WareMete gets all adventurous and sentimental as the “search for lost future” turns into a trip down memory lane for Kaori and Sou. It all starts with a beautiful day, a new old camera, and the desire of the astronomy club not to waste it. So they play hooky!
I loved the tension and excitement of their escape scene, trying to do it as calmly and casually as possible until they’re off school grounds, then making a run for it. In a nice bit of continuity, Yui is among the athletic members of the group, and the only one who can’t quite match pace is Kaori, which Sou realizes and lends her a supporting, encouraging, and much appreciated hand.
Their prison break becomes a bit of an odyssey when they miss their stop and end up at the end of the line, which turns out to be a ravine Kaori and Sou visited as kids with her mom. It’s also some very gorgeous scenery: verdant, tranquil; exactly the kind of place you’d want to be on such a nice day.
On that trip years ago, Kaori lost her teddy to the river and tries to go after it, but Sou springs into action to help her. They both end up in the drink with her ankle sprained, but he carries her back. It’s a memory she treasures, and she’s annoyed Sou doesn’t seem to remember it, but he later brings it up, making it clear that he remembers too, to her relief. In somewhat uncertain terms, she expresses her gladness that he not only carried her back then, but held her hand during the jailbreak.
When she loses a loafer to the same river that took her bear, history is poised to repeat itself…then the rest of the club arrives, including Yui. Now, Yui may well know Kaori died in another timeline, but for now, all we know is that she gets concerned when others do potentially risky things. With that in mind, she goes after the shoe, and Sou is there to catch her when the rock beneath her hand gives way. Kaori’s a little disappointed in this turn of events, but Yui didn’t do what she did to step on Kaori’s toes, but to protect her from threats only she seems to fathom.
Like all good impromptu day-long trips, this one ends with everyone wiped out on the bus ride home, a great quiet, cozy scene where, Kaori gets a little more Sou Time. Those shots of Sou and Yui flash by in Kaori’s head, and while she allows that Yui’s a “good girl,” I still detected a hint of yearning. Just as Sou has no idea how his non-digital shots will turn out, we have no idea how Kaori’s future will turn out. It looks like Yui’s looking after her, but how will her presence affect her and Sou this time?
Atmosphere and sense of scale? Yeah, this show’s got that covered!
Fate/stay night: UBWepisode 03 picks the pace right the heck up with a jaw-dropping battle that both spans vast miles AND stays uncomfortably close quarters in a wooded graveyard. This is the best non-movie quality magical fighting I’ve ever seen.
On top of that, F/sn manages to deliver equal parts information-bump and mystery without breaking its stride or ever feeling talky or expositional. As with episodes 00 and 01, you owe it to yourself to watch this in HD with a good set of speakers turned way up. This spectacle looks and sounds awesome!
Illyasviel von Einzbern is her name and Berserker, her massive orc-looking servant, is her game. And her game is good, shrugging off an onslaught of full-power attacks from both Saber and Archer, and sometimes both at the same time.
It’s a great fight (or fights, if you consider the short chase Berserker gives to Saber as she relocates to the cemetery, where his advantage will be reduced) and it teases us with as many reveals as it actually gives us more information.
What’s the deal with Archer’s sword-like arrow? What’s the deal with Saber’s sword, for the short moment it’s visible and firing what looks like a death star blast through Berserker?
Who knows? Obviously not Shirou, who’s the only one close enough to clearly see both of these things. Einzbern and Rin probably have an idea — and Einzbern in particular pulls a 180 after seeing Archer in true action. Must be some high-level stuff if the early favorite of the first four masters we’ve seen is going to take notice!
A huge boon to the fight comes in the form of space. Not only is Archer incorporeal for the beginning of the fight, he spends most of it fighting from miles away. This would feel cheep normally…except none of his attacks are effective. Pretty as hell, but not effective.
Unfortunately, even his super sword/arrow attack comes up short and F/sn really drives home how absurdly powerful Berserker is. He’s not just nigh-unscratchable, nor just good at regeneration: it’s like he can roll back time itself and undo all the damage as if it never happened in the first place.
And then there’s Rin’s fight with Einzbern, which is equally spectacular but totally different than the Servant battle. Where the servants rip into each other with a pounding fury, the Masters prod, taunt and look for each other’s weakness.
The stillness of their battle was masterful and brilliantly kept the tempo fresh, keeping what was basically twenty minutes of action from wearing us out.
