Weekly Review of Transit, Place and Culture in Anime 248

Welcome to this week’s review of notable instances of public transit use and urban design, as well as discussion of place identity and culture, through anime currently broadcast or screening in Japan and simulcast internationally via the web. This review also documents seichijunrei (聖地巡礼 sacred site pilgrimage) and butaitanbou (舞台探訪 scene hunting)—on this website referred to collectively as anime pilgrimage—which are forms of place-based engagement induced by the use of real locations in show settings.

2017 Fall Season Overview

Welcome to a new season of anime settings and background art. After a sleepy summer, this fall will be good and busy. Of the five shows I plan to review each week, all but one are follow-ups to earlier series.

Love Live! Sunshine!! (Sunrise) will be the popular favorite as it returns for a second season, in which our sparkling idols will fight against continued pressure to close their high school in Uchiura, a fishing village in Numazu, Shizuoka Prefecture.

Just Because! (Pine Jam) is an original work from a fledgling studio that takes us to the much less often featured inland areas of Kamakura and Fujisawa, Kanagawa Prefecture.

Sangatsu no Lion (Shaft) continues its dive into shōgi culture as protagonist Kiriyama Rei continues his regular loop between Shinkawa, Tsukishima and Sendagaya in Tokyo.

Wake Up, Girls! Shin Shō (Millepensee) adds a new chapter in the Sendai idol group’s search for recognition, this time with a new studio and director.

Yūki Yūna wa Yūsha de Aru -Washio Sumi no Shō is the prequel, and Yūki Yūna wa Yūsha de Aru -Yūsha no Shō (both by Studio Gokumi) the sequel to Yūki Yūna wa Yūsha de Aru (2014). When not submersed in magical girls fighting monsters bent on destroying Shikoku, the series features locations in Kagawa Prefecture, primarily Kan’onji and Sakaide.

There are two shows I plan to monitor for developments, but will only selectively review as appropriate:

Two Car (Silver Link) is about sidecar raising on the ring road that circumscribes the volcanic island of Miyakejima, 180 km southeast of Honshū in the Philippine Sea. It seems like it would make for an interesting setting, but as the PV and first episode are all racing and practicing, it’s hard to get a read on whether any local neighborhoods will play a role. The first episode also doesn’t make mention of, or perhaps the story does not include, the constant flow of poisonous sulfur dioxide gas from the volcano, which became so high after an eruption in 2000 that the entire island was evacuated for five years. The curiously tenacious residents who returned to their communities and any visitors to the island are required to carry gas masks at all times, as sirens periodically sound to indicate when gas levels have risen to dangerous levels. That’s a story I’d like to see in my anime!

Anime-Gataris (Wao World) set in Nerima Ward, Tokyo, has an unremarkable premise of students starting an anime club and sub par production values. However, the club will supposedly go on anime pilgrimages at some point. The weekly review is prepared to go full-bore meta if/when the time comes.

Beyond the review shows, there are a few other works that may be of interest:

Blend S (A-1 Pictures) – Tokyo

Jūni Taisen (Graphinica) – Yokohama, Tokyo

Urahara (Shirogumi, EMT Squared) – Harajuku

Media and General Interest

Oideyo Numazu
This new event in Numazu, Shizuoka Prefecture was initiated by Love Live! Sunshine!! fans and features lanterns hung throughout the Nakamise Shōtengai. Media coverage: Shizuoka Shimbun

そして、同じく #沼津 仲見世商店街に設置れてる #Aqours ねぷた。全学年集合だコン♥それぞれに表情があって、ステキだコンよ♪ #おい沼 pic.twitter.com/vOIJazsQCQ

— あげっこ@あげつち稲荷市、休止中 (@agekkon) October 7, 2017

スカイランタンにねぷたと光の演出とても綺麗でした！自分が描いたランタンは見つけられず…ぺたじゃんぼー！！ pic.twitter.com/wiEY2a7IBQ

— 由羽@レモンアイコンの人 (@you_GR) October 7, 2017

『第2回 おいでよ沼津』のフィナーレ「光のイベント」#おいでよ沼津 pic.twitter.com/RqfRtYxcyC

— 静かなる丘 (@Ken107Muro) October 7, 2017

Ryūsei Matsuri
This festival in Chichibu, Saitama Prefecture is notable for its handmade fireworks, which were featured in Ano Hi Mita Hana no Namae o Bokutachi wa Mada Shiranai. Media coverage: Yomiuri Shimbun

