Tokyo Ghoul 2 – 05

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Oh, what a tangled web we watch. I’m starting to get why any kind of reconciliation between Ghouls and Doves is so unlikely: it’s gotten way too personal. Everyone who fights this week seems to have a connection with the one(s) they’re fighting. We start with a somewhat obscure and hastily-sketched dynamic that actually turns out to be engaging because it doesn’t try to do too much: that between the Yasuhisa twins and Juuzou. I mean, just look at how frikkin’ adorable those twins were as humans.

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The twins were once in the same CCG academy class as Juuzou (who was known as “Rei” back then). When the twins’ friend Kawakami Shizuku suddenly died, it created a rift that widened to its current state, with the twins somehow ending up as one-eyed ghouls, and Juuzou ready, willing, and more than able to methodically carve them up like turkeys (portrayed in various states of censorship).

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Houji also seems to have a past with his dueling partner Tatara; specifically, Houji and Takizawa’s quinques were once ghouls Tatara held dear. It’s quite a macabre thing to fight against someone using a friend twisted and repurposed into a weapon…or in Ayato’s case, into Shinohara’s Arata, an armor he can’t pierce no matter how hard he charges.

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When Shinohara’s about to finish him, Ayato touches the Arata with his fist and remembers his father—whom the armor used to be—reading to him and Touka in their little apartment, before disappearing into the night, presumably never to be seen again. Like the scenes of Amon with the twins, we see everyone in what amounts to a previous life, before everything went to shit. It’s more than a little bleak.

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Speaking of turning into stuff, Ken has reached a new level of power, but also new levels of insanity, instability, and irredeemability. Shinohara identifies his form as a kakuja, which sounds pretty badass, like gravija. Even so, Shinohara is a tough sonufabitch, and is able to get his licks in before Ken finally stops playing around and brings the hammer down, or, in his case, the centipede appendages down.

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Having narrowly escaped their battle in one piece, Koutarou and Akira end up crossing paths with two other in a state of retreat: Kuroha and Nashiro. This is maybe my favorite moment of the episode, because there’s so much said in three wordless looks: Amon realizing his former human students, whose names he remembered, are now ghouls, and then Kuro and Shiro’s looks back at him, which are a superb blend of shame and ‘stunned, wounded animal’. Koutarou doesn’t pursue the sisters when they flee, though I wonder if he would have, had a bloodied Akira not been hanging off of him.

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Koutarou and Akira find their way into the same area where Ken and Shinohara battled, and I use the past tense here because the battle is over and Ken is eating Shinohara, armor and all, when Koutarou arrives. Koutarou was keen to find Eyepatch so he could learn why it was he shed tears and spared his life when he could have killed him, but now that he sees what a manic beast Ken has become, he’s ready to put a quinque in his skull.

Preparing to do so brings more tears to Ken’s eyes, and for a second there, it’s as if the kakuja ‘spell’ has been lifted. The One-eyed Owl swoops in and scoops up both Ken and Ayato, but Koutarou probably had the time to finish him. He doesn’t, perhaps because he still wants answers, or because Ken spared him once, so he owes him. Like I said; everyone is way too close to one another in this war.

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Saenai Heroine no Sodatekata – 04

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We open in Utaha’s room, where she’s on the phone with her editor Machida, who tells her something so surprising, Utaha moves too quickly and smacks her foot against her desk, hard. This is a mishap that befalls me all too often, and that visceral bang really brings both Utaha and the scene to life. It’s also nice to see that like “Mr. Ethical”—and myself!—she spends much of her creating time…staring at a blank screen.

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Following the credits is a live taste of her work, in which Sayuka chooses her dreams over tearfully clinging to Naoto, even though she truly love him and always will. It’s a nice segue to Tomoya on the train with Kato, who has just blasted through Utaha’s five-volume Metronome in Love series and is impressed with it.

Tomoya couldn’t be happier, as he utterly worships Utako Kasumi, and isn’t afraid to profess it emphatically on the train (Tomoya does a lot of emphatic professing in this episode, all of it good). Notably, he seems capable of separating Utako from Utaha, with whom he shares a past we only see in brief flashes; a past that may have inspired Utako’s work, as well as the Mr. Ethical moniker.

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Utaha’s foot-stubbing shock was a reaction to the news the inteview she didn’t want to do will be performed by none other than Aki Tomoya (I love how diverse his part-time jobs are). Initially, Utaha comes in and puts up a Beast Mode-esque wall, but Tomoya is able to get her to cooperate (sorta) by telling her he took the job so he’d get a chance to learn more about her next book before anyone else.

The interview takes many twists and turns, including Utaha’s assertion that it wasn’t her that made her books take off, it was him. Machida qualifies that by saying Tomoya’s review caused a spike in interest and increased sales at a crucial time for the novel, but I heard Utaha loud and clear: she wasn’t just talking about the publicity or buzz Tomoya provided. I like to think the novels are based, at least in part, on her experiences with “Mr. Ethical”.

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It’s for that same reason that Utaha agrees to show up for their first official circle meeting to talk about the details and responsibilities. Eriri repeats a misstep by going all tsundere at Tomoya before seeing who’s actually in the room with him: Utaha, as well as Kato. Though Kato is mostly out of the frame, I’ve trained myself to keep my eyes peeled for her.

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That’s the last we see of Kato for 90% of this scene. The rest is dominated by Utaha and Eriri alternating between teasing or torturing Tomoya and fighting each other tooth and nail. They turn Tomoya’s lovely whiteboard diagram of the project schedule into a piece of modern art, while Utaha offers to provide funding in exchange for “favors” from Tomoya, which earns Tomoya some twin-tail slaps from an irate Eriri.