And Man, her hair-birds are freaky!
Lastly, Shirou gets a small spotlight. He’s the fish out of water but he wants to help…but HE HAS NO IDEA HOW? How the heck do you get in on this without getting yourself killed and helping no one in the process? His frustration over being useless — especially considering he just shook Saber’s hand and agreed to give it his all last week — comes through nicely.
Nicer? F/sn doesn’t harp on it. Shirou is around but we get as much if not more of Rin’s point of view and much more fighting than either mage’s POV and that is a good thing. I hear, and can guess from what little I’ve seen of ‘old stinky F/sn that an excessively-whiny Shirou would be bothersome.
Oh! KotomineKirei and a new bad guy/important character were also introduced. We have no idea what their agendas are but it almost sounds like Kirei would be just as happy if the world ended. His little dialogue had a true-believer vibe to it — that Judgment Day is a good thing. Nice!
Or…problematic, since there’s no way our characters are going to agree with that point of view, if they ever hear it.
F/sn is masterful and there isn’t much else to say. You’ll hear it over and over from me, as long they do it, but my biggest joys from it are how close it keeps its secrets to its chest (we know so little) and how much space it gives all the rest.
The world is a big place and Fate respects that, which sells the experience in a unique way. Freaking Huzzah!
The stakes of the group’s New Years “Just For Fun” Optional Quest for Excalibur are raised significantly when Yui realizes that because ALO uses the same Cardinal architecture for creating random quests drawn from human mythology, literature, and history, the natural conclusion to their present Norse quest is Ragnarok, a “final battle” that will destroy the world, meaning the entire ALO game map, wiping out everyone’s progress.
That’s like your Playstation packing up without warning. Yes, this has happened to me, and it sucks. So now that this is no longer playing around, this episode get sback to the basics of SAO: RPG-style battles filled with physical and magical attacks and defenses. We also finally get why the party is so big; even the minotaur-like guards on the “easier” of the four floors are tough customers that require sustained onslaughts to bring them down. The only thing missing from the battle are flying numbers showing how much HP and MP is being lost or spent.
That tough battle is eventually won thanks to contributions from everyone — yes, even Asuna and Silica fight! — and they move down to the next level, but run into an ice cage where a beautiful damsel is imprisoned and, well, Klein can’t help himself, succumbing to his “Bushido” and freeing her, even though everyone (including him) is pretty dang sure It’s A Trap!
She turns out to be not just any wench, but Freyja, Norse goddess of love, sexuality, beauty, fertility, gold, seiðr (sorcery), war, and death. Not a bad addition to the party, in other words…and Hey, none of the other girls seem to have an interest in Klein, but Klein needs love too!
With Freyja now part of the fray, Kirito goes over the plan with everyone: Nothing fancy, just observe the upcoming boss’ moves, look for patterns and weaknesses, and take the bastard out before the medallion turns completely black and they lose all the hours of progress they’d amassed in the game thus far. This one’s for all the marbles.
Freyja immediately exhibits a boon of having her in the party, as she casts a spell similar to “Bubble” that no one else wields, which increases everyone’s Max HP by at least 50%. Combined with Asuna’s party buffs, they’re as prepared as they’ll ever be to face King Thrym. My only nitpick would be that they didn’t get a little more intricate and thorough with the support spells, the way one must do in RPGs prior to a big fight.
Once in the King’s Chambers, the party is flanked by fantastic wealth, obviously meant as a temptation to draw them off their path or even just delay them until Ragnarok arrives. King Thrym himself, being a frost giant, is suitably imposing, haughty, and mocking, dismissing the intruders as nothing more than flies sent by Urd to annoy him with their buzzing.
Before the battle begins, Thrym notes that Freyja is with him, and that she was sent to his fortress to wed him, an offer he’s kept open, but imprisoned her because he suspected she was trying to steal from him (likely Excalibur). He also loads up three separate health bars, meaning he’s no Yiazmat (by God that guy was a pain in the ass), but he’s no Goomba, either
Suffice it to say, I found last week’s Vanadis unremarkable. It wasn’t truly terrible, but I don’t feel empty superhero worship and fan-wank warrant much attention. Little did I know Vanadis aimed to trump itself in episode 4 with what felt like an endless stream of Dudes Frowning and Boob Jiggle.
