The Story of Chiikawa and Usagi

Story guide

Chiikawa imagines becoming a small, cute being and living as they feel like. When something unpleasant happens, they want to be deeply shocked, cry out and thrash about, then dash away. After running until exhausted, their ideal is to collapse onto the floor and fall asleep right away. They also hope something happy will be waiting when they wake up. In the final image, they jump for joy with another small figure like themself, linking the life Chiikawa wants through confusion, escape, rest, and delight.

Story guide

Beneath a large chapter title, Chiikawa stands alone facing forward in a title illustration. They hold their hands at their sides, keep their feet together, and appear as usual with pink cheeks. There is no furniture or scenery to establish a place, and no speech bubbles, sound effects, or arrows, so the content of the wish and the order of actions have not begun yet. The text only tells readers in advance that the coming subject is wishes about how to live. Without adding what Chiikawa will eat, where they will go, or whom they will meet, the image uses only Chiikawa and the title to make a simple entry point to the following series.

Story guide

Chiikawa wishes to become a small, cute being and live as they feel like. If they are scolded, they want to cry out loudly, thrash about, and dash away from the spot. At the place they fled to, they want to cry and thrash about again, and once tired, lie down and sleep soundly. If something happy happens, they want to raise their voices in joy and dance with friends just like them. In the final image, Chiikawa stands with a calm smile. The sequence of the life Chiikawa wishes for is laid out in order as a hand-drawn diagram connected by arrows.

Story guide

Chiikawa savors bites of omurice and side dishes from a plate with a spoon. They then hold a cup in both hands and quickly drink its contents. When the plate is completely empty, they cry out in satisfaction at having finished it and bounce with delight in front of an onlooker. Rather than moving on to another activity or cleaning up, they head straight for a fluffy pink bed. Once under the futon, they begin breathing in sleep without a pause, falling asleep while full. What Chiikawa wants is not merely a lavish menu, but the flow of a day in which they can keep the satisfaction of eating as much as they like and immediately rest in comfort.

Story guide

Chiikawa imagines a cream puff much larger than their own body and dives into its cream without hesitation. Sandwiched between the two halves of pastry, they eat eagerly without stopping even as cream covers their face, hands, and feet. After finishing, they wash their body and rinse away the foam to return to a clean appearance. Yet even though they should be full, they realize there is no cream left and shed tears because they do not want it to be gone. Finally, they lie in a pink bed and sleep while thinking back on the huge cream puff. The image holds together the wish to enjoy something fully and the feeling that remains after it is gone.

Story guide

Chiikawa imagines themself wearing a large yellow hat shaped like bread. If they walk before others with it on, they think people will find it cute and fitting, and they sway proudly to show it off. Returning home pleased with the praise, they do not store the hat on a shelf but lean into its white, puffy underside. The hat changes from an outfit into a soft bed, and in the end it holds Chiikawa as they sleep peacefully. The wish to wear something eye-catching and be admired connects, through one hat, to the wish to be buried in it and rest.

Story guide

Chiikawa imagines walking alone on days with a lot of luggage or rain. When they are worn out from carrying an umbrella and bags and become tired enough to slump down by the roadside crying, they wish someone would let them ride in a small roofed vehicle. The imagined vehicle pulls a cart loaded with luggage and speeds along automatically without Chiikawa having to operate it. The journey does not end at the front of the house: it passes through the entrance and rolls inside with Chiikawa still aboard. Being carried with their luggage from the place where they are tired into their own home, without driving or unloading, is the ideal help for Chiikawa.

Story guide

Chiikawa holds nail clippers and trims their small nails one by one. They check how tiny the toenails are, then blow on them after finishing and show satisfaction with the grooming. Next, they put weight on both feet as if stomping and test the feeling of their toes against the ground, but break into a sweat and stop. They then take out a probiotic drink with a red lid, open the container, and hold it in both hands. At the end, Chiikawa drinks continuously, moving from nail clipping to another small break. There is no conversation partner; they proceed alone from personal grooming to pausing with a drink.

