Claude is off to Dijon to meet with an important client about new metalwork. Claude has to study his late father’s work, and it brings back memories of his childhood when his father was still alive and business was booming. He’s conflicted about keeping the business running by simply copying what his father did. Meanwhile, Oscar keeps Yune and Alice entertained with a projector and phenakistoscope found while Yune was cleaning the storeroom.
My favorite scene this week was when Yune remembered what Claude told her about the metalworks shop: His father and grandfather worked to make every metalwork sign in the entire Gallery, so their skill is on display everywhere, with signs fulfilling the dual purpose of advertising for the shop it hangs over as well as advertising for the one who made the sign. It’s as impressive as it is sad; the best days seem to be behind both the Gallery and the metal shop.
Claude’s father was a genius with metal, but Claude also remembers him being cold and stern. This new job in Dijon is the latest challenge – can he outdo his departed dad? Oscar has never pushed him to keep the business going. The question is, is he keeping the fires of the forge burning for his father, or for himself? Not much to say about the B story involving Yune, Alice, Oscar, and eventually the whole gallery; it was pleasant enough. People were certainly easily entertained back then!
This pre-air episode follows Takanashi, Inami, Popura, Aoi, and all the other employees around at a typical day at Wagnaria family restaurant. Jokes are told, tiny things are declared cute, punches are thrown, and dishes are broken. Like I said, typical.
From the looks of it, the new, aprostrophe’d Working’!! will not diverge considerably, or at all, from the original Working!!, but will be a vehicle for new material in the same setting with the same ensemble cast – and perhaps a new face here or there (a girl with Leia-like buns in her hair is glimpsed only for a moment but not heard). That’s okay, as the first season was very watchable, lightweight slice-of-life in which the quirkiness of the characters lent spice to the proceedings.
We’ll have to wait until October to see if new material will indeed be infused in the formerly successful recipe of the Spring 2010 series. If things get too repetitive vis-a-vis Takanashi and Inami, or too tedious vis-a-vis Yamada (the former new kid) and the new new kid (whoever she is), well, there are potentially a lot of series more worthy of RABUJOI’s undivided attention. But from what was seen in this sneak peek, we’ll probably be watching.
Roberta’s blood trail ends in one final bloody stand deep in the golden triangle. With help from the team of American soliders, Garcia confronts his maid – riddled with bullet holes and almost entirely mad – and persuades her to stand down. Rock gets the ending he wanted, Revy is as angry and bitter as ever, and Roberta returns to Venezuela with her master and Fabiola, where the physical and emotional healing can begin.
I always assumed that Roberta’s story would end pretty much like Scarface’s…propped up by drugs but eventually without enough limbs attached to her or blood left in her veins to maintain life. That’s how this last womanhunt initially goes down, as the soldiers are able to take little bites out of her here and there in exchange for their lives. But it’s his lordship, Garcia Lovelace, who finally grows a pair and takes a gun – and matters – into his own hands. He doesn’t want revenge anymore…he just wants his maid back.
Due to the time between installments of this OVA, a lot of the stuff Rock was talking about and his bet with Chang escaped me, so I pretty much ignored his increasingly annoying ramblings (though I liked how both Revy and Fabiola got in his face about it). No, I focused on the excellent action, in which military discipline and precision clash against the wild animal that was Roberta, prior to being snapped out of it by Garcia. I’m pleased that a relatively happy ending was reached that didn’t feel like a cheat, without anyone major dying.