Yume Tsukai

Watch Yume Tsukai

  • 2006
  • 1 Season

Yume Tsukai is a fantasy anime television series produced by Chiba TV, which aired from October to December 2006. The show features a talented cast of voice actors, including Tomokazu Seki, Mamiko Noto, Aya Hisakawa, Ayako Kawasumi, Nonaka Ai, Akio Suyama, Akira Tomisaka, Chieko Atarashi, Eiji Takemoto, Haruhi Terada, Houko Kuwashima, Jin Horikawa, Kazuko Sugiyama, Kenji Hamada, Kenji Nojima, Kimiko Koyama, Eriko Kawasaki, Mai Aizawa, and Mai Kadowaki.

The main plot of the show follows the lives of two siblings, Mishima Touko and Mishima Tsubaki. They come from a family of dreamcatchers, who specialize in catching and erasing nightmares from people's minds. However, during a routine nightmare-catching mission, the siblings notice an unusual phenomenon - a dream that could not be erased, no matter how hard they tried.

This leads them to a discovery of a new type of nightmare, which they name 'yumedama'. These yumedama are dreams that have become self-aware and have the power to transform into dangerous entities that terrorize people in their nightmares. As the siblings begin to unravel the mystery of the yumedama, they find out that they are not the only ones who have encountered the phenomenon. They soon find themselves embroiled in a complex plot involving various factions seeking to control the power of the yumedama.

The show excels in visuals that are rich in colors and detail. The animation is smooth and fluid, adding to the fantastical and dreamlike environment of the show. The character designs are also well-done, with a range of unique and interesting personalities.

The voice acting in Yume Tsukai is top-notch, with each character being portrayed in a distinctive and memorable way. Tomokazu Seki as the lead protagonist, Mishima Tsubaki, delivers a solid performance as the level-headed and analytical brother who is dedicated to his mission of catching yumedama. Mamiko Noto gives an outstanding performance as the emotional and empathetic Mishima Touko, who struggles with her feelings of guilt, objectivity, and compassion towards the yumedama. Other standout performances include Aya Hisakawa as the enigmatic dreamcatcher, Yuiko, and Nonaka Ai as the childish and impulsive yumedama, Ruu.

The music in Yume Tsukai complements the show's dreamlike atmosphere with its ethereal and haunting melodies. The show's opening theme, "Aozora no Namida" by Hitomi Takahashi, is a standout track that perfectly captures the show's magical and mysterious tone.

Yume Tsukai is not without its flaws, however. The show's pacing is inconsistent at times, with some episodes feeling rushed while others feel slow and lacking in significant developments. Additionally, some storylines are left unresolved or concluded with unsatisfying endings, leaving the viewer wanting for more.

Despite its flaws, Yume Tsukai is a compelling and engaging show that offers an interesting take on the theme of dreams and nightmares. The show's excellent visuals, solid voice acting, and enchanting music make it an immersive and memorable viewing experience. Fans of fantasy and the supernatural will undoubtedly enjoy this ambitious and imaginative anime series.

