Saenai Heroine no Sodatekata – 10

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AND THEN THERE WERE FOUR. Or FIVE, if you count IZUMI. OMG, WHY AM I SHOUTING AT YOU WHERE ARE MY MANNERS?!

Anywho, everyone’s favorite purple-haired tomboy Hyoudou Michiru is here, and her timing couldn’t have been better. Why? Because after a seemingly long string of episodes in which Tomoya is fawned over by one girl after another for various reasons, this week Tomoya is the fawner—perhaps not by choice, at least at first—and not the fawnee.

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Tomoya is content to bury himself in Blessing Software, as he holds teleconferences with his staff and make progress on the dating sim (though Kato’s line deliveries either need more work or none at all, bwahahaha). Then his only cousin Michiru appears, topless, in his bathroom, having run away from home after the latest disagreement with her dad (Tomoya’s uncle).

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Whether she is oblivious to her power over her cousin of the same age (who was born on the same day in the same hospital as her!) is having fun torturing a horny teenage boy, or is herself into Tomoya (the truth is likely a combination of the three) calling Michiru a disruptive force in Tomoya’s little otaku world would be a grim understatement.

The sudden 3D onslaught nearly drives Tomoya to insanity. The camera reflects his uneasy but utterly-unable-to-avert gaze, and it’s all over the voluptuous, scantily-clad Michiru. This episode features the most fanservice since the prologue; possibly more.

But like that promising if totally out of chronological order start, the fanservice is never tiresome because a.) it’s also character-service and plot-service, and b.) it’s very well-done, right up there with Monogatari. For example, animators are notoriously bad at feet, but not here.

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For one reason or another it’s a long night for Tomoya, so in the A.V. clubroom, he’s all but asleep at the laptop, causing him to spout supportive dialogue that gets Utaha all hot and bothered—and forces Eriri to quarantine her in the broadcast booth, where she nonetheless continues to participate in the discussion via the P.A. system.

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I like how the show clearly isn’t interested in such tedious minutiae as why Tomoya’s circle has such unfettered access to such slick digs. You’d think the A.V. Club would be in there, or at the very least some paperwork and lobbying would be required to gain access to the facilities. But this isn’t that kind of show. Saekano doesn’t care, and nor do we. They’ve got a place at school to work, and that’s all we need or care to know.

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Just as the circle’s topic of discussion turns to determining who will score the game, a very big oversight to this point, considering the awesome power of music (cough-Violin Girl-cough), Tomoya gets a cheerful text from Michiru asking when he’s coming home and stating she’s ordering pizza (or possibly four pizzas in one).

It’s innocent enough, reflecting Michiru’s unique position as friend, family, and love interest. Kato, possibly exercising Stealth Mode, “can’t help” but glance at Tomoya’s phone and read every word.

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That maks Eriri curious, which in tern makes Utaha curious, and Tomoya has a full-scale riot on his hands. He’s tied up in caution tape and interrogated, and each girl stays true to character: Utaha remains her seductive self, but is clearly annoyed and maintains a certain intentional unpredictability to put Tomoya that much more on edge.

Meanwhile, Eriri recedes to the very edge of the room, flustered and on the brink of panic. Kato is just Kato; meaning she kinda stays in the background and lets the two heavies do all the outragin’.

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When Tomoya tells them who Michiru is and why she’s in his house, it hardly assuages their anxiety. On the contrary, it sets these two creatives types’ imaginations ablaze, as Utaha writes a scenario about the cousins on the spot, one so troubling it just about does Eriri in, which may have been Utaha’s intent all along.

But it’s true that while Utaha teases, often very seductively so, she can’t touch the inherent intimacy of Michiru, nor her fearlessness and utter lack of inhibition regarding Tomoya. Eriri, meanwhile, may be a childhood friend, but Michiru, who was present at Tomoya’s birth, is the Ultimate Childhood Friend.

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What I didn’t think I’d see was so much of the family side of Michiru. I’d thought all along that she was at least a little older than Tomoya rather than the same age, but even so Michiru lives in a more “normal” world than Tomoya, and takes immediate (and unsolicited) attempts to make him grow up, first by tossing all his otaku crap and replacing it with her own, more sober musically-themed room decorations.

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This means that in addition to having Utaha’s seduction and Eriri’s longevity beat, she also gives Kato’s domesticity and practicality a run for their money. Keep in mind Michiru is not being mocking, but giving her honest opinion as someone who’s known Tomoya longer than anyone, when she tells him he could easily get a girlfriend if he stopped acting like a weirdo. The fact that Tomoya wouldn’t be interested in that kind of girl is irrelevant; Michiru is looking out for a family member. One has to think about marriage at some point!

Similarly, when Tomoya is finally able to segue into telling Michiru his dream of creating the ultimate dating sim, Michiru couldn’t be less impressed. In fact, she finds it ridiculous that Tomoya would try to make a living off his childish hobbies. She even strikes a concerned parent/wife pose…which wouldn’t look bad painted on the fuselage of a P-51.

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Tomoya has always had a blind spot for the non-otaku Michiru, who has flitted from passion to passion, always abandoning something when she’s bored, while it’s in his nature to stick to one thing like stink in a Basset Hound’s un-groomed ear. But here’s the thing: Michiru is really good at everything she tries. Of late, she’s been in an all-girl band, which was the cause of her argument with her dad. So we know she’s good at that too.

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So good, in fact, that when she decides to defy Tomoya while he’s taking a bath by plugging her guitar into an amp and playing a piece she’s working on, Tomoya sees the same cherry blossom petals that flew by his face when he first saw Kato on that hill. Not only that, he sees the entire dating sim story unfold to Michiru’s stirring tunes.

