Paprika

Em: 00:00:56

Hi, everyone. I'm Em, and welcome to verbal diorama, episode 329, Paprika.

This is the podcast that's all about the history and legacy of movies you know, and movies you don't. That's the girl of your dreams. Sorry, I mean the girl in your dreams. Welcome to Verbal Diorama.

Whether you're a brand-new listener, whether you're a regular returning listener, thank you for being here. Thank you for choosing to listen to this podcast. There are so many podcasts out there that are vying for your ears and for your attention.

And I am so happy to have you here for the history and legacy of Paprika, or paprika, however you pronounce it. And if you are a regular returning listener, thank you so much for continuing to come back and listen to this podcast.

I could not do this podcast without your constant support. And I have been doing this podcast for very almost seven years now. We are so close to the seventh birthday of this podcast.

And honestly, it blows my mind that you guys continue to support this podcast. It really, genuinely means so much. And I still can't believe that I've been doing this podcast for almost seven years.

That's seven years of my life doing histories and legacies of movies you know, and movies you don't. And yeah, it's crazy, isn't it, really? You could very much say this podcast is a dream for me.

But before we go into all of that, welcome once again, or welcome if you've not been here, to the sixth annual animation season. Previous episodes this season have been on Monsters Inc. And the last episode was on K Pop Demon Hunters.

And if you don't know me or this podcast really well, you should know that I'm a huge fan of animated movies. And it's something that I believe more podcasts should genuinely talk more about. Animated movies and what animation season is.

It is a celebration of animation in all of its forms. So the traditional 2D hand drawn stuff, stop motion CGI, and a mix of all of the above. The Verbal Diorama animation season mantras are as follows.

Animation is not just for children. And I mean, if any movie this season is going to tell you that animation is not just for children, it is this one. Animation is also not a genre.

Animation is the perfect art form.

And one of the reasons why I wanted to feature this movie is the director of this movie was so passionate about animation, about the fact that you can depict anything and anyone. And this movie does animation. You have no limitations like you do in live action cinema, such as things like gravity.

There's nothing like that in animation. And that's why I think animation season is so important.

It's so important to me, and it's so important to this podcast to highlight movies like this because a lot of people have seen K Pop Demon Hunters and a lot of people have seen Monsters, Inc. But I don't think a lot of people have seen Paprika. And the thing is, is Satoshi Kon only made four films in his lifetime and this was his final one.

And it's so wildly ambitious and it shows him at his most creative. And it is something that could only work in animation because nothing portrays dreams like this movie portrays dreams. What is real? What is reality?

Here's the trailer for Paprika

Em: 00:06:51

With a revolutionary device called the DC Mini, psychiatrists are now able to enter a patient's dreams in a therapeutic setting.

But when an unknown assailant steals the devices and uses them to enter people's minds to enact mind control, chaos ensues as dreams begin to bleed into reality and the thin line between the conscious and the unconscious begins to blur.

Dr. Atsuko Chiba is assisted by Detective Toshimi Kodakawa, a man plagued with his own demons, and by her dream world alter ego, Paprika, to identify the thief as they ward off attacks on their own psyches. Let's run through the cast.

I'm not going to talk about the English voice cast for this movie because generally speaking, in the subs versus dubs debate, my perspective always is I don't care if you watch a movie like this with subs or dubs, as long as you watch the movie. However, I really do feel like the subtitled version of Paprika is the definitive version of Paprika.

It's the only version I've ever seen and I own this movie on dvd and I don't even know if there is an English dub on the dvd, but this is a movie you have to pay attention to. And so when you're actually watching this movie and you're reading the subtitles, you have to pay attention.

More attention than if you are listening to the dubbed version where people have a habit of getting their phone out. Trust me, I am the worst for getting my phone out and going on IMDb and looking up facts about movies while I watch them.

It is literally one of the worst things about me is that I do that. But with a movie like Paprika where you have to watch it and you have to read the subtitles, you concentrate on it a little more.

So I'm only really going to focus on the Japanese cast of this movie. But to be honest, however you watch this movie is great because you're watching this movie.

We have Megumi Hayashibara as Dr. Atsuko Chiba and Paprika Toru Furuya as Dr. Kosoku Takeita Toru Amori as Dr. Seijiro Inui Katsunosuke Jori as Dr. Toritaro Shima Akio Otsuka as Detective Toshimi Konakawa and Koichi Yamadira as Dr. Morio Onasai Paprika has a screenplay by Seishi Minakami and Satoshi Kon. It was directed by Satoshi Kon and based on Paprika by Yasutaka Tsutsui.