2017.10.8　龍勢祭
打ち上がる龍勢
これが秩父吉田の龍勢#吉田龍勢 pic.twitter.com/Y4d6NkaiWi

— しん (@626shin) October 9, 2017

2017.10.8　龍勢祭
空を彩る龍の飾り達
１枚目：翼天飛流
２枚目：浅間雲流
３枚目：櫻龍会#吉田龍勢 pic.twitter.com/feJj41J4HS

— しん (@626shin) October 9, 2017

Komoro Gaining
In this event hosted by the Komoro Tourism Bureau on October 10, participants cycled around touring locations in Komoro, Nagano Prefecture that appeared in Ano Natsu de Matteru. Media coverage: Shinano Mainichi Shimbun

コモロゲイニングスタート！！
#コモロゲ pic.twitter.com/hw3YxQ6Lce

— グランフォンドKOMORO　長野県小諸市 (@gfkomoro) October 8, 2017

本日のコモロゲイニングに参加の皆様ありがとうございました！皆さんのおかげで、事故もなくとても楽しいイベントになりました！
皆様から頂いたご意見も取り入れつつ今後も楽しいイベントにしていきたいと思います。
アフターレポート執筆中ですのでできたらアップしますね！　#コモロゲ pic.twitter.com/qNQxw7vDbr

— グランフォンドKOMORO　長野県小諸市 (@gfkomoro) October 8, 2017

Machi Asobi
Though not strictly seichijunrei, this event featuring exhibitions of anime, gaming and related entertainment in venues across Tokushima City, Tokushima Prefecture is held generally twice each year. Volume 19, the most recent, drew 83,000 people over several weekends in September and October.

帰って来たー (@ マチ★アソビ 眉山林間ステージ in 徳島市, 徳島県 w/ @naoki_yuki @seaki) https://t.co/6VSD6Z9oMF pic.twitter.com/axWTvu0S7p

— リジス (@lidges) October 8, 2017

レッドカーペットに来てくださった皆様ありがとうございました！！サインなど全てに応じることが出来なくてすみませんでした。皆さんが咲かせてくれた桜の花びらが綺麗でとてもとても嬉しかったです！！
そして、参加してくださったコスプレイヤーの皆様も本当にありがとうございました！！W桜と♡ pic.twitter.com/snZ0uR1G0i

— 下屋則子 (@shitaya_noriko) October 8, 2017

マチ★アソビ
久しぶりに近藤さんにもお会いしました。#マチアソビ#FLOW pic.twitter.com/JwJtmHOUrm

— GOT'S FLOW (@GOTS_FLOW) October 8, 2017

マチアソビ三日目！
なんか恒例になりつつあるFGO集合撮影！
今日もたくさんのレイヤーさんカメラさんに協力してもらいました！ありがとうございました！ pic.twitter.com/RgtSxqp1fA

— ひろん@ウマ娘　スタ3パワ6アンスキ3春3地固2尻尾1青春1 (@hiron_777) October 9, 2017

Yuwaku Bonbori Matsuri
This event, which began as a fictional festival in P.A.Works series Hanasaku Iroha, became real through fan initiative and was held for the seventh time on October 8. Media coverage: Hokkoku Shimbun

#第七回ぼんぼり祭 pic.twitter.com/1vpBKdnUZ4

— 吉田　匡 (@yoshi_data) October 8, 2017

ぼんぼり祭神事の行列。 pic.twitter.com/UE4XflnJ8T

— 夷（ゑびす）@「聖地移住」通販中 (@ye_bi_su) October 8, 2017

#湯涌ぼんぼり祭り pic.twitter.com/4w9YiXbQaG

— べーさん (@fude_taku) October 8, 2017

扇階段のぼんぼりを間近で撮影。
綺麗やなあ(*´ω｀*)#ぼんぼり祭り #湯涌温泉 pic.twitter.com/ForaLT1o6P

— アストラル (@fragments_sue) October 8, 2017

オルスタイベントとか言ってすまん、リアルに見たぼんぼりのお焚き上げ、むちゃ幻想的で感動しました。#ぼんぼり祭 pic.twitter.com/UNi8xlZKl8