Cultural and language noteSmall probiotic drinks in containers opened by peeling back a red foil lid are widely recognizable. The image shows a product-name-like form and container, but does not state any health benefit.

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Chiikawa sits in seiza wearing a dark haori and striped hakama, offering a New Year's greeting and wishing readers well in 2020. A spinning top with a pull string sits to their left, while a shuttlecock and hagoita paddle sit to their right, framing them with New Year games. There are no comic panels, exchanges of dialogue, or actions beginning to play the games. Chiikawa's formal dress, forward-facing pose, the year, and the greeting form a seasonal visual that marks the start of a new year for readers. It is not a scene that advances a story goal or incident, but a complete New Year's greeting in one image.

Cultural and language noteHakama, spinning tops, hagoita paddles, and shuttlecocks all evoke the Japanese New Year. At the start of the year, people exchange greetings that thank others for their support in the previous year and wish for the relationship to continue.

Story guide

This is a self-assessment flowchart using Chiikawa as its example, proceeding through Yes-or-No choices. It first asks whether the reader wants to live as a small, cute being, then follows solid and dotted arrows to questions such as whether they repeatedly think about unpleasant things, tend to let their feelings explode at home, get discouraged quickly, or always want to be cute. The combinations of answers lead to labels A through E, though the image does not explain each type's detailed traits. After presenting itself as if it were credible, it reveals at the end that it was all made up at random and has no meaning, turning the assessment format itself into a joke.

Cultural and language noteThe format imitates the Yes-or-No personality quizzes often found in magazines. It does not guarantee an accurate result; the humor comes from the plausible-looking branches and the final self-denial.

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This image presents the A-to-E results from the preceding flowchart in a row. A is accompanied by a crying Chiikawa and treats the wide variety of ways they are sad as something to appreciate. B describes them as energetic and independent, while sometimes crying. C treats it as charming that, even when they decide to be proper, it does not last long. D shows Chiikawa with a ribbon as someone so cute they could save the world. Only E has no character image and encourages the reader to live strongly even if they cannot become something small and cute. Rather than a sequence of actions, it is a result chart for comparing five outcomes and their short comments.

Cultural and language noteThe layout imitates the results section of a personality quiz. A through D use variations of the same basic pose, while E alone has no image, visually setting apart its final encouragement.

Story guide

Usagi stands beside a tearful Chiikawa while holding a large broccoli. As the two face the vegetable, nagano's bear appears behind them in a small form and in the next scene becomes far larger than either of them. nagano's bear picks up the broccoli, turns sharply, and walks away. As if pushed by the movement, Chiikawa and Usagi stagger to opposite sides. In the end, the two watch nagano's bear's back as they leave with the vegetable, and the broccoli Usagi had first offered is no longer in their hands. Without explanation or discussion, the short scene unfolds through the sudden change in size and the taking away of the broccoli.

Story guide

Usagi holds a large steaming pizza bun, crying out at the heat as they take a bite. The first bite only reaches the dough part, so Usagi bites deeply into it once again. This time they reach the filling, and the melted cheese stretches long between their mouth and the pizza bun. As Usagi narrows their eyes to savor the taste, Chiikawa approaches. Usagi then hugs the pizza bun tightly and keeps eating with their back turned. Chiikawa opens their mouth and begs repeatedly, but Usagi walks away without giving any, and the story ends with their exchange still ongoing.

Cultural and language noteA pizza bun is a Japanese snack made by filling the dough of a steamed Chinese-style bun with tomato-flavored filling and cheese. It is hot just after steaming, and the melted cheese can stretch when it is broken open.

Story guide

Usagi runs toward a huge, firm pudding set on a stand and leaps onto its top with momentum. They cry out as they bounce on the springy surface, lie down to rest for a moment, then sink so deeply that their feet press in, breaking into a sweat. Chiikawa runs toward the pudding from a distance and watches Usagi's movement. After Usagi emerges from the surface, they move as if rubbing against Chiikawa beside them, and the two leave the pudding together. This is not about cutting it up to eat, but follows a sequence of play in which a huge, firm pudding becomes a foothold for bouncing, sinking, and coming back out.

