Shingeki no Bahamut: Genesis – 10

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This week puts two of our three ladies through the wringer, starting with Jeanne. While bound and burning at the stake as her defenders are slaughtered by the king’s soldiers, she has a vision of an angel who basically tells her they couldn’t care less about humans. Then she’s visited by the creepy red-eyed guy once more, and force-fed that suspicious potion he offered before.

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This turns Jeanne into a 1980s rock star demon…a pretty damn badass-looking one, too. She summons her guitar Maltet, makes a stone dragon rise out of the ground, and takes off. That’s not good. Bacchus witnesses this and is mildly concerned, as does Rita, who managed to get out of that situation in the lab and flags the god down for some questions.

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Meanwhile in Prudisia, Amira, Favaro and Kaisar are having a relatively uneventful journey when the damn ground shatters into bits and starts to rise into the air. Another huge demon beast/castle thing emerges, and dramatically transforms the environment…or lifts the illusory vail to reveal the real environment.

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The creepy red-eyed dude who transformed Jeanne (and probably poisoned the kings mind so he’d get her where he wanted her) shows up here too. His name is Martinet, and he’s very evil. I don’t like him. Amira remembers him as her ‘teacher’, who told her she’d be able to find her mother in Helheim. And Helheim, not Prusidia, is where they actually are.

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Rita hitches a ride with Bacchus and Hamsa’s carriage, which accientally runs over the fallen angel Azazel, who has apparently fallen again…out of favor with Lucifer, that is. The demonic doghouse, if you will.

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Back in Helheim, Martinet reveals his master, Beelzebub, who for whatever reason wants to release Bahamut. We’ve been told Bahamut is nothing but pure destruction for gods and demons alike, but I guess Beels has a plan. Unfortunately, he and his sneering assistant are nowhere near as interesting as Azazel and Cerberus.

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Getting back to that wringer our ladies go through: just when you thought Jeanne was having a bad day, Amira is shown her mother, an angel encased in ice, and once it shatters she’s kind of locked in a shocked expression. Amira was always told her mother could ‘take the key out of her’…but always thought that would be a good thing. It isn’t.

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As it turns out, Amira is merely a vessel for the key, created when Beelzebub did something awful to her mother. Amira has been manipulated by false memories contained in her pendant compelling her to come to Helheim at the proper time. Overcome with emotions, Amira goes over hugs her mom, which is a bad idea, because that causes her mom to crumble into a cloud of dust.

Worse, those nice clothes Fava bought her are all burnt up, so now she’s motherless, rudderless, and nude. Her resulting scream of anguish is the trigger that transforms her into the key Beelzebub wants.

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Bacchus and Rita are close enough to see the light of the spectacle. Knowing Bahamut is closer than ever to being revived, they know have to do something. That includes asking Azazel to help them out, which he agrees to do, if for no other reason than he doesn’t want to die either.

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Kaisar? He remains encased in a crystal coffin. Favaro manages to escape when he begs the bad guys to let him come over to their side (That’s So Favaro) but it’s just a trick, which Martinet sees through instantly, and then turns Fava into a demon, just as he did Jeanne.

That means perhaps the only ones who can save the world from Bahamut may be a group consisting of a zombie necromancer, a fallen angel, a drunken god, and a duck. The world is so screwed. Or is it?

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Inou-Battle wa Nichijou-kei no Naka de – 11

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InoBato surprises us this (or at least me) this week by showing us a flashback of the day Jurai crossed paths with Tomoyo, and we see that there was a precedent to her placing her fist against his heart as she did during the Hatoko crisis. She convinced him in their brief encounter not to give up on Chuuni. To this day he doesn’t know it was Tomoyo.

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We go from that flashback to the present and the family vacation. Hatoko has studied her love manuals thoroughly and is making a concerted play for Jurai, determined not to let this perfect chansu slip away.

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Unfortunately, she ends up hewing a bit too close to said manuals and overdoes things, resulting in her nearly passing out from sunstroke/exhaustion. The beach scenes are a vivid showcase for the tendency of InoBato’s character design to be both sexy and goofy as conditions dictate. Last week, Sayumi was definitely a knockout, but Hatoko’s no slouch either.

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Knowing where Jurai is, who he’s with, and how Hatoko feels, the same day is a bit of an ordeal for Tomoyo. After dreaming about how she first met Jurai, she decides not to waste both tickets and go to Sealand alone; a decision she almost immediately regrets, but goes through with it anyway. Her scenes are steeped with lonelieness and longing; a kind of lost daze.

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When Hatoko recovers she gets another golden opportunity to confess her feelings, but decides instead to come at it from another angle, semantically…something InoBato is certainly no stranger to exploring how wording and phrasing affects understanding.

Jurai remains grateful she ‘saved’ him, and considers her ‘more than friends’ and ‘special’. While I would have liked a straight confession out of her, Hatoko’s wistful looks at the stars indicate that his words constitute a sufficient rejection in terms of romantic love.

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That assessment looks even more accurate considering Jurai calls Tomoyo and asks her out on a date right after talking with Hatoko. From there, Tomoyo begins her clinic of cute/bashful/happy facial expressions, as she’s not only clearly over the moon that Jurai called, but that he seemed just as in a hurry to see him again as she was.

It’s a cute date too, as Tomoyo, feeling bad about him offering to treat her again, suggest they decide who will pay fair and square with a shooting game. She kicks his ass and he has to pay anyway, but it was a nice gesture, along with a way to impress him with her marksmanship.

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When Jurai leads Tomoyo to a secluded spot to talk, Tomoyo gets a little excited, but it turns out Jurai wanted to create a situation in which she was free to talk to him, after he heard how Hatoko said she was ‘mean’ to her. Tomoyo doesn’t get into that, but does tell him about her light novel failure.

Jurai basically says all the right things in response to hearing about that, and leads Tomoyo to bury her face into his chest just as the fireworks launch right above them.

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It really couldn’t get any more romantic, and Tomoyo is again reminded of meeting him, along with a quick montage of all the close moments they’ve had. But Tomoyo still doesn’t say “I love you.” She says “I love this”. It would seem Tomoyo remains the frontrunner after all, and while I really wish she’d said the magic words (as I wished Hatoko had), that’s just not InoBato’s style.

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That brings us to the abridged final act, which is…a bit maddening. Here we’ve had a show that’s been 99% about characters and relationships, with neary a hint of superpowers or the war going on outside the sphere of the lit club. Then it decided to suddenly dump a steaming load of plot and peril at the very end.

The woman Hajime’s associates caught on camera does something to Mirei (who we haven’t seen in ages); Mirei calls the club to school, pretends her arm is burning, and when Hatoko uses her power to summon water, Mirei steals her superpower, summons flame, and launches it at Hatoko.

Sorry, but hWAAAAH? What the heck am I suppsed to do with that? Is Hatoko going to be incinerated? The preview clearly indicated next week is the final episode. I’m wondering how the heck the show is going to resolve this crisis and give us a satisfying conclusion to the harem plot.

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