— 夷（ゑびす）@「聖地移住」通販中 (@ye_bi_su) October 8, 2017

ぼんぼり祭り最高でした😆
呑んでただけでなく写真もちゃんと取りましたよ!
来年は絶対泊まり#ぼんぼり祭り#湯涌温泉 pic.twitter.com/XUCUQ7xSZO

— pしょうq (@anime_pq) October 8, 2017

Lucky Star mikoshi
Yahoo News Japan published an article exploring the evolution of anime fan participation and the Lucky Star mikoshi at Washinomiya’s Hajisai in Kuki, Saitama Prefecture, including a detailed description of the sequence of events at this year’s festival with photos, and discussing how Lucky Star fan engagement has become an international symbol for anime tourism, with overseas fans coming to Washinomiya and the mikoshi traveling for appearances at regional pop culture conventions in Asia.

Abema Times published an article reflecting on ten years of the fan initiated Lucky Star mikoshi at Washinomiya’s Hajisai, and discussing recent efforts by Yokosuka to leverage its connection to High School Fleet to generate pop culture tourism interest.

Hokuriku anime tourism
Nihon Keizai Shimbun published an article about the recent trend of anime-induced tourism in the Hokuriku region.

Nanto and Manoyama
Kita Nippon Shimbun (article) and Nanto, Toyama Prefecture mayor Tanaka Mikio (blog post) published stories about the symbolic signing of a sister city relationship between Nanto and Manoyama, its fictional counterpart in Sakura Quest.

Hida and Kimi no Na wa.
Gifu Shimbun published an article about the boost of over 14,000 visitors to Hida, Gifu Prefecture in 2017 August attributable to the release of the Kimi no Na wa. DVD the preceding month.

Hannō Yama no Susume seichijunrei
Otapol published an article about the development of seichijunrei promotion resources in Hannō, Saitama Prefecture for Yama no Susume, including the city’s active participation in anime production from the time of the original location hunting.

Love Live! Sunshine!! Season 2

(ラブライブ! サンシャイン!! Rabu Raibu! Sanshain!!)

Series Introduction

Numazu (沼津), Shizuoka Prefecture was the runaway anime tourism success story of 2016, as fans flocked to the coastal city to explore the setting of Love Live! Sunshine!! What surprised me the most was learning that, despite the heavy involvement of local government and businesses in the anime location hunting, and organized efforts to prepare the city for anticipated visitors, the execution was done with such a deft touch that the presence of overt marketing and promotion was really light on the ground. After all the reading I had done, I had almost expected a prescribed conventional tourism experience beginning from the moment one steps out of Numazu Station. However friends assured me, and I saw firsthand when I visited a few weeks ago, that down in Uchiura you are largely left to create your own adventure.

Hungry fans were already on the ground within hours of the broadcast of this season’s first episode for early morning adventures around Numazu. Existential threats to Uranohoshi Girls’ Academy notwithstanding, expect a fun ride once again.

As with the first season, this second installment is produced by Sunrise and directed by Sakai Kazuo.

Background Art

Higashi Junichi (東 潤一) was the art director for the first season and (according to Anime News Network and Wikipedia) returns in the same role for this second installment. He has previously served as art director for Cowboy Bebop and Red Data Girl.

However, the credits list Suzuki Kurumi (鈴木くるみ) and Kamiyama Tamako (神山 瑶子) in this role. Suzuki has worked on background art for Hanasaku Iroha, Nagi no Asukara, Glasslip and Love Live! Sunshine!! (S1). Kamiyama has worked on background art for Love Live! School idol project and Red Data Girl.

(I’m not sure from where the discrepancy arises, but I’ll update this section as needed.)

Studio Easter (スタジオイースター) in Shinjuku Ward, Tokyo Metropolis was one of four studios handling backgrounds for the first season and so far the only one listed for this second installment. The studio has previously worked on background art for Angel Beats!, Aria the Origination, Flip Flappers, Genshiken series, Hanasaku Iroha television series and film, Nagi no Asukara, Noragami, Oreimo, Red Data Girl, Saki series, Silver Spoon 2, Steins;Gate, and Tari Tari.

