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“Saying nothing… sometimes says the most.”

— Emily Dickenson

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Just chugging along...

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windows in chinese suzhou gardens by 六毛钱的月亮

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Source details and larger version.

The buzz: vintage bees, some honeys, some killers.

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Spring: The Return of Life (2014)

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Edinburgh, Leith Water Walkway, April 2007,  Scotland

photography by cityhopper2

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joan of arc pendants

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Seed heads in old glass bottles ~ Brigit Strawbridge

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Takato Yamamoto: Fall in Love (1997)

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Fairy Dreamer by Stephanie Blythe, circa 1980’s

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Miyazaki’s visual storytelling thrives on a sense of flatness that doesn’t diminish but rather enriches his worlds. By compressing the layers of his compositions—merging the foreground’s details, middle ground’s action, and background’s context—he crafts images that feel like living illustrations. Take the Warawara swarming with dishes in "The Boy and the Heron" or the jubilant feast scene in "Spirited Away" : both are packed with vibrant details, yet the visual plane feels collapsed, like a tableau unfolding all at once. This "flatness" isn't a flaw but a deliberate technique, pulling us into the frame as if we’re unrolling a scroll of visual wonder. It’s not depth that Miyazaki aims for—it’s a sheer density of storytelling in every frame, a reminder that 2D animation’s strength lies in its ability to immerse without imitating.