So to start pronunciation, just like last episode on K Pop Demon Hunters, I am always trying to pronounce things properly, especially things like names, but I apologize in advance if I don't. The one thing I have taken some advice on is the pronunciation of Satoshi Kon.

So previously in other episodes of this podcast I pronounced his name Satoshi. But as with most things anime, I tend to bow to the expertise of a podcast called Ghibliotheque.

And in their Satoshi Kon season, which is called Chronology, they specifically pronounce it Satoshi. So that's what I'm going to do going forward. Also, their Chronology season is great and well worth the listen.

So if you've never listened to Ghibliotheque, please have a listen to their podcast because their Satoshi Con season is wonderful.

way from pancreatic cancer in: 2010

With its clear references to Hitchcock, lynch and Scorsese. Paprika was his final film.

ling of millennium actress in: 2001

ated Akira, Both the original: 1982

in: 1992

mories, which was released in: 1995

Tokyo Godfathers is really the only one of his movies that's more grounded in reality. Satoshi Kon wasn't just a director, nor was he just an anime director. He actually set out to make genre defining animation.

He loved the medium of animation so much, and he believed it was the only way these works could be portrayed. Perfect Blue, Millennium Actress, Tokyo Godfathers, Paprika and the TV show Paranoia Agent made it clear he wanted to do something different.

He wanted animation to show the messiness of life, to show imperfections and horror as well as beauty and fantasy. Tokyo Godfathers is very much a Christmas movie. So maybe I'll schedule that one for a future Christmas. Khan was bold and distinctive.

He valued the story as much as he valued visuals. My point is that he was an animation pioneer taken far too soon.

traight after Perfect Blue in: 1998

d director Mamoru Hasada. The: 1998

That company, Rex Entertainment, then went bankrupt and Kon instead went on to make Millennium Actress and Tokyo Godfathers. Due to the small scale of their releases, both Millennium Actress and Tokyo Godfathers had a hard time recouping their investment funds.

But by then, Kon's name had become so well known in the film industry, by the time of his next project, which would be Paprika, his reputation had already been established, so that actually helped the film get produced.

ng chronologically in January: 1991

It would be: 2003

When the two men met, Kon was in production on the TV series Paranoia Agent with Madhouse, and they were thinking on a project that they could realistically begin developing after the completion of Paranoia Agent.

Kon had been a huge fan of Tsutsui's novels, including Paprika, and he was fascinated by the sense of the fluctuating relationship between dreams and reality.

He'd already depicted similar themes between the blurring of fantasy and reality in Perfect Blue and Millennium Actress, but he felt a strange connection to the themes of Paprika. He would say that he learned from Tsutsui's works to question the framework of common sense.

The situation between Perfect Blue and Paprika couldn't be more different. Kon rejected the original screenplay for Perfect Blue by the novel's original author, Yoshikazu Takeuchi.

Takayuchi agreed to allow Kon to change the plot within limits and to assign a new screenwriter to the project, choosing Sadayuki Murai and working closely with him to perfect Perfect Blue for Paprika.

Kon has always said he would not have made the film without author Yasutaka Satsui's blessing, and meeting Tsutsui cemented the idea in his mind to make Paprika.

Unlike Perfect Blue, where Kon made fundamental changes, he thought Paprika as too voluminous to fit into one film and that too much time had passed since his publication and many other creators had used the ideas and imagery from the original book.

xplanation, he would say in a: 2007

To me, the film Paprika is not simply an adaptation of the original novel, but also an homage to Sutsui's work, unquote.

When it came to adapting the story, and specifically the depiction of dreams, or indeed, nightmares, Kon wanted to avoid the typical dark imagery of nightmare scenes. Instead, he chose a bright and colorful parade. He wanted something so cheerful that it was creepy.

And the parade, with its bright oranges, reds, golds and greens, is probably the one singular image that not only sums up this movie, it's the imagery everyone instantly remembers because it's so bold and visceral.

He decided this parade, which wasn't present in Siri's original novel, would be the dream that flows into the real world at the climax, and that the parade would follow its own journey from the desert, where it starts, through to the city where it ends and merges into the real city.