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nagano's bear, suffering from pollen, blows their nose with a tissue, puts on a mask, carries a garbage bag to the hallway of their apartment building, and returns. When they take off the mask at the entrance, a reception desk for temporarily storing slightly used masks has appeared in the hallway, and Usagi, sitting in a box labeled "Reception," is stifling a laugh. The displayed price list shows 200 yen for 30 minutes, 800 yen for a 3-hour pack, 1,300 yen for a 6-hour pack, and 80 yen for every 10-minute extension, and nagano's bear ponders while still holding the mask. The next moment, nagano's bear picks up Usagi and strides down the hallway, ending with them throwing the laughing Usagi over the hallway railing.

Cultural and language noteDuring pollen-allergy season, many people wear masks when going outside. Here, time-based fees like those of a coin locker are applied to storing a partly used mask.

Story guide

Chiikawa sweats in front of a large broccoli on a plate and brings a small piece cut with a fork to their mouth. Although they find it tasty, the clustered florets make them think of trees, sprouts, and plants, drawing their attention to the food's appearance. A hand then reaches in from offscreen and puts broccoli on Usagi's plate. Usagi eats it without hesitation and keeps chewing while Chiikawa watches. Chiikawa urges them to chew more, but Usagi swallows it, exhales, and finishes the meal. The conversation centers on their different eating speeds and their different ways of thinking about the same vegetable.

Story guide

Kurimanju pulls apart a small piece of food and carries it to their mouth, then downs a can labeled as having a nine percent alcohol content in one go and lets out a satisfied sigh. Just then, Chiikawa passes by holding a swirl-patterned candy, making a singing sound. Kurimanju watches Chiikawa's figure while still chewing, and Chiikawa moves away while singing. Next, a grilled Schauessen is shown largely, and Kurimanju bites into it with a crunch, savors it, and then downs the can once more. It ends with them letting out one more satisfied sigh.

Cultural and language noteThe 9% on the can indicates its alcohol content. Alternating a grilled sausage with a strong canned drink makes the food a drinking snack.

Story guide

Chiikawa and Usagi face a pancake far larger than they are. Usagi holds a spatula and tries to divide it, pressing the surface and running around it to put force into the task. Chiikawa watches nearby, surprised by Usagi's energy. Eventually, a triangular slice is portioned out with butter on top. Usagi takes a hearty bite from a large piece, and Chiikawa puts their mouth to another edge. At the end, Chiikawa enjoys the crisp browned edge, as the task of tackling one giant pancake together turns into a meal.

Story guide

As Chiikawa runs along to the sound of their footsteps, they follow a large round body bouncing ahead. When it suddenly stops and Chiikawa bumps into its back, it turns out to be Kurimanju. Holding a filled roll in one hand and a bottle in the other, Kurimanju continues eating in front of the startled Chiikawa. They bite the roll, push a small citrus piece into the mouth of the bottle, drink, and exhale contentedly. Without explaining the food or sharing it with Chiikawa, they start walking again. Chiikawa watches the person they caught up with and their enjoyment of food even while moving.

Cultural and language noteThe image of pushing citrus into a bottle recalls serving lime with a beer-like drink. The image does not identify the brand or contents.

Story guide

Usagi approaches Chiikawa with a yellow-green feather duster and tickles them from behind. Chiikawa cries out laughing and rolls across the floor to escape, but Usagi changes position and keeps touching them with the feather tips. Chiikawa laughs until tears come out and still twists their body after standing. Kurimanju then appears and forcefully strikes one of Usagi's long ears with the salmon jerky in their hand. With a loud sound, the ear bends and the tickling stops. Chiikawa looks up from the floor, while neither Usagi nor Kurimanju explains anything in words before the sudden blow ends the scene.

Cultural and language noteSalmon jerky is a delicacy made by cutting and drying salmon into long strips, especially associated with Hokkaido. As a hard, springy food, it becomes an unexpected prop for striking Usagi's ear here.