Short review:Vanadis’ fourth episode is very long on misogynistic boobsploitation and very short on character development and world-building.
Long Review: This was a stinky turd. So hold your nose! We’re diving in!
Titta the twin-tail maid is super in love with her boss and, well, owner, Count Tigre but she has a problem: her character type has been done to death in anime and, when you scrape away the dead skin of her loli-type harem appeal, Titta serves one purpose: she shows us that Tigre is desirable to women, without Tigre having to do that on his own as a character.
Gekkan-Shoujo Nozaki-kun exposed this phenomenon last season and the summary is that visual storytellers don’t always have time (or any idea how to) convey that their characters are stylish/sexy/powerful so they fill their side characters’ monologues and dialogues with “isn’t that character cool” and “wow he’s so powerful” filler.
It’s a remarkably effective tool, even when used poorly, but when you start to see it in use, the shine wears off and it feels cheap.
Speaking of cheap, Vanadis wastes no effort on humor. Instead, it spoon feeds us shovels full of yuk-yuks like Titta walking in on Lady Eleonora straddling Tigre with her sword in his mouth. I guess gender reversal oral rape humor is funny.
Apparently, not so much to Titta or Tigre though…
Then Ellen returns to her kingdom’s capital to report to her king and meets a bigger pair of breasts (Sofya Obertas) that support her and an angry little pair of breasts (Ludmila Lourie) that hate her. She doesn’t help the relationship by insulting the angry Ludmila for being small nor does she capitalize on Sofya’s assistance.
At least, not while on camera. It’s later stated that Ellen spent more time having important conversations about politics while there, and that the king gave very interestingly worded orders to her that are intended to put Alsace in the ‘screwed’ category.
But, for all we know, she could have spent hours watching Sofya’s boobs slowly enter the frame like a squishy star destroyer chasing down rebels, and crushing their star systems…
We don’t actually see anything other than Ellen make the king angry for potentially dragging his kingdom into an unprovoked war and Ellen instigating a fight with Ludmila Sure, Sofya fills us in on some background and points out Ellen’s poor choices, but it’s all very talky — and not very talky about anything of note!
Then Ludmila shows up at Tigre’s house and is all like “Ellen is rude as shit but I just wanted to say you’ve got some enemies you probably can’t win against and we should go somewhere else to talk about it because reasons.”
Then Tigre, Ellen, Ludmila and Lim go on a horsey ride where there tits can bounce really well — so well and from so many angles that I’m insulted how poorly the battle graphics have been rendered in previous episodes — because they need to go to another location because reasons.
Then Ninjas attack!
Lady Limalisha’s right breast gets bitten by a snake during the attack and Tigre has to suck out the venom and pretty much everything I’ve said about how terrible this episode was seems trivial by comparison.
This scene makes absolutely no sense as it was animated. One second, Lim is able to cut Ninjas out of the sky, the next she’s surprised by a snake falling from the sky and unable to swing her raised sword at it. Must’ve been a ninja snake.
Then, as Tigre is sucking, even more Ninjas attack and Ellen is totally not ready to kill them with her magic wind sword that she’s holding at the ready so Ludmila saves everybody by casting an ice spell that either we see in super super-slow-mo or the ninja’s ‘fall’ from the sky at a leisurely pace.
I mean, Ludmila has like ten seconds to cast a spell that kills the ninjas that are currently falling at them from the trees. It’s a fucking joke, and I do not use profanity lightly!
Vanadisis fanservice. Fanservice with no spin and no purpose other than keeping our eyes on a show that doesn’t even bother showing us it’s exposition scenes but tells us they happened off-camera!
In simple terms, it’s insulting and cynical. Women hate women — and hate on women over their physical attributes and squabble over men. Even powerful women are half-useless half the time and, when it comes down to it, a man’s gotta suck their fat tits to save their lives anyway so why not paint them like cows and be done with it?
Its story is an empty shell of uncooked politics and military drama, drawn in with acceptable but unremarkable quality. Without its tits, Vanadis is nothing and in this day and age, where well-drawn boobs are free and plentiful, Vanadis has no right to exist. Vanadis is horrific, hateful garbage.
I’ll admit, Franklin’s review of this episode spooked me into waiting this long to watch it for the purposes of keeping up for next week, which is my turn to review. But having finally watched it, I’m struggling to see exactly what all the outrage was about. This wasn’t a particularly good episode of anime, or even Vanadis; (the first episode of which remains its best by far.) But it was far from appalling.