The parade features a variety of objects, including religious items like shrine gates and Buddhist statues, traditional Japanese images like beckoning cats and daruma dolls, and also cars and home appliances, and also, bizarrely, a parade of frogs. Most of these items were selected based on the criteria of discarded objects.

Kahn wanted to use this as an example of religious significance diminishing in the modern era and consumerism. The traditional religious items and customs have lost their original meaning and then become items people just use to decorate their homes.

He depicted bridges and toasters to signify the period of economic growth and the idea that people will happily replace their working appliances with brand new versions without thinking of the economic and environmental cost.

This stream of random objects depicts how in our unconscious mind contains multiple thoughts and ideas, from our mundane thoughts of ordinary objects, our hobbies to myths, religion, science, modern culture and ideologies which stir and blend together in a chaotic and abstract way within our dreams. Because dreams contain no logic, even you are not yourself in dreams. Kon liked to write with pictures rather than words.

So instead of using traditional scripts, he used meticulous storyboards to construct the structure, creating lengthy sections with ambiguous transitions.

Character designer and animation director Musashi Ando, best known for his work on Princess Mononoke and later your Name Art director Nobutaka Iki, writer Seishi Minakama and composer Susumu Hirasawa, whose sound defined Kon's films as much as the visual style, were the same core collaborators he'd used for years.

And with a relatively modest budget of around 300 million yen, or around $2.6 million, this team used traditional 2G and CGI as a hybrid animation style and compositing technique to create the parade. But this was bought not only for visual concepts, but in direct collaboration with Susui Hirosawa's music.

Satoshi Kon used repetition, layering and managed chaos to create overwhelming movement without exhausting the animation team. The result is one of the most recognizable dream sequences ever animated and also one of the most beautiful.

The animation in that scene is absolutely stunning. The whole production was not an easy one.

Paprika took two and a half years from planning to completion and makes use of 3D modeled environments in many subtle places. And it's worth noting that human beings and characters are never rendered in 3D models.

Paprika is a great example of traditional hand drawn anime that relies purely on the hand drawn aesthetic. But also Satoshi Kon and Madhouse were specifically strategic about when and where to use cg.

They primarily used it for specific elements that would be extremely difficult or time consuming to animate by hand.

Things like complex mechanical movements, architectural elements, crowd scenes and certain dream sequences where reality needed to feel distorted or uncanny. The key was that CG was used as a tool to enhance the hand drawn animation, not replace it.

Satoshi Kon saw this as experimenting with a technique that he saw would become even more prevalent in the future. And wouldn't you know, he was right about many things.

And Satoshi Kon during his lifetime seemed to be one of these directors that could easily predict the future, not just within the animation industry itself, but also in the wider world. The core themes Kon focused on in this film were the duality, multifacetedness, contrast and the balance of things.

And the most prominent duality in Paprika is between the heroine, Atsuko Chiba, and Paprika. Kon saw the characters as a person's inner conflict, but also as two distinct individuals.

Seeing Atsuko as a straight laced young woman who follows social norms and and suppresses her feelings and desires, and Paprika as emotional and unrestrained. The differences between the two leads to a split, which then leads to the final version.

A mix of Atsuko and Paprika together, a mature version of the two. And in a movie full of great ideas, Atsuko and Paprika are one of the best in that everyone has these multiple facets to their personalities.

Atsuko struggles between who she wants to be and who she feels she ought to be. Paprika is the completely unrestricted version of herself. But that version only exists in the dream world.

And the conflict comes from Atsuko's inability to embrace that version in reality. Because in a fairly repressed nation like Japan, a young woman really can't be sexually free and a powerful entity in her own right.

But as Paprika, she can be all of that and more. Satoshi Kon needed a voice actor who could convincingly play both characters while make them distinct and different.

Megumi Hayashibara had had a lot of famous roles under her belt from hello Kitty in hello Kitty, Faye Valentine in Cowboy Bebop, Jessie in Pokemon, Lina Inverse in Slayers, and Rei Ayanami in Neon Genesis Evangelion. Khan specifically chose voice actors who were well known and who fit the characters images. But other characters also have these dual identities.

Detective Konakawa wanted to be a filmmaker, but ended up in the police after the death of his friend and the resulting repressed memories and trauma of witnessing a murder. Dr. Kosaku Tokita is a gifted inventor.