So far, we know only of one studio participating in the second season. The first season of Love Live! Sunshine also utilized Bamboo, which was the main studio handling background art for both season of Uchōten Kazoku.

Fan Pilgrimage Update

@habusan made a pilgrimage to Numazu, Shizuoka Prefecture for Episode 1.

Opening Credits

Mito swimming beach (三津海水浴場)

Awashima Hotel (淡島ホテル)

Numazu Nagaisaki Junior High School (沼津市立長井崎中学校)

Mito swimming beach

Episode 1

Bus stop facing the Numazu Sannoura Tourist Information Center (沼津三の浦観光案内所)

Slope near Numazu Nagaisaki Junior High School

Nagaisaki Junior High School bus stop (長井崎中学校バス停)

Tōkai Bus Orange Shuttle (東海バスオレンジシャトル)

Yasuda-ya Ryokan (安田屋旅館)

Mito swimming beach

Awashima Hotel

Plaza Verde (プラザヴェルデ), on the north side of Numazu Station, is the largest convention center in Shizuoka Prefecture.

Tōkai Bus Orange Shuttle

Yasuda-ya Ryokan

Numazu Nagaisaki Junior High School

Mito swimming beach

Across from the Numazu Sannoura Tourist Information Center

Slope near Numazu Nagaisaki Junior High School

Numazu Nagaisaki Junior High School

Uchiura Bay (内浦湾) viewed from the Hottanjōyama observation platform (発端丈山見晴台)

Mito swimming beach

Ending Credits

Tōkai Bus Orange Shuttle

Many of the local organizations and businesses that appear in the setting have their cooperation formally noted in the end credits.

Just Because!

Series Introduction

This is an original work about the twilight of high school from Pine Jam, a fledgling studio that caught some attention with its detailed location use in last season’s Gamers! With a glut of anime that feature settings along the coastline of Kamakura (鎌倉) and Fujisawa (藤沢), Kanagawa Prefecture, Just Because! is a welcome change with its choice of neighborhoods oriented along the Shōnan Monorail (湘南モノレール) and north of the Fujisawa commercial center. The Shōnan Monorail is one of only three suspended monorail lines operating in Japan. Though not Kyoto Animation level, the backgrounds have detail, depth and warmth that make them stand out among all series this season.

The series is directed by Kobayashi Atsushi and written by Kamoshima Hajime, the original creator of Sakurasō no Pet na Kanojo.

Background Art

Okamoto Yuka (岡本 有香) is the art director. She has previously served as art director for several series, though not on works known for a butaitanbou/seichijunrei draw, and has worked on background art for Chihayafuru 2, Orange, and Terror in Resonance.

Design Office Mecaman (デザインオフィス メカマン) in Kokubunji, Tokyo Metropolis has previously worked on background art for Blue Spring Ride, ERASED, Girls und Panzer film, Hinako Note, Locodol, Nausicaä of the Valley of the Wind, and Tamayura series, and is working on this season’s Yūki Yūna wa Yūsha de Aru: Washio Sumi no Shō.

Echo (エコーアニメーション) in Seoul, South Korea has previously worked on background art for Aria the Scarlet Ammo series, A Certain Scientific Railgun series, Gamers!, Girls und Panzer film, Meganebu!, Owarimonogatari, Someday’s Dreamers, Terror in Resonance, and Tsuritama. Echo was one of a group of studios contributing backgrounds to Pine Jam’s previous series Gamers!

Nara Animation (NARAアニメーション) in South Korea has previously worked on background art for Aria the Origination, Brynhildr in the Darkness, Engaged to the Unidentified, Fate/stay night: Unlimited Blade Works series, Gatchaman Crowds, Girls und Panzer, Golden Time, Love Live! School idol project, Orange, Saki series, and Silver Spoon series.

Fan Pilgrimage Update

@ssslocation (gallery) and @anime_pq (post) made pilgrimages to Kamakura, Kanagawa Prefecture for Episode 1.