His arguments for why the episode wasn’t good definitely hold water, to be sure. There were more boobs in this episode than previous ones, but we knew from the OP we’d be seeing more war maidens and thus more boobs. I’d kinda gotten used to Ellen and Lima’s boobs, but so many more are stuffed into the frame this week, it got a bit silly.
There were a couple of women who weren’t shown in the best light; Titta’s character really is just “she loves Tigre but it will never be”, while Lima…wow…that breast bite was random! But I just wasn’t nearly as offended by this episode as Franklin. Horrific and hateful never really entered my mind so much as dumb and unremarkable.
Whether next week improves significantly will determine whether we continue reviewing this show at all.
I love how this show subverts our expectations…even expectations established as recently as this week by the other Mappa series this Fall, Shingeki no Bahamut. Creepy village full of ugly people? Rumors of disappearances? A gorgeous woman (Herman’s type!) living with her bowl-cut son on the outskirts?
The logical path of least resistance tells us that if this beautiful creature Aurelia isn’t a witch, or rather a horror in disguise (and let’s be honest, “Aurelia” sounds like a witch’s name), then her son, he of the intense gaze who talks to his wooden doll, most certainly is. Now that Leon is a full-fledged, under-control Makai Knight, it’s up to him along with Pops to root out Horrors and protect humans…even the thoroughly unpleasant-seeming, highly private inhabitants of this town.
When Herman rules out everyone else, including Aurelia, the conventional process of elimination says the Horror is Alois, and Herman tells Leon He’ll Get This One, as it’s not fair to ask his son to kill a child when he’s really still one himself. Leon bristles at this (as he bristles at pretty much everything his dad says): it’s a Horror; the fact that it takes the form of a child is of no consequence.
Only…Alois isn’t a Horror either, sending the knights back to square one. Having wached Bahamut this past Monday with Hannah, in which innocent little Rita ended up being a necromancer, I was pre-conditioned to suspect the kid too. Yes, even with all those hundreds of creepy wooden idols in that abandoned hut.
Similarly, the overall sketchiness of the townsfolk, and the way in which they dealt with Aurelia, made her story about their seedy occult “ceremonies” make us start to suspect them as at least harboring a Horror or being in it’s thrall, if they weren’t Horrors Herman could detect with his bell for whatever reason. And yup…still wrong!
No, this week’s Horror is the wooden doll Alois walks around with. He talks to it because it takes the form of another boy who, unlike the rest of the town, wants to be friends with him. It also taps into Alois’ desire for revenge against the town for persecuting and murdering his father, who reported their activities to the church.
So, this is a Horror facilitating a young, angry boy’s thirst for revenge. Basically, a younger version of Leon, no? Herman is always possessed of many of the show’s best lines, and this week’s no exception:
Revenge will only destroy you. At the very least, be destroyed by women, that way you can go like a man.
Raging sexism aside, this line not only gets us to suspect Aurelia even more early on (be destroyed by women) but also hints at the situation they’re about to face at the town: Alois wants revenge, and the Horror wants to give it to him, but the Knights can’t allow it. They have to save Alois by depriving him of that which he desires most in life, because the Horror won’t stop with the townsfolk.
This week is notable for its focus, eschewing any Emma or Alfonzo updates, but also for Herman never needing to don his Zoro armor, because this is another lesson for Leon first and foremost. When the Horror’s face morphs into that of Alois, Leon hesitates for the split-second needed for it to escape, but he doesn’t get fooled again, knowing that as seductive as the prospect of revenge can feel, his father’s words in this case are spot-on: it will only destroy you in the end.
While he and his mother are now safe, he’s still sad he lost his “friend” and any hope at getting his revenge, but the Knights helped keep his soul clean. He’s young, and he’ll get over it. Their job done, Herman and Leon start off to the next town to gather info on their next target, whatever it may be.
Aurelia and Alois blow town too, because, and this is the interesting part: the town hasn’t stopped the rituals. Furthermore, Herman and Leon aren’t going to do anything to stop them. They’re Makai Knights, charged with eliminating Horrors. They’re not all-purpose heroes, and it’s not their job to judge humans. Had a Horror not been involved in any part of this case, Aurelia and Alois probably would’ve been SOL.