ISUCA – 03

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On the realization that last week’s romp wasn’t that bad, I’ve decided to share reviewing duties with Zane. And this episode wasn’t that bad either. It wasn’t great, but it wasn’t bad. I can’t speak to how ISUCA compares to similar shows Franklin dropped, but I’m not willing to revisit those, and neither is Zane. Also, there are only seven episodes remaining, so it’s not like we’re wasting our lives here.

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Shinichirou (lets go ahead and shorten that to “Shin”) is excelling at his job as Sakuya’s trainer, to the point Nadeshiko has him move into Sakuya’s house full-time, something both of them are a little apprehensive about, because of the romantic tension and all. Their classmates can see the two have become an item; they’re just unaware of how strange an item they make.

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Anywho, we delve a little deeper into Sakuya’s family politics. Specifically, her cousin Suseri is going after her top spot. She’s also caught wind of Shin’s power, so despite being a sheltered girl unaccustomed to dealing with men in any way, it isn’t long after she introduces herself that she slips into his bath and starts washing his back with her boobs. She’s really sheltered.

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Okay, that’s pretty damn terrible, I know, but so damn cheeky and ridiculous that it circles back around to being kind of good, if that makes any sense (if it doesn’t, tough ^_^)

Also ridiculous and bizarre? When Suseri attempts to kidnap Shin (of course), her limo is suddenly pulled into another dimension where they are attacked by a pack of carnivorous gloom cars, the leader of which is a Honda S800 (thanks Zane). The badass Shimizu-trained driver is suddenly gooshed, raising the stakes nicely.

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Suseri isn’t strong enough on her own to defeat the Honda, so she demands Shin kiss her so she can power up. Before they can kiss, however, Sakuya looses an arrow between them, having broken through the barrier into this otherworld.

Nadeshiko then gets the bright idea to pile everyone into the limo, but doesn’t have the keys to start it (certainly a car that old could be hotwired?) Anyway, the Honda starts to crush them, and Sakuya conveniently ends up in the position where only she, not Suseri, can kiss Shin. When she does, the resulting powering-up destroys the evil Honda, and they return to the normal world.

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There, Suseri asks Sakuya once more if she’ll give her Shin. Sakuya refuses, but Suseri lets it go, but only for now; she still intends to usurp her. As for the man in the middle, Shin seems slightly more beholden to Sakuya, but if he had met Suseri first, I imagine he’d be more beholden to her. Still, as a high school guy with a cat-girl familiar who doesn’t wear underwear and two rich, powerful girls fighting over him, Shin doesn’t exactly have it that bad, does he?

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Steins Gate – 16

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Steins;Gate giveth, and Steins;Gate taketh away. In the business Okarin & Co. are in, nothing comes easily, and nothing is free. But no matter what it sets out to accomplish in any given episode, it doesn’t do anything half-assed. I was already looking forward to re-watching Steins;Gate to see Suzuha in a new light. This episode not only puts her in another new light, but Daru in one as well.

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And doggone it, it was looking pretty grim there, but then Mayushii channels Inspector Tsunemori (another Hana-Kana institution), and discovers the identity of Suzuha’s father, just like she set out to do. The way “Barrel” means “Taru” in Japanese; the fact that Okarin and Barrel started the resistance in the future; the fact that they both worked on a time machine in Akiba in 2010; and finally, the baroque “Future Gadget” designation assigned to the machine, a truly inspired clue. Only one person can fit all those criteria: Daru, AKA Hashida Itaru.

Detective Shiina is Natural Po-lice…but The Job will not save her. That’s up to Okarin!

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She could have gone a little further: the reason Daru is able to fix the machine so quickly is that he’s the one who designed it. Also, and I only noticed it after the fact, but Daru and Suzu have very similar hair and eye color. This is yet another shocking twist with ample evidence embedded in everything that had come before. Now, before Suzu leaves, she gets to say hello and goodbye to the father she never knew.

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That turns out to be a good thing, since Okarin learns from Daru (whom Suzu first told) that the time machine only goes backwards; once goes back to the 1970s, she can’t come back. That means whether she succeeds or fails in obtaining the IBN 5100, this truly is Goodbye. A few hours for everyone else will be 35 years for her. Then, at the agreed-upon time, it’s Mr. Braun, not her, at the door. Suzu died ten years ago.

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In her letter to Okarin, she laments that something went wrong with the machine, and she passed through the 70’s, 80’s and 90’s, not remembering who she was or her vital duty. Her window to acquire the computer passed, the machine was no longer usable, and after 25 years, she succumbed to her regret and committed suicide.

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That’s basically the worst ending I could have imagined for Amane Suzuha: she got to see her dad before she left, but everything after that was a disaster. She blamed herself, for making an unnecessary detour to 2010 to see her father as a young man. Before the lightning storm that damaged the time machine, Okarin stopped her from leaving. Now that he knows what became of that, Okarin sends that him in the past another D-mail, telling him to let Suzuha go.

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Mayushii protests, but it’s for the best. I don’t see how Okarin had any other choice. Forget the mission or even saving Mayushii; there was no way he was going to let her go through those torturous decades, confused and alone, because he stopped her from going when she should have. In the timeline that results from that D-mail, Suzuha dies of an illness, not suicide, having taken Mr. Braun in after his house burnt down.

Between the lives the old Suzuha touched and what she left behind, from her beloved bike to Okarin’s Divergence Meter, her absence feels so palpable and long-lasted, even though we just saw her, young and full of confidence. If that really was goodbye for Suzuha, I must admit to being a little heartbroken.