Episode 1

Zengyō (善行)

Near Kataseyama Station (片瀬山駅)

View from the monorail, between Fujimichō Station (富士見町駅) and Shōnan-Machiya Station (湘南町屋駅)

Between Shōnan-Machiya Station and Shōnan-Fukasawa Station

Shōnan-Fukasawa Station (湘南深沢駅)

Fukasawa intersection (深沢交差点)

In front of the Yokohama Toyopet Kamakura shop (横浜トヨペット 鎌倉店) in Tokiwa (常盤)

Fukasawa Shisho Nishi intersection (深沢支所西交差点)

In front of Kanagawa Toyota auto dealership (神奈川トヨタ自動車鎌倉店) in Fueda (笛田)

Kanagawa Prefectural Fukasawa High School (神奈川県立深沢高等学校)

Not really relevant to location hunting, but Canon cooperated in the anime production to get highly detailed renderings of its product placements.

昨日、放映されたテレビアニメ「Just Because!」、ご覧になられた方はいらっしゃいますか？
「Just Because!」は写真部に所属する高校生が登場する作品。実はこの作品にキヤノンはカメラ・レンズ製品の貸出や監修など、さまざまな協力をしています。（続く）#JB pic.twitter.com/5sUj3qCnpK

— キヤノンマーケティングジャパン (@Canon_mj) October 6, 2017

（続き）
この設定画は制作のPINE JAM様からいただいたもの。カメラ一つだけでも、これだけ細かな設定準備があるんですね！「Just Because!」のストーリーはもちろん、精巧に描かれたカメラ・レンズ製品にもご注目を♪https://t.co/AvYauQrlgg#JB pic.twitter.com/cKBtDvTyXf

— キヤノンマーケティングジャパン (@Canon_mj) October 6, 2017

Kamakura Prefectural Fukasawa Junior High School (鎌倉市立深沢中学校)

In front of Fukasawa Elementary School (深沢小学校)

Seven Eleven Kamakura Fukasawa shop (セブン-イレブン 鎌倉深沢店)

Near the Seven Eleven

There is a great use of the suspended monorail, in this scene where it suddenly appears from off screen and rolls across the top of the frame.

Ito En is also a formal collaborator. Hey, I like their hōjicha too.

Now that you’re all fired up by this exciting scene, I’ll bet you’re ready to go out and splurge on a 7D Mark II and EF 100-400mm f/4.5-5.6L IS II, which will only set you back $3,584 USD at B&H Photo Video.

The local film commission, school, city hall and transit operators are listed as formal collaborators in the end credits. In addition to Canon and Ito En, Yamaha’s music instrument division also appears to be collaborating in return for product placement. Yamaha was a collaboration and marketing partner with Hibike! Euphonium.

Wake Up, Girls! New Chapter

(Wake Up, Girls! 新章 Wake Up, Girls! Shin Shō)

Series Introduction

I closely followed the aftermath and recovery following the 2011 Tōhoku earthquake and tsunami. It was one of several catalysts that pushed me to go deeper into study of community building (and rebuilding) in Japan. When the first season of Wake Up, Girls! came along in 2014 Winter, much of the region was still grappling with cleanup efforts. Rebuilding was slow and at times contentious. Coastal communities were faced with the question of whether they just wanted to go back to the way things were, which often weren’t so vibrant commercially and left them open to future tsunami, or try something new. Residents left in limbo as deliberations dragged were forced to remain in temporary housing for much longer than it was designed. I was impressed by how the show incorporated the physical and emotional struggles residents faced alongside its realistic portrayal of the darker side of the entertainment industry and efforts of its protagonists to persevere through it all from their base in Sendai (仙台), Miyagi Prefecture.

From a production value standpoint, the first season was not without its share of problems. Character animation sometimes went off model, or just got bad. Backgrounds, though detailed and generally of quite good quality, were at times inconsistent, probably because of having been distributed among ten studios. Yet through all that, the show maintained a warmth and charm that matched well with its ethos. I was invested in WUG, still am, and I wanted this follow up series to bring me back to that experience.

The original theatrical film and first season were directed by Yamamoto Yutaka and produced by Ordet working with Tatsunoko Productions. Ordet was created by Yamamoto along with other former Kyoto Animation staff that he took with him when he was fired from the studio. The thinking went that perhaps some of the characteristic KyoAni sensibility had remained with the people who had left, helping them to smooth over some of WUG‘s rough spots by giving us more believable characters and lived-in spaces.