Yume Tsukai
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The End Of The Dream, Touko's Choice
12. The End Of The Dream, Touko's Choice
June 24, 2006
Unable to accept the prospect of being an only child after Touko sacrifices herself to the despair of her culpability for causing the death of her father Michiaki, Rinko turns her steps toward consulting the dream hall for insight about the nightmare . . . or would have if Hajime had not interjected an injunction about the dangers of such a ritual. Rinko and Hajime resolving their divergent concourse obfuscates Touko reflecting on her prologue with Michiaki as he became absent-minded with his affection for her while he was grieving for the girls' mother; the dysfunctional Electra complex forged by several failed overtures manifested itself into the nightmare whose seduction from which Michiaki fatally protected Touko who became the anemic recluse she is. Wielding the insight of Touko's nightmare, Rinko rushes to the rescue with Hajime and Satoka hot on her heels only to find to her horror that Touko is about to ultimately extinguish her life force along with the nightmare; a refresher course in Michiaki's counsel that dreams are candid but not evil in and of themselves becomes the skeleton key by which Touko leads all the Yume Tsukai in extinguishing her long-standing nightmare along with establishing the practice embracing her dreams for the treasured assets they are.
A Nightmare From The Past
11. A Nightmare From The Past
June 17, 2006
Upon finding the Warabe Yuusai Toy Store empty, Rinko decides to appraise Touko's status prior to inquiring Misako the applicable deviant diagnostic for Touko's protracted incapacitation; just as the frustrated Rinko decides to shake Touko down for answers, a mysterious girl arrives to commission Touko an investigation at a nearby cavern. Her »go it alone« penance volition now nullified, Touko leads Rinko through their collaborative prologue with their father Michiaki Mishima while en route to the cavern where it is demonstrated that Touko herself is the nightmare's vendetta; the first battle ends with Touko offering herself as a hostage while Hajime hauls the upset and confused Rinko back to the Store along with many questions of how to conquer the nightmare. The frenzy with which Misako, Hajime, Satoka, and Rinko devote their energies to what they each feel should be done next obfuscates the ultimate irony that Touko has developed an intense Electra complex that could become suicidal if left alone on its own.
Misako, Sails Out
10. Misako, Sails Out
June 10, 2006
Unfortunately for the Yume Tsukai, their leader Touko being out of action as she resolves the events of the previous job in her mind does not lighten their workload as Rinko is commissioned for a job far from home while Misako is left to hold down the fort -- usually a straightforward and uneventful job if not for two men that burst into the store and whisk her away to a warehouse before she has a chance to explain that she is not suited for combat. The section chief explains Misako the three week old situation of Kanno indulging in his fantasy of a buxom-breasted woman at his beck and call along with their being five missing female employees; in spite of comprehending the situation as a Yume Tsukai, it does not prepare Misako for Kanno to callously abandon the nightmare Pai-Pai or for beginning to sympathize with the nightmare that has now taken to pampering her. With Rinko's home commute to take several hours and Pai-Pai thinking of her as lunch, Misako ultimately has no choice but to transcend her contemptuous umbrage of Hajime Tachibana in order to survive.
The Boy That Lives In The Dark
9. The Boy That Lives In The Dark
June 3, 2006
Because of the reclusive lifestyle she usually leads back at the Warabe Yuusai Toy Store, very few people get acquainted with Touko to truly understand what kind of person she really is aside from when she is out and about in the field; as such, it is a significant event for Touko when Keigo Sakaki approaches her as she admires the view from atop a building while on duty with Rinko investigating a series of mysterious incidents involving Chinese dragons. The investigation gets a big shot in the arm with the insight of Keigo and his girlfriend Yumi; while Touko tries to innovate a deus ex machina to neutralize the nightmare, things continue to deteriorate as the prospect of a flawless citywide fatality ratio becomes evident. Touko is shocked at the ironic epilogue of Keigo ultimately proving himself a cold psychopath that decides upon being eaten by one of his energy dragons as a consolation prize; while the city's survival has been secured, Touko can no longer ignore the traumatic guilt of seeing her father's death at the hands of a nightmare.
The Memories Vanish
8. The Memories Vanish
May 27, 2006
The traditional nuclear family has demonstrated itself throughout human history that it is the fundamental building block of society; while this dynamic has a record of being constructive, the consequences for the obverse have far-reaching devastation as a girl named Wakaba has demonstrated when her parents constantly lash out at each other with such ferocity that Wakaba wishes to no longer exist as she begins her school commute. Meanwhile Touko and Rinko are using their home commute to exchange perspectives of their previous job when they come across a boy named Kentaro using a rather dubious method to discern Wakaba's status; after a »Whoa, hold your horses!!!« intercession and some teasing from Rinko, what Kentaro and the two Yume Tsukai find is no laughing matter -- Wakaba enveloped inside an egg that is reversing the effects of Wakaba's actions during her lifetime. Desperate for Wakaba's survival, Kentaro races off to find Wakaba's parents with Rinko right on his heels in a bid to intercept the nightmare and prevent its rampage through time all the way to Wakaba's first day of grade school only to be one step behind the whole time. Rinko's observation that Kentaro himself has some memories of Wakaba along with Touko having figured out the mechanics of the whole situation which has come to a head becomes the ultimate skeleton key by which the nightmare is neutralized; as an ancillary bonus, Wakaba successfully attains her first kiss while her family government works things out in a rational and mature fashion.
