Gundam: G no Reconguista – 18

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This week: A bunch of people tell other people to look at the massive and magnificent Kashiba Mikoshi, which delivers Photon Batteries to Sankt Porto for Earth Distribution, or something. Did I mention it’s massive? Seriously, it’s mentioned enough without it actually DOING anything that it would make for a decent drinking game.

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Yeah, GAVAN! Still, that is one tough phone. Is that the new SU-Cordist Galaxy 7? It’s supposed to be able to withstand a sustained Mack Knife beam attack!

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The Kashiba Mikoshi was apparently a collaborative effort between H.R. Giger and Frank Gehry. AIDA IS NOT IMPRESSED. Her critique is actually pretty cogent, unlike so much about this show.

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OMG IT’S A COGENCY SPREE!!!

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Gaaaah…DON’T ALL TALK AT ONCE.

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O Hai Manny! Manny’s aboard, with Noredo.Manny is towing Mask’s line about the Towasangans letting everyone go home safely if they just hand over the G-Self. That ain’t happening, since it belongs to the Rayhunton siblings, Bellri and Aida.

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…CAT FIGHT!

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Noredo and Manny may be high schoolers whose men are on opposite sides of…whatever this conflict is supposed to be, but it’s the older Mick Jack and BARARA who are acting like idiots.

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Bell and Rara block Steer’s view of space with a dummy meteor, so an iPad with a external camera feed is set up so she can see where she’s going. But the dummy is also blocking weapons fire so I guess it’s okay. Still, not ideal piloting conditions.

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I love how it’s kind of common knowledge in the Towasangan military that Rockpie has only risen as high as he has because he’s doinking Mashner. SU-NEPOTISM.

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Bellri Zenam: He’s not a genius and he isn’t tough…but he is a raging xenophobe.

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AWWWW, the Megafauna looks adorable nestled within the bosom of the Crescent Ship. Like a baby orca!

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The Grid. A digital frontier…”

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That doesn’t mean it’s not a joke. Bellri Zenam: Still not a genius.

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Still, he and Aida have a nice brother-sister moment here, in this strange engine room of a ship built by their forebears.

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Bell also managed to get the Crescent Ship’s engines working normally…by dipping his medallion like an ATM card. And the Crescent Ship is probably the coolest-looking ship in the show thus far..nice shade of green, too. Here at RABUJOI, we call that shadeFine Green.”

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Yoru no Yatterman – 04

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Yoru no Yatterman is all about fake outs and call backs this week. There’s a functional story that further emphasizes how terrible it is to live in Yatter Kingdom, and how broken the citizens are too, but bait, swap, then call back was most of what it was doing.

There’s no other way to say this but Yatterman Nights isn’t compelling… and it really should be. While the treatment is unique and the academic structure has my attention, the methodical pass, rough visuals, and total bleakness makes it unenjoyable to watch.

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Bait and Swaps: The episode opens with an un-origin story for Honorable Oda, but then leaves Oda out of the rest of the episode. Sure, the unexplained reason why the party doesn’t eat him and his spoiled nature are ‘called back’ early on… but he has no impact on this week’s story. He’s not even visible for most of the episode.

Similarly, Boyaki and Tonzra attempt to snake-oil people with ‘magic walking sticks’ after the opening credits because they are broke. The walking sticks themselves may get a call back (Tonzra uses two like swords during the fight sequence) and ‘money’ is called back via wanted posters for the team, but Doronbo’s need for money never does.

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In fact, it’s hard to see why money would have value in the Yatter Kingdom in the first place. The Yattermen ‘tax’ the citizens, but there doesn’t seem to be anything for the citizens to buy — and the Yattermen just take what they want (including the citizens themselves) whenever they want it.

This makes the entire plot thread come off as superfluous — arbitrary — and if there’s one thing a slow-moving show built around the intellectual deconstruction of a genre and nostalgia for retro-brands doesn’t need, it’s that.

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And then this episode is also a hot springs episode. At least for a few moments. Thankfully there’s no fan service (which would be super creepy since it would feature a little girl, a helpless blind girl and a pregnant woman and three gender non-specific monkeys) but this scene too feels unsupported.

Perhaps it’s here to poke fun at the peeking scenes? Perhaps it’s here only to give a call-forward hook for Doronbo’s Monkey Mech in the final fight sequence? Maybe it’s just here to make us ask why it is here?

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The meat and potatoes of the episode revolves around a couple facing separation at the hands of the Yattermen, and everyone including the pregnant wife force themselves to be happy about it.

It drives home the point that this society is truly broken, that nice people are traitorous through fear and all the normal reasons the good will bow before the bad. It’s so over the top that it works (happy song and dance for the condemned anyone?) even if it isn’t especially interesting or unique a concept in dystopian dramas.

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Then there’s a stylish fight between General Goro and Doronbo, Doronbo loses, and Doronjo finally realizes that Yatter Kingdom is not heaven but a literal hell.

The fight is stylish, albeit goofy. Perhaps I felt it was drawn out a bit but Tonzra x Goro’s sword fight more or less makes up for it. Additionally, it’s implied that Goro even mistreats the Yatter robots, as he’s seen tazering the Yatterpup mech for not finishing the Doronbo monkey mech quickly enough.

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But it really was no fun to watch. Doronbo’s betrayal at the hands of the good couple was obvious. The Battle (sword fight excluded) was more weird and understated than exciting. The unending bleakness just sucks the life out of it.

Given how strong Death Parade was this week, it’s easy to see how much a richer (more expensive) art style can pull a show through the weaker gaps in its setup period. More importantly, it shows how a show can spend its money effectively. Death Parade is barely animated, after all, but the style sucks us in regardless.