For the two follow-up films, which I haven’t seen, Ordet paired with Millepensee on production and Yamamoto continued to direct. In this new season, Millepensee has taken over production on its own. Yamamoto is gone, having left Ordet, replaced by Itagaki Shin.

In just about every measure, the new season is disappointing. In this column I focus almost exclusively on background art, but I find the character animation to be so distracting in its awkwardness that it makes it difficult to look past. New character designs don’t bother me. Cheaply animated, nearly expressionless characters do. In the first season all character animation, even the dance sequences, was keyframed. I find CG character motion, even when done well, to be a little jarring. The use of very unpolished CG for not only the dance sequences but a few of the normal action scenes is unnerving.

Backgrounds are simplistic, flat and uninspired. There is no resemblance to the immersive spaces created in some of the best backgrounds from the first season. To top it off, there is some sort of light leak/color shift filter effect being applied to almost all shots, as if Millepensee had caught the obnoxious filter virus from studio GoHands. It’s hard to look at.

I’m going to watch and review this show because I still love Sendai and I want to know what happens next in the story. But ooof! What happened, WUG?

Background Art

Umino Yoshimi (海野 よしみ) will take over as art director for this new installment. He is an industry veteran and has served as art director on many series, though not on works known for a butaitanbou/seichijunrei draw, and has worked on background art for Devil Survivor 2 The Animation.

For reference, Tanaka Takamori (田中 孝典), the art director of the first season, went on to serve in that role for Shinkai Makoto originated She and Her Cat -Everything Flows-.

Production Ai (プロダクション･アイ) in Suginami Ward, Tokyo Metropolis was one of ten studios handling backgrounds for the first season, and is the only one listed in the credits for the second season as of Episode 1. The studio has previously worked on background art for Devil Survivor 2 The Animation, Diamond Daydreams, Fate/stay night series, Girls und Panzer, Natsume’s Book of Friends, and The Pet Girl of Sakurasou.

Episode 1

Sendai Station (仙台駅)

Sendai City Youth Cultural Center (仙台青年文化センター)—also referred to as Hitachi Systems Hall (日立システムズホール)

Okazaki Supermarket (オカザキスーパー)

Nakayama Yon-chōme bus stop (中山四丁目バス停留所)

Sendai Station

Tōhoku Shinkansen (東北新幹線)

Bonding time on the shinkansen trip

Famiresu used as third place

Gusto Sendai Kimachi-dōri shop (ガスト 仙台木町通店)

Ending Credits

Loople Sendai (るーぷる仙台)

Ōsaki Hachimangū (大崎八幡宮)

Saigyō Modoshi no Matsu Park (西行戻しの松公園)

Natsu Matsuri Sendai Suzume Odori (夏まつり仙台すずめ踊り)

Zuihōden (瑞鳳殿)

Statue of Date Masamune (伊達政宗) at Sendai Castle (仙台城)

Sendai Pageant of Starlight (SENDAI光のページェント) [official website]

Yuki Yuna is a Hero: Washio Sumi Chapter

(結城友奈は勇者である -鷲尾須美の章- Yūki Yūna wa Yūsha de Aru -Washio Sumi no Shō-)

Series Introduction

I personally don’t get fired up by magical girl series, but I do really enjoy unusual locations. Shikoku is an often overlooked part of Japan that residents will tell you has plenty to offer if you give it a chance. I wish that the Yūki Yūna series spent a little more time exploring Kagawa Prefecture and eating udon, so that when the Vertex do show up I might have a stronger sense of what local culture the heroes are protecting, but I guess that would be a different kind of show.

As with the first season, this second season made up of a prequel and sequel is produced by Studio Gokumi and directed by Kishi Seiji.

Background Art

Shimoyama Kazuto (下山 和人) was the art director for Yūki Yūna wa Yūsha de Aru and returns in the same role for both the prequel and sequel series. He has previously served as art director for Devil Survivor 2 The Animation, and worked on background art for Aria the Origination.