The Secret Garden
7. The Secret Garden
May 20, 2006
Waking up to find Mizuho Takatsuki in his apartment preparing breakfast for him becomes the forum in which Mizuki Fuyumura proposes cohabitation before making a clumsy culinary mistake as hinted by a previous dream sequence depicting an old injury. Even during the school day, it becomes apparent that Mizuki realizes that he is sailing into very choppy ethical waters that become tempestuous when Mizuho is accosted by a plant monster as she is completing her home commute; in spite of Rinko successfully incinerating the monster, it is but a symptom of a much greater problem in the background as Touko collects Mizuki's band-aid and inquires Mizuho her prologue with Mizuki. Galvanized with the full background data, Touko declares zero hour for rescuing Mizuki only to find that he is punishing himself for his perspective of Mizuho as his paramour in spite of her being his biological sister. Mizuho's fervent pleas against being left behind ultimately become the ironic deus ex machina that causes the nightmare to become frightened for its survival; a fierce battle culminating to a last-minute collaborative fatal assault later, Mizuki arrives at a pragmatic homeostasis with Mizuho to restore the brother-sister relationship.
Dream's Holiday
6. Dream's Holiday
May 13, 2006
Satoka Sagawa has had demonstrated that she cannot allow her mourning for her boyfriend Satoru Jissouji to impair her performance as a Yume Tsukai against a nightmare but also knows that she has to put her boyfriend's demise into some kind of healthy perspective; to this effect, she writes a letter to Touko signaling her intention to visit Tokyo in search of assistance with something. While Touko takes the exhibitionist color scheme on Satoka's jet and Satoka's excitement in stride, a none-too-amused Rinko takes it upon herself to explain Satoka the historical origins of the Yume Tsukai along with their armaments whose dormant forms are as children's toys and asks that her seniority be acknowledged instead of being behaved toward as a child. Hajime arrives in time to introduce himself as Rinko is leading Satoka to the main house oblivious to Satoka's true reason for being in Tokyo -- a clue of which Touko picks up when Satoka races off after Hajime unwisely demonstrates the mechanics of the Dream Cyclone. Meanwhile, Satoka is about to collapse into despair when Rinko's arrival galvanized by Hajime's insight as to the depicted location becomes the preamble for an exciting adventure through the city demonstrating that Rinko can be just as mischievous as any normal-powered little kid her age when she leads Satoka through a construction site under the nose of its burly foreman that ironically becomes the deus ex machina for the girls to reach their destination. Rinko is quite incensed to ultimately find that Satoka's motive for the mad dash through town is to buy snacks from a store whose dusk consumption is to commemorate a promise made before Satoru's death but acknowledges that a strong bond was formed between the two.
Like A Family
5. Like A Family
May 6, 2006
Summary is not available.
The Doyousei Appears
4. The Doyousei Appears
April 29, 2006
Setting aside her powers as the Kayousei Yume Tsukai, there are many examples bolstering the perspective of Rinko Mishima as no ordinary little girl -- one of which is demonstrated unto a classmate during her home commute from school right into an impromptu afternoon business flight to Kyushu. While Rinko desperately tries to stave off air sickness and wrap her mind around the circumstances, the Doyousei Yume Tsukai Satoka Sagawa is bootstrapping herself for a rendezvous with Touko at the Nagasaki Airport. Grimacing at being forced to show Satoka the ropes of being a Yume Tsukai while Touko takes a catnap, Rinko is frustrated at how clumsily and unprofessionally Satoka does her job when Masashi Nakaoka angrily repulses their incursion; later that evening after extinguishing the subsequent adversarial divergent concourse, Touko explains Rinko her perspective on how things are far more circuitous than meets the eye considering that Satoka is still mourning her fallen boyfriend Satoru Jissouji. Masashi's decision to pre-emptively lash out unto the town the next morning ultimately brings things to a head; in spite of Satoka being of much greater utility in the ensuing melee, neither Rinko nor Touko has a healthy perspective of what responsible dreaming is.
Swelling Heart Of Love
3. Swelling Heart Of Love
April 22, 2006
Summary is not available.
Gentle Footsteps
2. Gentle Footsteps
April 15, 2006
There are very few young children that actually like being in the hospital with all its endemic mechanics such as the painful medical procedures and being away from their parents for protracted periods of time even if there is a good reason for it; still, that is exactly what Setsuko Yasumara is explaining the feverish Touko about her daughter Haru when the annoyed Rinko finally catches up to her. It is not long before the two Yume Tsukai encounter the proactive proximity precautions of Haru's nightmare which proves beyond the available combat capabilities; while Rinko divides her frustration between not getting to Haru and being forced to fight the nightmare alone, Touko has devised a counter-strategy to avail at the next engagement that utilizes an iconoclastic but crucial resource -- the Kinyousei Yume Tsukai Hajime Tachibana who proves himself the skeleton key for successfully approaching Haru for insight as to the situation. While poor Rinko is stuck as a diversion, Hajime quickly makes friends with Haru as he gets right to the heart . . . or in this case, graphite of the matter. Touko now recovered from her cold and galvanized with the data of Haru's collaborative prologue with her parents, it now becomes clear what ultimately has to be done; the nightmare now conquered, Haru realizes the true meaning behind her father's injunction against troubling Setsuko who realizes that it is not her choice whether Haru sees her father.
The Dream Starts, Rainy Classroom
1. The Dream Starts, Rainy Classroom
April 8, 2006
Summary is not available.
  • Premiere Date
    April 8, 2006