been more dramatically interesting than what we got.
It's bizarre to me that Hosoda and Okudera missed this, because the film is otherwise great at capturing family dynamics.
Saw it again in cinemas. Agreed.
Just came back from it - in a word excellent. This is the kind of film that reminds me why I watch anime in the first place. It has a strong emotional core to it, that I found really engaging and emotionally involving, in some ways reminded me a lot of Millenium Actress in terms of framing despite the drastically different subject manner.
Some of the montages throughout were truly awe-inspiring and beautiful to watch, the music was also appropriately excellent, and pleasantly surprised that Takagi Masakatsu was behind it.
Y'know despite some complaints I've been reading about the ending. I found it really strong personally, it's much more restrained compared to the Summer War's ending for example, in fact script-wise, I feel this is probably the tightest hosoda film yet, and lacked the small annoyances that annoyed me about tgwlt and summer wars.
But yeah, this film is really good evidence that Hosoda has truly matured as a film-maker. I'm really excited for what it has next in the coming years!
Some of the montages throughout were truly awe-inspiring and beautiful to watch, the music was also appropriately excellent, and pleasantly surprised that Takagi Masakatsu was behind it.
Y'know despite some complaints I've been reading about the ending. I found it really strong personally, it's much more restrained compared to the Summer War's ending for example, in fact script-wise, I feel this is probably the tightest hosoda film yet, and lacked the small annoyances that annoyed me about tgwlt and summer wars.
But yeah, this film is really good evidence that Hosoda has truly matured as a film-maker. I'm really excited for what it has next in the coming years!
The Storyteller
Member
I'm seeing this Wednesday night because my friend and Lafiel are making me.
But, cute baby wolves!
But, cute baby wolves!
Pfft, but he's one of the main reasons your favourite anime series of all time was good.
And for the record, I think there's a very good chance you'd enjoy Wolf Children even if you didn't think much of his previous two movies.
Pfft, but he's one of the main reasons your favourite anime series of all time was good.
And for the record, I think there's a very good chance you'd enjoy Wolf Children even if you didn't think much of his previous two movies.
I didn't think much of TGWLTT, and then after I watched this movie I went back to watch Summer Wars, thought even less of it than the other two. Wolf Children is far superior than his previous works. The plot is pretty barebones, but the movie is just a joy to watch. I wasn't really fond of the characters being furries, which probably matters less if you've never watched as much anime, but the kids are adorable.
Thinking about it, some of the best parts of this movie is so alike Yotsubato, which is awesome. This movie could easily be a contender for the best movie I will see this year.
People are desperate to hail some sort of New Master now that Miyazaki and Takahata are winding down. After watching Arrietty and From Up on Poppy Hill, I have to say that Hosoda seems to fit the bill more than anyone from Ghibli.
The good news is that Wolf Children Ame and Yuki doesn't sabotage itself two thirds of the way through like The Girl Who Leapt Through Time, and isn't a giant clusterfuck like Summer Wars.
Watch Digimon movie 1
Really?
I don't think this is particularly true though. There doesn't need to be a "new master" or a "replacement for Ghibli" or anything like that. The reason why Hosoda is more notable is because like Kon, his works have international appeal and don't fit into a the extreme Japanese flavor niche which the majority of anime do. A Japanese animation filmmaker who makes original works which are critically acclaimed worldwide is uncommon, and so it makes each of his new projects more exciting.
My Review
Watching this film feels like watching an old master paint in front of your eyes. Whether or not it's his best film, Mamoru Hosoda has never been more confident in his storytelling abilities; every aspect is tuned to his precise calculations. Yet, even as obviously constructed as the story is, it never feels forced or unbelievable. It was a smart decision to not
. The fantastical element ends up complementing the emotional verisimilitude quite well; scenes such as
work so well because we understand their transformations as a visual metaphor for their familial angst.
This is also a story that could only be done in traditional animation; neither live-action nor CGI can reliably and believably allow for the kind of subtle transformations needed in the film. It just wouldn't work anywhere near as well. This is easily Hosoda's most ambitious film visually, and it shows in every frame. Some of the backgrounds are jaw-dropping, and the use of CGI to enhance the painted vegetation allows for some stunning effects. Really the only thing you could complain about is CG cars and some CG extras near the beginning.
Going back to the emotional aspect, I think the reason it works so well is that we get to see and vicariously experience every emotion in the characters' lives, and not just the big moments. That's a hard thing to do in a two-hour movie that covers such a broad expanse of time, but Hosoda handles it deftly through some of the best and most creative uses of montage I've seen in anime. I mean, it's only twenty minutes in the film when
, not even a full anime episode, and it's already impactful due to the great use of montage prior, as well as the direction in the scene itself(the way the sound of the rain cuts when she drops her umbrella, the way
). I don't think I need to mention the kindergarten montage and its brilliant framing, and how much it communicates in just a few images; nor the exultation in the snow, the wordless joy of nature and family. And the climactic scene where Yuki
may be the best thing Hosoda has storyboarded.