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But the loss of Suzuha seems to have meant the regaining of Mayushii. The meter registers a slightly higher number (though still not 1.0), and the hour and minute of her death or murder by any and all means passes without incident. Okarin and I are both super-relieved to find her curled up on the lab couch, napping away. We still don’t know where the IBN is, but perhaps Okarin has one less thing to worry about…maybe? …Please?

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Shigatsu wa Kimi no Uso – 16

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Uso stops being evasive this week, as the curtain of “everything’s okay” begins to dissolve. Kaori’s collapse in the hospital was a repeat of the incident that put her there: her legs suddenly giving out beneath her, and hitting her head hard. Kaori’s plight was telegraphed from several parsecs away, but to see it in all its unblinking horror is pretty dang heartrending.

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All in all, this episode was a great improvement over last week. Sure, it introduced new character dynamics I wasn’t exactly waiting for with bated breath, but those elements are there, and there’s no point in moping about them. I’m talking mostly about Nagi, who replaces Tsubaki from last week as the general focus of the episode, and is all the better for it because, unlike Tsubaki, there’s a lot I still don’t know about her, and was willing to hear her out.

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Things also go very differently from my cynical predictions regarding what would happen after Kaori’s latest fall in the hospital, for which I’m glad; I was hoping to be proven wrong, and I was. Kousei is shocked to find Kaori outside of the hospital, wearing her school uniform. She asks him where Watari is, but that’s just teasing at this point; she was out there waiting for Kousei, who is taking any sign (like her uniform) he can to convince himself she’s alright and he’s worrying too much.

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Kousei tags along as Kaori shops (hopefully not until she drops), missing that day’s lesson with Nagi, who is throwing out all kinds of weird vibes that compel Hiroko to go so far as to threaten to kill her if she hurts Kousei. Nagi’s reaction is neutral expression and the realization that Kousei is, indeed loved. But he’s still her target, and she aims to destroy him. Why? Simple: so her big brother Takeshi (he too of the yellow hair) will turn his gaze onto her. Music may be Tsubaki’s nemesis, but Kousei is Nagi’s.

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Kousei and Kaori continue to have a lovely, ideal day and night, which was kind of Kaori’s plan all along. She wore the uniform and pretended to forget her bag at school, but of course, she didn’t go to school, and she was only allowed out of hospital for the day.

She didn’t want to forget the school she’d been away from so long, nor does she want Kousei to forget her, so she tried to give him as memorable and joyful time as possible, right up to illegally riding double on a bike under the stars. Since this may be the last day and night of this kind she ever experiences with Kousei, Kaori can’t hold back tears; tears Kousei doesn’t understand…yet.

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Kousei’s overly-harsh training technique (as well as doing what she deems to be showing off) causes Nagi to flee from his lesson. He finds her sulking on the steps of a shrine, and offers an apology and a sweet potato. The two bond right then and there, with Nagi opening up to him about what’s eating her from the inside out, in spite of herself (though she doesn’t mention she’s Takeshi’s sister).

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We see more of the side of Kaori’s life she doesn’t want anyone else to see, as doctors tell her and her parents her prognosis (which doesn’t look good), and she’s unable to even hold her violin bow. This is a devastating series of gut punches, delivered without regard for our emotional well-being. Even if Kaori survives whatever her affliction is, if she can’t play music anymore, she is going to be utterly miserable, and her life may not even feel like a life to her.

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When everyone visits her in the hospital, she has her armor up, but it’s very thin and depleted, to the point that when Kashiwagi informs the others that Kousei has a pretty new student, Kaori gets upset. Not because she’s jealous (okay, maybe a little), but because teaching a student will sap valuable practice time for Kousei.

She goes off on a tirade with him, one he can’t keep up with, and then the tears come again, and for once, not everything is deflated with a silly comedic stab. The awkwardness and the pain is able to linger, and perhaps Kousei gets a slightly better idea of what’s going on here.

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Meanwhile, Nagi’s vendetta is not necessarily fair to Kousei, but she deems it a necessary sacrifice for her happiness, while she deems Kousei choosing friendship with Watari over love for Kaori “cliche” by comparison. She also considers his piano playing disrespectful to the composers, and by extension his refusal to fully commit himself to his own happiness a sign of weakness.

But it’s a choice she herself faced and faces. What eats Nagi most of all is that Kousei is a mirror; they’re not that different. But I like how her friends notice she’s playing piano more happily since starting lessons with him, so it’s not like she isn’t conflicted. And whatever Nagi’s intentions are, Hiroko wants Kousei to teach her so he can “feel something other than sorrow for once.”

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When Kousei visits Kaori alone later that night, he’s seen and heard enough of the truth to start fearing that she’s on the same path as his mother. He tells himself again and again Kaori and his mother are nothing alike, but that’s a lie. One can’t dismiss the similarities to the two situations; only lament the universe that let such a horrible ordeal repeat itself in one young man’s life.

In the episode’s final chilling moments, Kaori, aware the jig is starting to be up in terms of pretending everything’s alright, quotes from the Masahiro Mita novel Ichigo Doumi she’s been reading (another story in a guy’s best friend introduces her to a sickly girl and they gradually grow closer): “Want to commit double suicide?” While it’s a quote from the book, she may not be messing around.

Honestly, I have no idea what she means by these words, or where the show goes from this dark place; only theories. All I know is I’m exceedingly anxious to find out.

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