The inventor of the DC Mini is somewhat an eternal child refusing to grow up and take accountability for his life. And there are many pieces on the Internet that interpret Paprika through the perspective of Carl Jung's theories on psychology.

Jung's approach to psychoanalysis is based on Sigmund Freud's long standing theories that conscious human behavior can be explained by our unconscious drives, which often manifest in the forms of our dreams. Jung's theories were based around his model of the psyche, which consists of the ego, Persona, shadow, anima and animus, and the self.

The ego is your conscious self, your personality. The Persona is the version of yourself that you project to the world. The shadow contains your repressed personality or character traits.

The anima and animus are particular archetypal parts of the shadow. The anima consists of repressed feminine qualities of a man, while the animus consists of repressed masculine qualities of a woman.

Jung believed that for one to become a complete version of oneself, one needs to integrate the unconscious elements of the psyche into the conscious self. The ego needs to confront and integrate the shadow and other unconscious elements of the psyche into itself.

This completed version of oneself, once a person's conscious and unconscious elements have been united, is called the self. It's a representation of the psyche as a whole. Jung believed that dreams were the medium which the unconscious uses to communicate with us.

Which is why dreams are frankly weird, with no real sense of comprehension and are usually random, including random people, and often have no meaning. Psychologists believe that the nonsensical depictions of our dreams are meant to convey something meaningful, something silently unconscious.

Merchant Paprika's dream imagery is set around cinema. And that's no accident either.

French psychoanalysis Jacques Lacan's mirror theory is widely regarded as the central reference point for the emergence of psychoanalytical film theory. And this is why babies are involved.

Lacan's theory stems from observing babies aged 6 to 18 months who recognize their reflections in the mirror as a whole person, but as another person. Babies of this age will regularly mimic older children and adults as they develop an ego by assuming their mirror image is another human being.

So when we see babies performing adult acts like cooking, cleaning, fixing their toys, or even looking after their own baby dolls, who they see as actual babies, we are able to see how babies egos let them assume they are equal to adults. Using the infant's mirror as a foundation, Lacan goes on to show how the cinema screen is similar to the mirror.

We might not see an exact reflection of ourselves on the screen, but we might come across characters who have characteristics that are similar to ours, that we feel like we can relate to, even though they're fictional beings or characters we aspire to be like, or even characters who look like us. Representation is important, and seeing people of color or any marginalized group on screen can elicit those feelings.

That doesn't mean everything we see on screen is something we like or that we can relate to. Paprika contains some really creepy scenes as well as disturbing scenes, almost as if the bright colors mask the darkness within.

Con would say that sexual metaphor and metonymy were necessary as part of the plot, since dreams reflect suppressed sexual desires.

Much of Paprika is metaphorical than literal, but there's a scene in particular, which is an implied rape scene, where Morio Asanai puts his hand literally under Paprika's skin, starting at her abdomen, and rips it off her.

He doesn't desire Paprika and Atsuko as a whole, but lusts after the more submissive Atsuko part, resulting in him forcibly extracting Atsuko from Paprika's body. Again, animation not just for children. And the final shot of the movie.

Konakawa, after literally facing his demons, finally makes peace with his past, and Paprika recommends he go to the cinema to watch a movie. Kon's own movies, Perfect Blue Millennium Actress and Tokyo Godfathers, are showing. But Paprika recommends Dreaming Kids, and Konakawa buys a ticket.

This movie is full of movie imagery and the idea of films being made of dreams.

Dreaming kids may not be real, but it would tease his next film, Dreaming Machine, set in a fanciful future with an all robot cast, which was in production before his death.

After his passing, production continued at Madhouse, where the team used Conn's directorial tapes and notes to guide them to complete the film, although the main works such as storyboards and script were already completed.

In August: 2011

In August: 2018

It was so satisfying that Kon called Paprika the final word in his reality versus Fantasy theme. But I often feel we'll always be left with a sense of what if? What if Satoshi Kon had lived? What else could he have done in his lifetime?

What would he be doing right now?

And I really genuinely feel like this was a director who only would have made bigger and bigger movies and more important movies in his lifetime, and I genuinely believe he would have won an Oscar at some point in his life. Speaking of Oscars, or indeed lack of Oscars, it's time to segue into the obligatory Keanu reference for this episode.