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Eventually, they literally toss Tomoya aside and simply start bickering nonstop, with neither girl prepared to give an inch, although Utaha’s calmer demeanor means she’ll have more stamina. Tomoya breaks them up and gets them to work by again appealing to their vanity. Utaha will write up the plot, while Eriri will get some character designs going.

Tomoya asks them if they’re capable of that, and both girls put down their dagger for each other and grab a laptop and a sketchbook. The success of Tomoya’s dating sim depends on how well he can manage/juggle these two undeniably talented but just as undeniably prickly and emotionally needy artists.

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Of course, it also depends, at least form Tomoya’s perspective, on his ability to transform Kato into the ultimate dating sim heroine. Of course, considering she was in the a/v club room that long without any of the other three noticing her, as well as the substantial talent of said artists, I’d argue Kato isn’t really needed for the circle to belt out a decent dating sim. The one who needs Kato, rather, is Tomoya.

At the end of the day, this dating sim is a way for him to make the world care about and worry about and love Kato Megumi just as much as he does. He’s not going to come out and say it, but his actions and demeanor speak louder than words.

The way she affected him when he first “met” her on that hill (and their other encounter, for that matter); the fun they had simply hanging out in his room all night; the way they talk on the phone; and the jealousy he feels when she walks into the restaurant he’s working at with a tall, handsome young man; it’s all there, plain to see.

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I must admit my heart sank a little when I saw Kato with that guy, but it turns out to be her cousin, and they were simply going out to eat because their parents were at the theater. Being an otaku and thus a consumer of media in which blood is not always an obstacle to romance (his voice actor Matsuoka Yoshitsugu also played Kirito in SAO, whose sister liked him), Tomoya is still worried, but Kato makes it clear in her passive way that this is his problem, not hers.

That means, if he feels threatened by the fact she hangs out with her tall, attractive cousin, it’s up to him to step in and take the cousin’s place. So he does: he asks her he can accompany her shopping instead of her cousin, and she accepts instantly.

At that point Tomoya seems worried that it could be construed as a date. As ever, he’s in surface denial about what he has with Kato, even as he embarks on an incredibly tough road to create a dating sim from scratch in time for Winter Comiket that will essentially validate his feelings for Kato to the rest of the world.

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Stray Observations:

  • “What’s with that reaction, like you’re reliving past trauma?” Kato, hitting the nail on the head
  • I was immensely pleased by the fact that Utaha and Eriri drew on each other off-camera.
  • I also enjoyed how they scared Tomoya by telling him just how much they make off their work, with the actual yen figures censored by tweeting birds and gunshots.
  • “I’m gonna take that utterly moe-less heroine and raise her into the ultimate main heroine that everyone will worry about!” Tomoya, not realizing that if Kato wasn’t moe-less, he wouldn’t care about her so much.
  • “Kato, do you understand your position here?”
    “I’m a second-year high school girl with absolutely no agency who was brought into a game circle by the biggest otaku in school?”
    “That’s your pre-transformation, assumed identity! The real Megumi Kato is a pure beautiful dating sim heroine who makes everyone’s hearts beat faster!”

    All of this.
  • Tomoya’s classmates occasionally stopped talking and looked over in his direction, possibly worried that he was raving at himself, due to Kato’s inconspicuousness. Remember Tomoya himself didn’t know she was in his class for a year!

Binan Koukou Chikyuu Bouei-bu Love! – 05

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In a surprise move, Binan Koukou introduced a third faction this week. Since they are annoying by design — both in personality and in how they look — and that they lack the backstory-hook that connects the Battle Lovers and the Student Council, I’m not sure the Journalist Club warrants a recurring slot.

However, Binan has done a wonderful job entertaining me so far and I’m more than willing to see how the new guys’ plot pans out

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So, yes, the Journalist Club is annoying. They follow the BL members around in a constant attempt to make them reveal their status as super heroes and generally irritate everyone’s non-BL lives in the process.

Their catch phrase “Excuse my rudeness,” which they repeat over and over without expression, pretty much describes them.

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Eventually, they even follow the BL to the bath house, which is probably less culturally rude than I would think but… probably still not cool since they are taking photos constantly.

In a delightful move, BL drops dead-sensei on them and claims they’re going for help. It’s a cute ploy and the horrific corpse tossing counter plays the Journal boys’ rudeness nicely.

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This week’s battle fits perfectly into the flow of the episode. Specifically, the monster (a remote-control shaped… squid) is barely introduced and a total side note that is very quickly dealt with. The Boys are flustered, haven’t had any time to think about BL, and have no patience to deal with introduction speeches and the pleasantries of monster fighting.

Kick, Shout, Magic Heart Bomb, Love Shower, and it’s all over.

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Because the Journal Boys interrupt our heroes’ regular banter and flow, and don’t offer anything funny as a replacement, this episode isn’t quite as punchy as previous ones.

I’d actually go as far as saying it was a forgettable episode… if I hadn’t realized the Journal Boys also have an alien pet that is guiding them for… uh… some reason. It was a clever little twist and, even though I don’t like them yet, it shows Binan has plenty of tricks up its sleeve.

If you aren’t watching Binan already, my opinion certainly isn’t going to sway you. I still think you should — if nothing else for its wonderful banter — but it is ultimately a niche show with aesthetics that make it difficult for a broad audience to take seriously.

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