Junketsu no Maria – 11

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Picking up hot on last week’s tale, Edwina takes Maria to the battlefield and reveals that she was the source of paralysis gas (and Garfa’s arm). But the little details aren’t the point of this episode, even though there are a ton of gems sprinkled throughout.

No, the point of this episode is making sense of everyone’s feelings and bringing a close to the hostilities between France and England. At least, within geographic reach of Maria.

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ignoring why Joseph is there in the first place, he makes a good point about Garfa: He’s the same as Maria. They are both strong, strong willed to the point of being stubborn, and use their strength to pursue the purpose they have assigned to their lives.

This does not go well and at last lends some coherent emotion to the nicely animated fight. (which, in the tradition of the show, is the opposite of over-the-top in rendering and style)

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Meanwhile Gilbert confronts Bernard about the witches medicine, which Bernard admits he knew he was using to help the people. Rules be damned, anything in the world can make the world a better place. (and to better the church’s position)

This declaration also doesn’t go well. However, unlike Garfa, Gilbert doesn’t try to run anyone through in a haze of frustration. That said, I get the feeling Bernard is about to get an unexpected smack down from the inquisition…

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Continuing to tie in all the loose threads, the Old God tries to make Ann forget Maria, possibly to force Maria onto his side, but it doesn’t work. Ann’s support is iron clad, much as the Church fears it to be, and when Joseph finally defeats Garfa, Maria’s tree house (and powers) are quickly restored.

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As to Joseph’s victory… let’s just look above at the hilarious take down assist brought to him by Maria. She’s so unabashedly hard core about it that I can hardly fault Joseph for his lengthy banter and refusal to accept his worth in her eyes.

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The resolve, starting with their exchanged vows and ending with the tree-ification of the castle, was all quite nice. As with everything this episode, the visual details were all unique and really lent to the wonder and excitement of their coupling.

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And then the couple is summoned by Arch Angel Michael and who knows where the series is headed for its final episode? Honestly? I don’t care at all — it’s been a lovely ride all along and, typically sluggish middle or note, it was well worth all of our attention.

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Junketsu no Maria – 10

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Episode 10 asks a leading question: is human emotion better or worse than God’s lack of emotion… or is there any distinction between the two in the first place?

Certainly Michael’s violence isn’t as base as Garfa’s but it’s easy to argue that Michael’s mixture of intervention and indifference put Garfa (and his many victims) in the situation in the first place. If humans only exist to suffer before death and transition to the afterlife, and that no amount of prayer will change the degree of their suffering nor bring about otherworldly protection (except from Maria), the shows depictions of greed and violence become an understandable offshoot of survival of the fittest.

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And that’s saying nothing of Michael’s direct acts of violence. First with Maria and now, nearly killing Viv for calling him out on being an empty automaton.

While I suppose this is all rather heavy handed, I appreciate that JnM is subtle enough to leave the question unanswered. Ezekiel is emotionally broken (though it’s not clear why she has emotions in the first place) and humans are particularly violent for much of the episode.

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Bernard’s total lack of attention even mirror’s Ezekiel’s. He’s said his piece, feels the rules are being followed, and moves on content to let the masses do whatever they want.

In a pleasing twist of events, Edwina shows up and saves Maria from burning at the stake and Gilbert, Bernard’s underling, recognizes Edwina’s cat/girl familiar as the source of the church’s medicine… which causes his own internal conflict.

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Unfortunately, the episode suffers from Joseph having garbled reasons for being away at war and Garfa being pure evil. I just don’t get how we’re supposed to buy into Joseph going to war for glory to… use his glory to save Maria? It doesn’t make any sense.

Similarly, Garfa has gone from being an interestingly gray character to some smirking, knife handed, “gonna kill you in the church” jackal. I suppose I ‘buy’ that he could turn out this way but I don’t find it very interesting…

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It’s worth noting that despite all the animation in this episode — and there was a lot with wonderful technical detail — it was not animated very well. Scenes jerk together with no transition sequence, walk cycles are choppy, and many of the characters look… off.

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Kamisama Hajimemashita 2 – 12 (Fin)

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Kami-Haji wastes no time piling on the adorableness in its final episode. Lil’ Nanami is button cute, just the kind of person you want to hold and squeeze and protect for all time. But we learn along with Tomoe that that cuteness is tempered by a steely resolve to look out for herself and be wary of men; advice given by her mother, who herself could not escape a life of bad luck with a crappy excuse for a man. We also learn that the women in her family only ever bear more women, all of them beautiful.

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Tomoe is positively transfixed by this educational foray into Nanami’s past, and even though Mizuki tries on numerous occasions to nudge him to put an end to it, Tomoe watches on, even as things go from bad (Nanami’s mother dying, as expected) to worse (Nanami living with her awful dad, who does nothing but goof off and burn their house down). The things that happen to Nanami are almost comically cruel, but for all the slapstick mixed in with the narrative, the episode never makes light of her plight.

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It also makes it clear these are the experiences that made Nanami the young woman she is today, and that something great and beautiful can come out of all that suffering and hardship. With that, Mizuki again confronts the lil’ Nanami to try to coax her back to the present, and again, she flees from Mizuki, who if we’re honest doesn’t have the most trustworthy aura about him.

Tomoe is different, though. Even though he’s a man, Nanami seems to trust him implicitly. Is it the connection she has with him in the present shining through here, or the connection between her family lineage and the god who granted them beauty at a heavy yet bearable and character-building cost?

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Tomoe isn’t just a fan of lil’ Nanami because she’s adorable. He also likes the fact that everything she desires is clear to him here in her flashback world, as things she concentrates more on appear with more detail and in greater focus. Seeing everything she wants to clearly, and having the power to grant it all, Tomoe’s devotion for her grows. Here, when asked if he truly loves her and is someone she can count on, he can answer directly: yes he does.

Heck, he even proposes marriage, and she accepts…but when the grown Nanami wakes up, she’s seemingly forgotten everything about her dream, which deflates Tomoe quite a bit, because he thought he’d actually made progress.

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He laments the fact that the happy-go-lucky yet delicate girl he was able to confess to so easily was lost in the twelve years since, especially when she’s able to single-handedly convince the zodiac sheep to allow the new year god to shear him. Then Nanami surprises Tomoe again and makes him rethink everything when the Year God furnishes her with a photo of her mother.

Now, that wouldn’t seem such an impactful gift, but considering her mother died when Nanami was very young and all photos of her were lost in the fire (a heartbreaking fact), it means multitudes for Nanami to finally see her face clearly. And in doing so, Tomoe sees that neither Lil’ Nanami nor her mother really vanished; they’re still within Nanami.

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Back at the Shrine, Nanami is back to work on her talismans, and Tomoe is back to work denigrating their poor quality, earning her defiant scowls. But when relaxing after a long day ushering in the new year for worshippers and the like, Nanami settles down for some tea and TV with her shrine family, whom she’s been with now for a year.

When she steps outside, the falling snow reminds her of what a shadowy figure once said to her in a half-forgotten memory of the past (which we know to have just happened at the Torii gates), in which Tomoe tells her younger self she won’t always be alone and wary, but be “the lady and mistress of a household more rowdy than she could wish for.”

And so it’s come to pass. She has a family, without having resorted to marriage she’d sworn off. And yet, when asked again, Nanami adds the qualified “probably” to that swearing-off, opening the door for Tomoe, if he wishes to walk through it.

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