Story guide

Chiikawa holds a flower and sways their body while singing a tune in a small voice. Then, a large yellow object appears vigorously and covers Chiikawa. Underneath, Chiikawa flails their arms and legs, while Usagi watches the situation nearby. The panel is annotated with an arrow pointing to "sliced cheese," indicating that the covering object is cheese. After letting out a surprised voice, Chiikawa sticks out their tongue and begins licking it, continuing to nibble right after. As the munching sounds continue, a hole opens up at the front, and Chiikawa's face peeks through. At the end, it finishes with Chiikawa still moving their mouth while swallowing, right in front of Usagi who is watching.

Story guide

Chiikawa sits before small puzzle pieces spread on the ground, wondering how to put them together. Chimera appears and laughingly tells Chiikawa that they have become their current form. After clasping their hands in front of their belly, Chimera spreads the red claws on either side and demonstrates by moving as if turning around. Chiikawa stops working to watch, but Chimera comes closer and finally crashes into them. Chiikawa asks them to stop in pain, and the two fall to the ground together. The puzzle remains unsolved, while a quiet activity is interrupted by an unannounced collision.

Story guide

Chiikawa prepares a cocoa topped with whipped cream, animal biscuits in a pink box, and paper napkins with patterns of trees and balloons. Humming "Lulu," they take a sip of cocoa, and while looking at biscuits with the words "cow" and "cock" on them, they let out an exclamation as they imagine the vividly colored figures of a cow, a chicken, and a dinosaur. Just then, Usagi appears, grabs a biscuit from the table, and begins munching on it. Usagi then forcefully shoves more biscuits toward Chiikawa's mouth, and Chiikawa stuffs them into their cheeks as they are pushed in. Chiikawa chews and swallows with a gulp, and at the end, they sip the cocoa again while Usagi holds the box and keeps eating.

Cultural and language noteThis snack combines thin animal-shaped biscuits with printed paper napkins. The arrangement overlaps the cookie shapes with imagined animals.

Story guide

Chiikawa and Usagi prepare small tonkotsu-flavored cup noodles, miniature forks, and an hourglass measuring three minutes. Chiikawa waits for the noodles to be ready, repeating numbers as if chanting them. Usagi keeps some distance while holding a red cup, and when it is time to open the lid, two forks extend from offscreen and pierce it. Once the sand has run out, Usagi starts slurping the noodles without hesitation. Chiikawa also puts a fork into their cup, and the two eat together. Usagi heads vigorously toward finishing theirs, while Chiikawa cries out at the speed from nearby.

Cultural and language noteCup noodles are instant food prepared by adding hot water and waiting the specified time. The hourglass measures three minutes, and the included small forks reinforce the product's miniature scale.

Story guide

Chiikawa opens a bag of Yocchan Squid and confirms that there are two types of pieces: thick ones with good chewiness and floppy, thin ones. They choose a chewy one, set down their melon soda, and chew on it repeatedly. Just then, Usagi appears wearing a white squid-like costume, and after Chiikawa momentarily chokes on their voice, they let out a cheer of delight. When Usagi takes off the costume, Chiikawa puts it on this time and laughs proudly, while Usagi stands with a disgruntled face. While Chiikawa in the costume stands as if bathed in light, Usagi takes the snacks and melon soda and starts chewing, ending with Chiikawa crying out as they lie face down on the ground.

Cultural and language noteVinegar-seasoned seafood snacks can contain both thick, chewy pieces and thin, soft pieces. Melon soda accompanies them here.

Story guide

Chiikawa leans back against a pink cushion and reads an open book on their lap. To the left sit a partly used tissue box and crumpled paper, while a steaming cup sits to the right, all within easy reach. Chiikawa keeps their eyes on the book but lets out a small, stifled sound, with tiny shivers around their body. There is no food, conversation partner, or page-turning motion. The standalone illustration cuts out a moment of Chiikawa quietly continuing to read while feeling unwell, having prepared a warm drink and tissues in a wide empty space.