And if you don't know what that is, that's why I try and link every movie that I feature with Keanu Reeves for no reason other than I really like the guy and I think he's great and he is the best of men.

And this was a really interesting one actually, because Keanu Reeves has actually starred in a rotoscoped animated version of Philip K. Dick's A Scanner Darkly, which is also about identity and deception, but it's also about drug addiction. So kind of not the same thing.

A Scanner Darkly was directed by Richard Linklater, and it's well worth the watch, actually, if you're a fan of Philip K. Dick or Richard Linklater. It was also covered in episode 150 of this podcast. But this is probably the easiest way to link Keanu Reeves to this movie.

In particular, I've mentioned it a couple of times.

The score for Paprika was composed by Susu Hirasawa, and when Satoshi Kon was asked who the biggest influence on his visual style was, he chose Susumu Hirosawa's music, and Kon had been a fan of the composer for 20 years and loved his melodies, lyrics and vocals, but mostly how Hirosawa portrayed the coexistence of opposites like myth and science. In many ways, Hirosawa's music defined Kon's films as much as his visual style did.

Hirosawa built many of his instruments himself and used Amiga computers extensively in his work. The soundtrack for Paprika is notable for being one of the first film scores to use Vocaloid for vocals.

It's also the last of Hirosawa's albums where an Amiga computer was used for composition.

September: 2006

May: 2007

for anime releases in the mid: 2000

And let alone R rated anime, Paprika would end up earning $882,267 in the US and 65 $578 internationally for a total worldwide gross excluding Japan of $967,432. It currently sits at 87% on Rotten Tomatoes.

With a critical consensus of following its own branded logic, Paprika is an eye opening mind trip that is difficult to follow but never fails to dazzle. Actor Elijah Wood is a fan of the movie. He praised it in an interview. Time included it in its top 25 animated films of all time.

TimeOut included it in its top 50 animated films of all time. Rotten Tomatoes included it in its list of 50 Best Animated Films of all time.

films of: 2007

son. It was in development in: 2009

In August of: 2022

And I don't think it can happen because I don't think any version of Paprika can be adapted into live action. Not successfully anyway, and not as well as Satoshi Kon did it.

which is Christopher Nolan's: 2010

And Much of the online discussion surrounding Paprika often mentions Inception, and many critics and scholars note the similarities between the two movies. Similarities in plot, scenes, and characters.

Some sources claim that Nolan has admitted Paprika's influence on Inception, but bizarrely, there are no published quotes from the director confirming this. But Paprika is so much more than the blueprint for Inception.

Khan was a filmmaker known for his dream logic before even truly tackling the subject of dreams. His way of editing his movies made them feel dreamlike, even if dreams weren't a part of the plot.

Paprika, like all of his movies, is about identity manifesting in dreams, and Inception is a dream heist. So yes, there are similarities between Paprika and Inception, but they are very different movies and they're very separate movies.

And I don't really think that it's fair to Paprika to always talk about Inception, and I don't think it's necessarily fair for Inception to have people always talking about Paprika. They are very different. They just both happen to be set in dreams. Honestly, I prefer Paprika to Inception. I think Inception is a fine movie.

I haven't actually done any Christopher Nolan movies on this podcast yet, so maybe Inception should be a future episode, but I really think it's unnecessary to compare them. They are so very different apart from the corridor scene and apart from dreams. But even the corridor scenes are.

Yes, they're set in corridors, but they are very different scenes. But one similarity between Paprika and Inception that we can agree on is that both are fan favorite movies.

Christopher Nolan fans really love Inception, and Satoshi Kon fans really Love Paprika. Paprika is often referred to online as the trippiest anime ever made.

And when we talk about animation that is not just for children or that does offer something different to the traditional genre archetypes that we often see in animation. It's often mentioned alongside films like Akira, Spirited Away and Ghost in the Shell.

And to be honest, all of these movies are up there as some of the greatest animated movies ever made. Paprika was the first Satoshi Kon movie that I saw, and even after rewatches, I still don't understand it and I probably never will. And that's fine.

But sometimes the mark of a great movie is remembering it. And the images in Paprika are burned into my skull. There's a quote from the movie where Paprika says the Internet and dreams are similar.

They're areas where the repressed, conscious mind escapes. Twenty years ago, Satoshi Kon predicted keyboard warriors and rage bait. But in all seriousness, this is a movie ahead of its time.