10/10
Watching this film feels like watching an old master paint in front of your eyes. Whether or not it's his best film, Mamoru Hosoda has never been more confident in his storytelling abilities; every aspect is tuned to his precise calculations. Yet, even as obviously constructed as the story is, it never feels forced or unbelievable. It was a smart decision to not
try and explain the existence of wolf-men in any real way
Ame and Yuki's big fight
This is also a story that could only be done in traditional animation; neither live-action nor CGI can reliably and believably allow for the kind of subtle transformations needed in the film. It just wouldn't work anywhere near as well. This is easily Hosoda's most ambitious film visually, and it shows in every frame. Some of the backgrounds are jaw-dropping, and the use of CGI to enhance the painted vegetation allows for some stunning effects. Really the only thing you could complain about is CG cars and some CG extras near the beginning.
Going back to the emotional aspect, I think the reason it works so well is that we get to see and vicariously experience every emotion in the characters' lives, and not just the big moments. That's a hard thing to do in a two-hour movie that covers such a broad expanse of time, but Hosoda handles it deftly through some of the best and most creative uses of montage I've seen in anime. I mean, it's only twenty minutes in the film when
Wolf man(I just realized he never has a name) dies
they casually throw his body in the garbage truck while Hana loses it, baby in tow, and you realize she must look crazy to everyone around her and no one will be able to share her grief; I'm tearing up just writing this
reveals her true nature through the curtains
10/10
meltingparappa
Member
It premiers next week at the NYC Children's Film Festival! Hosada himself will be there!
I am SO jealous because I was just in NYC and should have scheduled my trip for this weekend instead. My only solace is that I have a few friends going, and they'll try to ask him about superflat during the Q&A.
However I style myself, I'm not an especially poetic person when it comes to communicating the simple joy of watching a work like this, and however I might appreciate Hosoda's technical mastery in animation and in direction he's put on for display here, I'm at a loss to find the right words to explain exactly why and how.
I can't confess to have seen all, or even most of Hosoda's works - while I count The Girl Who Leapt Through Time and, to an extent, Summer Wars as great films, I've never truly sought him out - until now. And I am very glad I did. Out of the three works now of his that I've seen, this movie included, Wolf Children stands out as his greatest by far.
The movie hinges on a fairly simple premise - a woman falls in love with a wolf-man, and finds herself being forced to raise their two children by herself. While a touch of the fantastical finds itself permeating its' concept, the core of this movie deals in some strikingly honest, grounded, very real themes and joys of growing up, family, motherhood, childhood, and acceptance.
I find myself continually impressed, if not astounded by Hosoda's ability to communicate so much to his audience with so little dialogue. We (rightfully) lauded the talents of Pixar's animators and directors in their ability, such as it was in the opening acts of WALL-E and Up, to tell a story as they did with as few words as possible, and I see no reason why we should not recognize how deftly Hosoda manages to do this throughout the entire film - as I look back on the film, I really can't understate the brilliance of its' many montages, be it Hana and the wolf father's life together, watching a wordless celebration of family in the snow or as it follows the children's journey through elementary school, it's impressive how much the audience understands purely from its' imagery, its' music, and its' framing.
If I had something to dwell over in regards to production, it might be the use of CG to represent passerbys in the crowd near the beginning of the movie, but given how absolutely magnificent this movie is to watch - and how well that Hosoda would proceed to use CG techniques to accentuate the beauty of the many, many flowers in this movie, I can't think of it as anything but a minor quibble. I imagine the only reason it stuck out to me, even, was simply how gorgeous so many scenes were to behold in the film. I've seen people criticize Hosoda's character designs before, and I absolutely can't see why, especially in motion - they animate incredibly well, and their level of expression is quite extraordinary. There's so many scenes in this movie that choose to leave all that needs to be said in body language and in expressions, and it works wonderfully. To use a particular example, as the movie reaches its' close,
. And excuse me while I pluck another example from near the film's end (to be fair, it's quite an emotional crescendo),
.
It's worth mentioning how absolutely beautiful the music is. As I've mentioned, there's many segments of Wolf Children where it communicates almost solely through its' visuals and animation, and it would not have worked nearly as well without Masakatsu's absolutely stunning score to elevate those segments.
Wolf Children is a movie that ends as it began - with much unsaid, but little that needed to be. It's beautiful, emotional, and wonderfully paced, animated, directed, and acted. It uses elements of the fantastic to better bring out some grounded beauty, and it's absolutely the best animated feature - in either side of the hemisphere - I've seen in the past few years. Rarely have movies affected me in the way this did.