Story guide

This image lines up Usagi in four stages from left to right, with a long arrow below showing the direction of change. At first, they have a small crouched-looking body and make only a short sound. Next, their torso extends vertically as they stand with bent arms and open their mouth wide. In the third stage, they are larger still, spreading both arms and making an energetic cry. Finally, they stand a little slimmer and settle into a breath-like sound. The four figures are not separate characters, but a diagram comparing changes in Usagi's size and vocalization, with the same ears, cheeks, and mouth; it does not explain the cause of the change or how they return to normal.

Story guide

Chiikawa and Usagi ride on the back of a giant fish moving through the air. Usagi cries out with delight, while Chiikawa clings to its dorsal fin. The fish brings them in front of Kurimanju, who is cooking below. Kurimanju prepares a drink, squeezes citrus over thick slices of cured mackerel, then applies a flame to sear the surface. Once it has browned, they eat a slice and continue with the drink. The two above never get off the fish and remain looking down at the cooking. A fish acting like an airborne ride and cooking on the ground unfold at once, ending without the three characters' reactions meeting.

Cultural and language noteCured mackerel is made by curing mackerel with salt and vinegar. It can be seared on the surface and served with citrus; here it is enjoyed with alcohol.

Story guide

Chiikawa finishes making homemade chocolate and holds it up with both hands in a seasonal image. The brown confection is set into a flower-like shape and tied with a red ribbon at the center to make it look like a gift. Chiikawa also wears a red-and-white pointed cap and looks satisfied with their eyes closed, even though chocolate is still on their cheeks and forehead. Traces of melted chocolate, a bowl holding a whisk, used molds, and wrapping materials remain at their feet, showing that the work has just ended. The image does not show whom the chocolate will be given to or how a recipient responds, ending with Chiikawa enjoying the accomplishment alone.

Cultural and language noteIn Japan, making, wrapping, and giving chocolate around Valentine's Day is a widely known custom. The image shows the tools left after making it and a ribbon for giving it as a present.

Story guide

Chiikawa and Usagi stand together in a white space that seems to be after Setsubun. Chiikawa wears a red curly-haired oni headpiece with horns and a yellow-and-black striped waistcloth, holding a wooden box of beans before their chest. Usagi also holds a small wooden box and walks beside them with one foot raised lightly. Scattered beans remain around them, and Chiikawa says the event has already ended. They appear to have missed it while still dressed for the role of an oni, but the image does not show who threw the beans or what happened beforehand.

Cultural and language noteAt Setsubun, people throw beans at someone dressed as an oni to drive away misfortune. The tiger-striped waistcloth is also a typical element of Japanese oni imagery.

Story guide

Chiikawa sits in a white space, handling thin yellow pieces shaped like petals with both hands. Many pieces of the same shape are spread around them, including opened pieces, folded-over pieces, and long folded strips. The lifting of one piece and the scattering of small square scraps nearby suggest that Chiikawa is assembling something or arranging its shape. There is no text explaining the finished object's use or the procedure, and Chiikawa does not speak, so the image shows only a moment of quiet concentration on the yellow material.

Story guide

On a sandy seabed, Chiikawa's white upper body rises from a pink fish-like lower body. The pink portion has fins on both sides and a tail fin; Chiikawa stands it on the sand with both arms slightly spread and looks forward. Blue-green seaweed, spiral shells, bivalves, and red radiating seashore creatures surround them, while small pale blue fish swim on the right. Bubbles rising upward establish the underwater setting, but the image does not tell how Chiikawa took this form, why they are there, or how they might return to normal. It ends by showing the strange state of standing on the ocean floor.

Story guide

Chiikawa finds a green tube taller than they are and is surprised by its size. When one part comes off with force, Chiikawa picks up the round green lid and places it on their head like a hat. They turn to check how it fits and raise a hand with a proud expression, until Usagi appears. Usagi clings to the long green piece that has fallen over and rapidly bites through it, scattering round white tablets. Chiikawa watches while still wearing the lid, and the scene closes with only a large woven-basket-like object in the foreground.

Cultural and language noteRamune here does not mean the bottled drink, but a white tablet-like sweet that dissolves in the mouth. Both the container and the tablets are drawn at an extreme size.