By comparison, Yatterman is struggling to even make me sigh in disappointment…

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Cross Ange: Tenshi to Ryuu no Rondo – 17

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Yeah…he’s definitely going to trip on that screwdriver

While the idyllic limbo of the DRAGON world just suffered a brutal assault, it remains an idyllic limbo, one where Ange must decide whether to stay in, or return home. Tusk, committed to being her knight, will support whatever decision she makes. This is what a knight does: his life is no longer his own.

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Ultimately, Ange decides she has to go home. Messed up as it is, it’s where she truly belongs, and it’s where her beloved Momoka is. Salamandinay grudgingly accepts her decision to return, worried that they may have to fight against each other again, but Ange says whatever else she does moving forward, she’s done fighting the DRAGON, so Salako needn’t worry.

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Vivian is caught between wanting to stay with her mom and going back home to her friends/sisters-in-arms, but her mother uses a nifty analogy to set Vivi’s mind at ease. She’s grown out of her baby clothes, so it stands to reason she’s grown out of her baby home as well.

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Ange, Tusk (whom she finally refers to as her knight, to his knight delight), and Vivi follow the massive DRAGON force through the singularity into Embryo’s world, and find themselves far off course. Turns out Riza’s intelligence was falsified, and they teleported right into an giant ambush.

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It becomes painfully apparent Ange’s world didn’t stand still while she was gone; the remnants of Arzenal First Troop have picked their sides. Salia has gone over to Embryo (and Ange even wonders out loud whether Salia’s sleeping with the creep), and in return, she’s been given a ring and a black Villkiss all her own; finally able to be the leading heroine Jill never let her be.

Chris and Ersha are also with her; the former not surprisingly, the latter, a little. They went over to Embryo despite the fact they knew DRAGONs are people, like Vivian, so it’s not like they were in the dark, but it’s also important to remember that all three of these girls were orphans born and raised within Arzenal’s walls, and remain children, who have yearned for a father figure for a long time. It’s understandable they’d be taken in by Embryo’s rhetoric.

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Another day at the office for these three

That Salia is now the captain also means she gets to give formations magical girl designations like “Shining Rose Triangle!”, something Chris isn’t that on board with. It’s a great character beat for all three of these former allies.

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Embryo orders Salia’s team to take Ange into custody, but Tusk and Vivi aren’t having it, with Vivi pulling off an awesome stunt by dropping out of the sun and C4’ing the cables. Salia’s squad regroups and grabs Ange again, but she’s able to activate its teleporter again (by hitting it and yelling, naturally), just as Tusk and Vivi fly into its radius.

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They end up back on the abandoned Arzenal Island, where it all began, with no more of an idea about what the heck they should do next. Then a catalyst for that decision comes ashore in the form of Momoka, Hilda, and Roselie, in frogsuits that give them a start at first, but quickly morphs into elation.

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Again, this group makes sense. These three were able to escape aboard Jill’s sub, Hilda and Roselie were able to patch things up where Hilda and Chris weren’t, and Momoka was going to wait for Ange as long as it took, like Hachiko in a maid outfit. In a very Hilda Power Move, she grabs Tusk’s junk and concedes, a bit incredulously but genuinely, that he’s a man after all, as he was able to keep Ange alive to this point.

So where do we go from here? I think it’s probably a given that a world with Mana is unsustainable, and as difficult as it will be, that world has to end. Maybe Jill’s resistance and the DRAGONs can team up against Embryo? Could there be a peaceful resolution? Will Embryo go quietly, or break out some heretofore MEGAmail? Cross Ange still has eight eps to sort it all out.

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Koufuku Graffiti – 04

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This week’s KG cold open is the strangest yet, with Ryou biting the head off an Onigiri Girl in a toon-shaded dream sequence. It also heralds the beginning of the strangest episode of KG to date, though only really in terms of format.

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Ryou had gotten used to the routine of Kirin coming over on the weekends to eat her food and keep her company. But with classes cancelled for a week, Kirin ditching Ryou for her parents’ reservation to a three-star Chinese restaurant, and Shiina getting sick after getting drenched, Ryou finds herself all alone for the first time since the beginning of the show.

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That was when, if you recall, Ryou wasn’t very good at cooking, because she wasn’t putting any love into it. The scenes of Ryou alone in her house again (and even making a second serving of breakfast for a non-existant person) really do convey her profound loneliness and depression. And even though Kirin said she could text her anytime, she doesn’t respond to any of Ryou’s texts.

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Ryou wisely chooses to get out of that house before she goes mad, and decides to hit the library for some cookbooks. She hadn’t been there since her grandma used to take her, and it’s here where Ryou learns a dark truth: her grandma used to suck at cooking hardcore. It wasn’t until Ryou started staying with her that she checked out cooking for beginners books and honed her craft. She also modified the recipes in the books to cater to Ryou’s tastes, “cooking with love”, as it were.

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Ryou also hits up the corner store by the library where she and her grandma always used to go to indulge on pre-packaged food and drink. (The store has the same shopkeep who looks exactly the same). Overwhelmed by choice, she goes with her standby corner store lunch of onigiri, popcorn chicken, OJ, and a creme puff for desert. Not a bad set, if you ask me.

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As she goes to town, SHAFT-style, she realizes that the very same food she used to enjoy so much as a little kid is food she still enjoys today, only now, with her refined palate, she gains an even deeper appreciation for the tastes and textures. And while she may be eating alone, the mere fact she’s thinking of her loving grandma while enjoying the meal makes it that much tastier.

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The lunch cheers her up, and clears away the rain clouds. Ryou commits herself to becoming a great cook for Kirin the way her grandma became one for her, starting with predicting—correctly—that even though Kirin just had Chinese food, she’ll still want to try Ryou’s gyoza. Especially since the restaurant had tiny portions and Kirin is looking forward to Ryou stuffing her.

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