Design Office MECAMAN (デザインオフィス メカマン) in Kokubunji, Tokyo Metropolis has previously worked on background art for Blue Spring Ride, ERASED, Girls und Panzer film, Hinako Note, Locodol, Nausicaä of the Valley of the Wind, and Tamayura series, and is working on this season’s Just Because!

Team Till Dawn in Suginami Ward, Tokyo Metropolis has previously worked on background art for Bungo Stray Dogs 2 and Devil Survivor 2 The Animation.

Fan Pilgrimage Update

@lidges made a pilgrimage to Sakaide, Kagawa Prefecture for new locations appearing the TV version OP that did not appear in the original theatrical version.

Spoiler Warning: This prequel series was released in Japan during 2017 Spring and Summer as three theatrical films and later on Blu-Ray, so barring any surprises, all locations should be known already, which @lidges has documented in a series of pilgrimages (post 1, post 2, post 3, post 4).

Episode 1

Iinoyama (飯野山), spanning Sakaide and Marugame

Kasuga Jinja (春日神社)

Near Kamata Ike Park (鎌田池公園)

Great Seto Bridge (瀬戸大橋) viewed from Great Seto Bridge Memorial Park (瀬戸大橋記念公園)

Sakaide Regional Museum (坂出市郷土資料館)—originally a school building

Great Seto Bridge Memorial Park

Aeon Sakaide (イオン坂出店)

(There are additional locations in the TV version OP, which we see at the end of the first episode. I’ll wait until next week to capture them to avoid the rolling credits.)

Other Current Season Pilgrimage

@teo_imperial made a pilgrimage to Shakujii-kōen Station in Shakujii, Nerima Ward, Tokyo Metropolis for Anime-Gataris Episode 1.

Past Season Pilgrimage

@anime_pq made a pilgrimage to Nanto, Toyama Prefecture for Sakura Quest.

@keihi49 put together a comprehensive pilgrimage series covering locations in Tokyo Metropolis, Saitama Prefecture, Tochigi Prefecture and Gunma Prefecture for Gamers!

@ssslocation (gallery) and @miyaken46 (post) made pilgrimages to Akihabara (Soto-Kanda), Chiyoda Ward; Asagaya-Minami, Suginami Ward; Haneda Airport; and Nishi-Shinjuku, Shinjuku Ward (all Tokyo Metropolis) for New Game!! Episode 12.

@Surwill made a pilgrimage to Asagaya-Minami; Tokyo Dome City in Bunkyō Ward; and Yoyogi Park in Shibuya Ward (all Tokyo Metropolis) for New Game!!

@fragments_sue made a pilgrimage to Asahi and Chōshi, Chiba Prefecture; Kamisu, Ibaraki Prefecture; and Utatsu, Miyagi Prefecture for Uchiage Hanabi, Shita Kara Miru ka? Yoko Kara Miru ka?

@keihi49 made a pilgrimage to Fujisawa and Kamakura, Kanagawa Prefecture for Kimi no Koe o Todoketai.

@teo_imperial (post) and @Tanashiri (post) made pilgrimages to Ōtaki, Chiba Prefecture for Action Heroine Cheer Fruits.

@touyoko_com made a pilgrimage to Otaru, Hokkaido Prefecture for Sagrada Reset.

@Roan_Inish made a pilgrimage to Tanukidanisan Fudōin Kyoto for Uchōten Kazoku 2.

@Roan_Inish made a pilgrimage to Shakujii, Nerima Ward, Tokyo Metropolis for Zutto Mae Kara Suki Deshita. ~Kokuhaku Jikkō Iinkai~.

@ktism1228s made a pilgrimage (post 7) to Kyoto for Hibike! Euphonium 2.

@KanadeBestCure made a pilgrimage (post 2) to Ōgaki, Gifu Prefecture for Koe no Katachi.

@sky_dj_ made a pilgrimage to Kawanehon, Shizuoka Prefecture for Kimi no Na wa.

@yomikatajiyu made a pilgrimage (new: post 1, post 2, post 3; updates: post 4, post 5, post 6, post 7) to Nishinomiya, Hyōgo Prefecture for Suzumiya Haruhi no Yūutsu.

@Roan_Inish made a pilgrimage to Onomichi, Hiroshima Prefecture for Kamichu!