Story guide

Chiikawa stands alone in a white space, crouching slightly with both arms thrust forward. Their wide eyes and tightly set mouth show the strain of trying to send something out with determination. Three yellow five-pointed sparkles float before their hands and feet, and short lines around their arms and body convey force. Chiikawa cries out once, but no target or other figure appears in front of them, and nothing changes except the sparkles. Without deciding whether a technique has succeeded or whether it is only a gesture, the image captures only their all-out stance.

Story guide

Outdoors, Chiikawa holds a long skewer over a small campfire and turns the large marshmallow at its tip to toast it. One whose surface starts to burn eventually catches fire, leaving Chiikawa flustered while still holding the skewer. Usagi comes to the same fire, puts their mouth to a giant marshmallow that has softened from the heat, and backs away as they pull a long stretch of white filling behind them. When Usagi runs off, the stretched portion crosses the ground like a thin band, leaving Chiikawa alone by the fire. The scene ends on the contrast between carefully trying to toast something and Usagi's hearty eating and taking it away.

Cultural and language noteThe subject is roasting a marshmallow on a skewer over a campfire. Its charred exterior and interior softened and stretched by heat are exaggerated.

Story guide

A lion dance-like opponent with a red face, long ears, large tusks, and a yellow body appears in front of Chiikawa and presses them in an irritated tone, saying, "What's it to you?!" Chiikawa trembles with welling tears and strongly refuses by loudly repeating "No!" without forming proper words. The opponent hesitates with "Ah, oh," mutters "Well, I'll go home then," and turns their back. Leaving the opponent, who murmurs that it is exhausting and walks away shrinking down, Chiikawa breaks down sobbing on the spot and wipes their face while still trembling. Finally, with tears still in their eyes, they press their lips together and tighten their expression into a glare.

Story guide

In white space, Chiikawa stands alone. They spread both arms slightly out from their sides, raise their eyebrows, open their mouth, and a single light-blue teardrop is drawn beside their left eye. Short yellow lines radiate around their body, indicating an energetic reaction. On the left side of the frame is a single speech bubble containing the drawn-out cry "Hoaa...". No counterpart or object that would explain the cry is depicted, and what Chiikawa is reacting to is not shown. The artist's signature appears in the lower right. No before or after of the event is described; it is a single-image post presenting this one cry and posture.

Story guide

Beside Chiikawa, Usagi moves both arms in circles and continues making rapid sounds with their mouth wide open. The movement and sound gradually slow until Usagi bends forward as the pace drops. Chiikawa, who has watched throughout, begins to shiver; after Usagi touches them from the side as if giving a signal, Chiikawa takes over the same rhythm. Even alone, Chiikawa repeats the sounds and gestures, but their mouth movements and arm swings grow smaller, and they finally stick out their tongue and curl part of their body. Usagi's odd momentum passes to Chiikawa after a delay.

Story guide

Usagi, wearing large gauntlets on both arms lined with purple scales and gray claws, appears before Chiikawa while letting out strange cries. Usagi swings the clawed arms about, strides forward forcefully, and thrusts toward Chiikawa. Chiikawa can only fret helplessly, responding with a look of not understanding what is going on, and Usagi's scream trails off and fades. After a cut to a close-up of Usagi's face, the scene shifts to night. Chiikawa, wearing a blue triangular hat, bolts upright from bed with a scream and begins crying while still clutching a sun bear. The story ends with their heartbeat continuing to pound.

Story guide

In a place where ring-shaped sweets spring one after another from the ground, Usagi picks one up and Chiikawa arrives later out of breath. Chiikawa shakes their body greatly as they try, but tears well in their eyes and they cannot make the sound they want. Usagi puts a ring to their mouth and clearly produces a high note to demonstrate, then turns their back and crouches. Short sounds continue among the scattered rings as Chiikawa puts one in their mouth to imitate them, but can manage only a weak breath while tears and drool run down their face. The scene ends on the contrast between Usagi making the sound easily and Chiikawa failing despite trying hard.

Cultural and language noteFue Ramune is a ring-shaped Japanese snack with a hole in the middle that can make a whistle-like sound when held in the mouth and blown.