He’s so spellbound, he forgets he’s in nothing but a towel when he enters the room, a reversal of their first encounter this week. Michiru is about to apologize, but Tomoya isn’t there to hear one. He’s there to ask her to join his circle as composer.

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Then his towel slips off, and Michiru gets the Full Aki. She neither accepts nor declines. She simply stares. Having been built up so much recently by the fawning of Utaha and Izumi and Eriri, Tomoya has come back down to earth and stands before Michiru, as naked as the day they were both born in the same hospital.

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Shigatsu wa Kimi no Uso – 22 (Fin)

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BRAVO. Violin Girl had its ups and downs this cour, but really came through with a stirring and satisfying finale that looks back upon where Kousei has been, explore where he is in the present and what he’s become, and hints at where he’s poised to go, not long after a certain devastating yet inevitable development comes to pass.

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First of all, Kousei draws power from everyone who has helped him (most of whom are in the audience) and finds the sound within him, delivering by far his best performance. Entering a serene environment of still water and deep blue sky, the Kaori inside of him coalesces, not just to cheer him on, but to play violin along with him…one last time.

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It’s an exceedingly beautiful, sad, but ultimately uplifting performance, and to the show’s credit, everyone shuts up for a few minutes so we can simply listen and get lost in the wall of sublime sound. Now, if you’re not a Chopin fan, you’re probably not going to like this, but I’m just fine with him, and it was a transcendent sensory experience I hoped would never end.

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But at one point in the piece Kaori lowers her bow and begins to fade away, then light explodes violently from her core, to Kousei’s despair. Yet he doesn’t freeze. He keeps his head up and watches her disappear. He’s no longer playing with her, he’s playing for her, and for everyone else who got him to where he is: once again pouring his heart and soul into a Steinway.

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When the piece ends at the episode’s halfway point, there’s no delayed applause nor the usual post-performance victory fanfare. There’s only silence, and Kousei’s tears streaming down his face. He says goodbye.

And that’s it.

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When the B-part begins, there’s no mention of who won (probably Kousei), nor how Kaori’s operation went. The first scene is of cars trudging through the snow (something I’ll probably have to do tomorrow, despite the fact it’s the first day of Spring!). The second is Kousei in a graveyard with Koari’s parents. The operation didn’t work, and she has passed away.

Yet Kousei isn’t so overcome by grief that he cannot function as a person; he’s grown up. He also got to play with her one last time, if only in his head.

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Kaori’s folks give Kousei a letter from Kaori, affixed with the telling black cat sticker, her narration (and Kousei’s reaction) to which comprises the rest of the episode. This letter provides Kousei closure, but also fresh insight into his dearly departed love.

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Kaori first saw Kousei long before he spotted her in that playground. As a five-year-old, she was an aspiring pianist herself, who was affected so powerfully by lil’ Kousei’s performance, she ran straight home (Unattended five year olds! Japan!) and asked her parents to buy her a violin. Kousei was the reason she played a violin at all.

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Kaori continued to admire Kousei when they started attending the same school, but only from afar, as she was intimidated by the strong bond between him and Tsubaki. But the fact that Ryouta was beside them meant she’d have a chance to make Kousei notice her. To make that happen, she told the titular Lie In April: the lie that she liked Ryouta.

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Like the fact that she started playing violin so she could play beside Kousei, this lie comes as more of a confirmation rather than a surprise: it was clear pretty early on, despite all the teasing and flirting to the contrary, Kaori and Kousei had a lot more going for each other than Kaori and Ryouta, who was fun and nice and attractive, but not much more than that. Ryouta knew this too; he could never hold a candle to the power beyond words that music brings to the table.

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For all of the cursing of music for tearing Kousei’s mom away from him, or Kousei away from Tsubaki, or Kaori away from Kousei, Kousei doesn’t give up on music just because Kaori passes away. To do so would’ve meant he’d learned nothing from her. Instead, as we see, he’s grown into a cooler, more mature musician.

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In the end, music brought Kaori to him from the start; and though she was only “passing by”, she was able to bring him back to it, and it brought them together once more in his last performance with her. And as she wished, he will never forget her. If he does, she’ll haunt his ass.

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That brings us to Tsubaki, who isn’t sure how to approach Kousei after Kaori’s passing, knowing he loved her deeply. Kashiwagi, armed with 108 BL books’ (and zero boyfriends’) worth of romantic wisdom, tells Tsubaki to simply stop turning the gears in her head and simply listen to her heart and act the way she usually does with him.

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It works. In one last violent slapstick act that actually felt appropriate and earned, Tsubaki kicks Kousei in the shin and tells him in no uncertain terms that he’d better not ever think he’s alone ever again, because she’s never going to leave his side. Kousei is just fine with that, and so he should.

Kaori was the love that, rather than never was, was only a corporeal thing ever so briefly, like trees blossoming at the start of spring. Tsubaki was in his life before Kaori appeared, was there throughout his fleeting romance with Kaori and remains there for the long haul. I wish them both all the best.

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The show closes with a look at the random old photo Kaori included with her letter, of her posing with a friend. But it’s significant because a little Kousei is in the background walking past, with his mother’s stern foot just in the frame.

Ten years ago, this photo captured a moment when Koari and Kousei were so very close together, and both looking at the camera, and yet neither knew the other was in it, and in Kousei’s case, didn’t even know wouldn’t even formally meet the girl until ten years later. But not only did they meet, but she lifted him out of his deep soundless sea, he gave her a stirring sendoff and vowed to continue playing with everything he has as long as he has it.

Ill fate tore them apart too soon, but even if that photo and all other photos fade away with time, she’ll always live on in Kousei, the year or so they spent together and the music she made and helped him make etched eternally in his heart.

Once again: Bravo.

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Final Series Score: 9.05