Perhaps the most simplest way that I could ever express how much I loved this film was that despite its' nearly two hour runtime, it didn't even feel half that. Whenever this film finally reaches North American shores, it will not be soon enough.
I can't confess to have seen all, or even most of Hosoda's works - while I count The Girl Who Leapt Through Time and, to an extent, Summer Wars as great films, I've never truly sought him out - until now. And I am very glad I did. Out of the three works now of his that I've seen, this movie included, Wolf Children stands out as his greatest by far.
The movie hinges on a fairly simple premise - a woman falls in love with a wolf-man, and finds herself being forced to raise their two children by herself. While a touch of the fantastical finds itself permeating its' concept, the core of this movie deals in some strikingly honest, grounded, very real themes and joys of growing up, family, motherhood, childhood, and acceptance.
I find myself continually impressed, if not astounded by Hosoda's ability to communicate so much to his audience with so little dialogue. We (rightfully) lauded the talents of Pixar's animators and directors in their ability, such as it was in the opening acts of WALL-E and Up, to tell a story as they did with as few words as possible, and I see no reason why we should not recognize how deftly Hosoda manages to do this throughout the entire film - as I look back on the film, I really can't understate the brilliance of its' many montages, be it Hana and the wolf father's life together, watching a wordless celebration of family in the snow or as it follows the children's journey through elementary school, it's impressive how much the audience understands purely from its' imagery, its' music, and its' framing.
If I had something to dwell over in regards to production, it might be the use of CG to represent passerbys in the crowd near the beginning of the movie, but given how absolutely magnificent this movie is to watch - and how well that Hosoda would proceed to use CG techniques to accentuate the beauty of the many, many flowers in this movie, I can't think of it as anything but a minor quibble. I imagine the only reason it stuck out to me, even, was simply how gorgeous so many scenes were to behold in the film. I've seen people criticize Hosoda's character designs before, and I absolutely can't see why, especially in motion - they animate incredibly well, and their level of expression is quite extraordinary. There's so many scenes in this movie that choose to leave all that needs to be said in body language and in expressions, and it works wonderfully. To use a particular example, as the movie reaches its' close,
there's so much about the goodbye between Ame and Hana that's left entirely to their faces, and as he howls, and music swells the way Hana's face transforms from grief to joy was stunning
the scene where Yuki reveals her true identity to Souhei, the way it used the whipping curtains and that expression of sheer, exultant joy at acceptance of her other side could not be more perfect
It's worth mentioning how absolutely beautiful the music is. As I've mentioned, there's many segments of Wolf Children where it communicates almost solely through its' visuals and animation, and it would not have worked nearly as well without Masakatsu's absolutely stunning score to elevate those segments.
Wolf Children is a movie that ends as it began - with much unsaid, but little that needed to be. It's beautiful, emotional, and wonderfully paced, animated, directed, and acted. It uses elements of the fantastic to better bring out some grounded beauty, and it's absolutely the best animated feature - in either side of the hemisphere - I've seen in the past few years. Rarely have movies affected me in the way this did.
Perhaps the most simplest way that I could ever express how much I loved this film was that despite its' nearly two hour runtime, it didn't even feel half that. Whenever this film finally reaches North American shores, it will not be soon enough.
chicagocubsfan
Member
I loved The Girl Who Leapt Through Time and Summer Wars. Is Funimation doing the dub of this and any news on when it will be out?
It was an amazing, engrossing experience. To be honest, I'm not sure I can come up with any sort of review or critique. It was just great. I was definitely not disappointed.
It was really interesting that I was absorbed throughout the whole show. I feel like I understand slightly what Duckroll meant when he posted, "Instead of relying on the traditional aspects of dramatic conclusions to a typical 3 act structure, the movie never quite telegraphs how far it is into the story, or when the narrative is coming to an end." I'm just in awe at how well-strung together everything is in the show is. As multiple people have highlighted, the montages definitely do a wonderful job of stitching every moment in the show together. The movie had wonderful pacing as well.
I'm so attached to everyone in this movie, especially Hana ;_;. Lol, I was tearing up at the end. I wasn't sobbing, which I found surprising, but I don't think this movie aimed for that. I can't emphasize enough that this was an amazing movie.
It was really interesting that I was absorbed throughout the whole show. I feel like I understand slightly what Duckroll meant when he posted, "Instead of relying on the traditional aspects of dramatic conclusions to a typical 3 act structure, the movie never quite telegraphs how far it is into the story, or when the narrative is coming to an end." I'm just in awe at how well-strung together everything is in the show is. As multiple people have highlighted, the montages definitely do a wonderful job of stitching every moment in the show together. The movie had wonderful pacing as well.
