History Anime / MyNeighborTotoro

* ComeOutComeOutWhereverYouAre: Mei and Satsuki do this when trying to make the soot sprites (or "soot gremlins" or even "dust bunnies," depending on which version one watches) in the attic appear. It's toned down from the Japanese language track, where they also say, [[{{Squick}} "Or we'll pluck your eyeballs out!"]]

In 2022, a ScreenToStageAdaptation opened at London's Barbican Centre for a limited run. The show is a collaboration between the Creator/RoyalShakespeareCompany and Ghilbi's own Joe Hisaishi, and features puppetry courtesy of Creator/JimHensonsCreatureShop. It won six [[UsefulNotes/LaurenceOlivierAward Olivier Awards]] the following year, a first for a Ghibli-based stage production.

* ShrinesAndTemples: Quite a few pop up at key moments in the movie. Shrines to the Bodhisattva Jizo show up several times. When Satsuki and Mei are waiting for their father at the bus stop, Mei wanders around and finds a disused shrine to Inari, which seems to unnerve her.

* InvisibleToAdults: Only children seem to be able to see the soot sprites and Totoros, though it's possible that this is simply because they don't want to be seen by adults. [[spoiler:At the film's end, it's hinted the girls are [[GrowingUpSucks getting too old]] to see them.]] In an unusual twist to this trope, the adults show no overt signs of disbelieving the children when they talk about the spirits. The girls' father tells them of the soot spirits, and Kanta's grandmother confirms she saw them when she was younger. [[spoiler:This sets up the epilogue.]]

* InvisibleToAdults: Only children seem to be able to see the soot sprites and Totoros, though it's possible that this is simply because they don't want to be seen by adults. [[spoiler:At film's end, it's hinted the girls are [[GrowingUpSucks getting too old]] to see them.]] In an unusual twist to this trope, the adults show no overt signs of disbelieving the children when they talk about the spirits. The girls' father tells them of the soot spirits, and Kanta's grandmother confirms she saw them when she was younger. [[spoiler:This sets up the epilogue.]]

* CuteKitten: The short-film sequel ''Mei and the Kittenbus'', which plays exclusively at the Ghibli Museum, has one of these.

''Totoro'' is one of Miyazaki's best known films. Totoro himself became the mascot for Studio Ghibli. Miyazaki does not gloss over some of the more frightening aspects of childhood, though: the girls are terrified of their mother dying, a common goat seems monstrous from little Mei's perspective, and the whole village's fright and anxiety when Mei goes missing is almost palpable. Even Totoro--with his huge grin, inscrutable expression, and manic eyes--can be a little scary; Satsuki refers to meeting him as both the funniest and the scariest day of her life.

* BreakTheCutie: Mei is a CheerfulChild who enjoys the simple pleasures in life, but learning that her mother's illness got worse and she can't come back from the hospital breaks her and makes her run off from home.

* GoodParents: Professor Kusakabe is probably one of the nicest fathers in all of anime--and he's ''effective'' as a parent, to boot. He never talks down to his daughters even when they're talking about having seen Totoro; not even the audience can really tell whether he honestly believes them or is simply humoring them. If anything he seems to value their imaginations. Also, judging from the way Mei and Satsuki adore her (and her kind and gentle manner during her few scenes), it's pretty clear their mother qualifies, too.

* MixAndMatchCritters: The Totoros, particularly the largest Totoro, resemble bipedal rabbits with catlike whiskers and the snouts, mouths, and roars of a bear, making them feel mythical and helping to convey the power and sweetness of the large Totoro.

* ThemeNaming
** "Satsuki" is the old Japanese term for the month of May, and "Mei" sounds like the English name for the month. Originally Mei was only going to be the only girl until Miyazaki realized that a four-year old wouldn't have the independence necessary to drive the story.

In 2022, a ScreenToStageAdaptation opened at London's Barbican Centre for a limited run. The show is a collaboration between the Creator/RoyalShakespeareCompany and Ghilbi's own Joe Hisaishi, and features puppetry courtesy of Creator/JimHensonsCreatureShop. It won three [[UsefulNotes/LaurenceOlivierAward Olivier Awards]] the following year, a first for a Ghibli-based stage production.

In 2022, a ScreenToStageAdaptation opened at London's Barbican Centre for a limited run. The show is a collaboration between the Creator/RoyalShakespeareCompany and Ghilbi's own Joe Hisaishi, and features puppetry courtesy of Creator/JimHensonsCreatureShop. It eventually won three [[UsefulNotes/LaurenceOlivierAward Olivier Awards]] the following year, a first for a Ghibli-based stage production.

In 2022, a ScreenToStageAdaptation opened at London's Barbican Centre for a limited run. The show is a collaboration between the Creator/RoyalShakespeareCompany and Ghilbi's own Music/JoeHisaishi, and features puppetry courtesy of Creator/JimHensonsCreatureShop.