Valvrave the Liberator – 19

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L-elf rescues Lieselotte from her captivity, confessing his love, but their escape is interrupted by Q-vier. Haruto crashes through the wall in Unit 1, and L-elf hands Lieselotte off to him. Her presence in the cockpit surprises Pino, and Haruto learns she is a Magius—a being with no physical body that lives off of runes—and that he’s one too. The rocket launch is stymied by the loss of a runway, but L-elf lowers a drawbridge and the rocket launches as the Valvraves protect it. Q-vier hits one of its hydrogen tanks, but Liselotte repairs it, at the cost of all her runes.

So the Magius crash on earth, possess animals and people to live and consume their runes to survive. They eventually form a council with humans to oversee earth’s affairs, of which Lieselotte doesn’t want any part, so she’s imprisoned and regularly drained of power with that tanning booth. Meanwhile, the Magius serve as cores for Valvrave units, whose pilots must literally resign humanity in order to operate them, thus becoming a “new lifeform” similar to immortal Magius, which explains Saki’s presence in the distant future. Should we be worried that some of this is actually making sense? Valvrave, how could you!

Practically speaking, this is an episode in which the New JIORans get the hell out of Dodge—er, Dorssiana. But L-elf also came to rescue the one he loves. He helped build and strengthen New JIOR for her more than anyone else. Sure he’s only known less than an hour in total, but that’s apparently enough. So it’s unfortunate, even tragic, when we find that she can’t return his feelings, not because she doesn’t share them, but because she’s unsure what love is, even after centuries of living in human form. It’s your classic lovers-of-different-races predicament. Worse still, she ends up “emptied” like Marie. L-elf just can’t catch a break!

7_very_good
Rating:7 (Very Good)

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One thought on “Valvrave the Liberator – 19”

  1. How does your team find the new ED for Valvrave? I hear it’s the singer’s debut song into the Japanese music market. Rather 2000s-ish, IMO.

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