I'm so attached to everyone in this movie, especially Hana ;_;. Lol, I was tearing up at the end. I wasn't sobbing, which I found surprising, but I don't think this movie aimed for that. I can't emphasize enough that this was an amazing movie.
ephemeral garbage
Member
I don't really have a lot to contribute here; there are some excellent reviews upthread. I really appreciated some of the themes of this film - it is difficult to understand what you want to do with your life; it is difficult to risk rejection; it is difficult to let go and let someone be who they need to be.
One scene in particular
was incredibly effictive on me, I don't think I've seen anything that ebullient since
.
One scene in particular
when Ame and Yuki are leaping down the hill in the snow
the ending of Mind Game
TheKaeptain
Banned
Is this playing anywhere in the States?
Apparently, the fact that Pixar found it worthwhile enough to invite Mamoru Hosoda to the U.S. in September for a company-only screening and Q&A at Pixar, or something.
DrForester
Kills Photobucket
What a great movie. Great characters also loved the man vs. nature feel, but without being a man vs nature story. Don't need to talk about the visuals, because there really isn't a negative. It's an absolutely beautiful film.
Would say the most effective part of the story was the stuff that went untold...
... at the same time though, these unanswered questions don't feel carelessly left out, or needed to make this film as good as it was.
That's a neat interpretation.
I had no clue that there were time skips, only seeing a few of the trailers. It did them very well. Ending was predictable, but man if it didn't ooze charm the whole way through.
Would say the most effective part of the story was the stuff that went untold...
Yuki's reaction to Ame being gone, much background on the wolf-men, do they ever see Ame again
... at the same time though, these unanswered questions don't feel carelessly left out, or needed to make this film as good as it was.
That's a neat interpretation.
That's pretty cool, maybe they can do some before/after comparisons if they actually manage to restore the place. Then it'll be just like the movie!
Saw it a little while ago, I thought it was really fantastic. And unlike a lot of anime movies that looks beautiful but fall flat on the story, this was really written well, especially the mother's story. Excellent stuff. Hosoda continues to be the best working director in the anime industry.
Heads up for any Irish readers, Wolf Children is showing in The Lighthouse Cinema, Dublin as part of the fifth Japanese Film Festival on Friday, 12th April at 20:30.
I caught a preview of the film a little while ago and found it to be very enjoyable. I liked the slice-of-life stuff a great deal, reminded me of Totoro.
I caught a preview of the film a little while ago and found it to be very enjoyable. I liked the slice-of-life stuff a great deal, reminded me of Totoro.
Just saw this. As someone who couldn't get past 15 minutes into The Girl Who Leapt Through Time, I wasn't really expecting anything groundbreaking. This is up there with some of Studio Ghibli's best and is among the finest examples of animated films ever. Whereas Ghibli goes for a more classic, traditional feeling, Wolf Children is a contemporary film through and through. I hope we see Hosoda becoming a new prolific director to look forward to like Miyazaki, but hopefully he brings the quality of Wolf Children in his future work.
There were just so many great moments in the film. All of the characters were endearing and the film had a great pace. I do think the first half was a bit better than the second half, but it's still a consistent film. The animation was well done although there were some obvious instances of reused animation. I'm happy that the CGI was not distracting at all, in fact I think they improved the visuals of the movie. I really loved the music as well, particularly in some of the montage. It was welcome for me since a lot of Japanese movies are sometimes too minimalist in their scores. The only scene that I felt taken out of the film was
There were just so many great moments in the film. All of the characters were endearing and the film had a great pace. I do think the first half was a bit better than the second half, but it's still a consistent film. The animation was well done although there were some obvious instances of reused animation. I'm happy that the CGI was not distracting at all, in fact I think they improved the visuals of the movie. I really loved the music as well, particularly in some of the montage. It was welcome for me since a lot of Japanese movies are sometimes too minimalist in their scores. The only scene that I felt taken out of the film was
the fight scene between Yuki and Ame. The voice actor's RARRR ROAR GRRR sounded so off to me that the scene didn't have the same emotional impact it should have had. Using voice actor voices was cute when they were babies/puppies, but the fight would've been stronger if Ame and Yuki had more wolf-sounding snarls as young adults.
Little Yuki and Ame were the cutest things ever! Why did Yuki and Ame have to grow up?
Trojita
Rapid Response Threadmaker
So about the story
Why was Ame such a douche? Don't wolves usually stay in a pack? lol
Why was Ame such a douche? Don't wolves usually stay in a pack? lol
Was he even going up there to help the fox? Seemed like he was just like "He broke his leg, he's going to die soon", he didn't seem like he was going up there for the express purpose of helping him live, but instead was like I need to take charge now. He could have even brought the fox to his mothers.
What is his mother going to do after the neighbors notice her boy is gone? She can only say he's in the woods playing so many times.
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