Like Perfect Blue predicted parasocial relationships, Paprika speaks of dreams, of being free, of oppression in dreams, of being yourself, of identity, of sexuality and pure escapism. The sort of escapism movies and the Internet give us. The sort of escapism I get from this podcast.

Satoshi Kon was known for his editing and his imagery, and Paprika is a masterclass at both the repeating motif of the parade, the flitting between dreams and the real world. This is a movie that can only be depicted in animation. A live action version of Paprika simply wouldn't work. Sorry, Kathy Ann.

Dreams have been depicted many times in live action, but Paprika's visuals are the key to its memorability. Inception's dream worlds are nothing like the bright, colorful, grotesque, unreliable, muddled, illogical, wonderful, I'm going to say it.

about structured cityscapes.: 2010

r the release of inception in: 2010

Over time, Paprika became part of cinema retrospectives, academic discussions on surrealism, media psychology and the nature of dreams. Paprika was studied in film schools, screened in museum theaters, and it's treasured by anime fans worldwide.

It's also taken an active role in how Kon's career is remembered. Since his death. It's frequently regarded as the pinnacle of his philosophical and visual ideas rather than his most approachable piece of work.

Paprika demonstrates how far animation can describe dreamlike worlds without sacrificing narrative coherence, especially while working under commercial production limits. I don't think any movies portray as accurately the weirdness of our dreams that Paprika does.

It's so special, and if you've not seen it and you've got this far in this episode, you really need to see it to fully appreciate all of this. I'm gesturing in the air all of this, because one of the things Paprika does best is invite engagement.

If you have seen it, what do you think it's about? What did you take away from Paprika? What do you love about the movie? What do you not like about the movie?

And I think this is why the movie has continued to endure, and this is why the movie is so popular, especially with Internet communities and fan boards, because people love to talk about this movie. It means whatever it means to whoever watches it, and it means different things to whoever watches it.

Many critics love this movie, but one critic in particular stood out to me, and that was us Village Voice critic Rob Nelson, and he overall actually admired the film and its imagery.

But his comment is really interesting because he said that it was not a movie that's meant to be understood so much as simply experienced or maybe dreamed.

And I think that's the best way to describe Paprika, a dream movie, Satoshi Kon's literal dream project made by a dream director who loved animation so much he made dream movies before he passed and now somewhat exists only in dreams. Paprika, it's just a dream thank you for listening.

As always, I would love to hear your thoughts on Paprika and thank you for your continued support of this podcast. If you want to show your support in multiple different ways, you could leave a rating or review wherever you found this podcast.

You could tell your friends and family about this podcast or you can find me and follow me on social media and you can share the podcast that way. I am @Verbal Diorama. You can share posts like posts, comment on posts.

It all helps really to get the word out there and to hopefully get other people to know this podcast and know what I've been doing. I genuinely love doing this podcast and anything you could do to help would be so appreciated.

If you like this episode on Paprika, I would also recommend the following movies and episodes of this podcast. I'm going to start with episode 77, which is a movie called Your Name.

It's actually one of the more popular anime episodes that I've done on this podcast and it's a beautiful movie and I always like to recommend your name.

And the other Satoshi Kon episode that I did where I called him Satoshi Kon throughout the whole episode that is episode 191, Perfect Blue, which is another remarkably prescient movie in so many ways.

When we talk about pop idols and actresses and celebrities and celebrity culture and parasocial relationships, it is all contained within Perfect Blue. It is such a fantastic movie. I would also highly recommend you watch that too. As always, give me feedback.

Let me know what you think of my recommendations.

So the next episode of animation season and animation season continues with four teenagers, immigrants to the US living with their adoptive father, trying to find their place in a world that doesn't seem to like their kind. And they love pizza. Seven theatrical films about them had already been made, including the highest grossing independent film of all time at the time.

This movie rebooted the four and for the first time cast actual teenagers in the roles. Oh, and did I mention they're turtles. Teenage Mutant Ninja Turtles to be exact.

And Mutant Mayhem came out in: 2023

So join me next week for the history and legacy of Teenage Mutant Ninja Turtles. Mutant Mayhem.

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If you want to get in touch, you can email verbaldiora@gmail.com you can also go to the website verbaldiorama.com and you can fill out the contact form. You can say hello, you can give feedback, or you can give suggestions. I would genuinely love to hear from you.

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And finally Bye.