Durarara!!x2 Ketsu – 06 (30)

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This relatively spare (and almost entirely supernatural-free) episode focuses on the major players once more: Mikado, Masaomi, Anri, and Izaya, with Chikage narrating as he learns more about the state of things in Ikebukuro.

While much of that state can be attributed to Izaya, who has Chess, Shoji, Go, and Othello pieces scattered on his game board as he builds a house of tarot cards (a bit too much game imagery here, frankly) he’s correct in stating no one person is to blame, because everyone played little roles that added up.

At this point, he’s super-excited about Mikado’s state in particular, and interested in what he’ll do next, even if it means he himself becomes a pawn. He also wants this to be a humans-only game from here on out, which means taking Anri, Kasane, Celty and Shizuo out of this stage.

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Still, it’s Anri’s human side that shines in her first meeting with Mikajima Saki, which cam as a surprise to me, considering how long this show has gone on. Saki has come prepared for war if Anri was to express feelings for Masaomi. While she heard from her boyfriend that Mikado was crazy about Anri, she wanted to meet her one-on-one to get her own impression of her.

What she finds is a cute, charming, mild-mannered young lady who has convinced herself that she’s a parasite who neither knows how to love anyone nor believes she deserves to love or be loved. It’s a much more nuanced situation than Saki imagined. The reality is, she’s no more certain of what love is than Anri, but being a parasite (or a puppet, as she once was) doesn’t automatically disqualify them from love and happiness.

Mika decides to further explain her relationship with Masaomi by going into her past with him; to a time Anri wasn’t present for. Despite having made a promise to the guys that they’d reveal their respective secrets upon meeting again, Anri is intrigued and lets Mika proceed.

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Izaya’s efforts seem intended to pare down the players, especially limiting them to those who are only plain old flesh-and-blood humans. Mika’s efforts seem intended to enlighten her about the love triangle in which she’s been the fourth vertex for long enough.

And then Chikage, who is titularly “in for a penny, in for a pound”, breaks Masaomi’s dilemma down to brass tacks: He wants to see Mikado and save him (either by punching him or being punched, in the simplest possible terms). Blue Square is in the way, so Chikage will help Masaomi get close. If Mikado won’t answer a call from Masaomi’s phone, then Chikage will call him on his. Easy peasy, right?

…Perhaps not. Izumii Ran visits Mikado (much to Aoba’s consternation), they proceed to have a very civil conversation, Izumii gives Mikado some kind of “gift” hidden in his arm sling, and then leaves in the car of Awakusu’s Aozaki, activity that Aozaki’s rival Akabayashi learns about pretty quickly.

These are presumably the “grown-ups” Chikage is worried about getting tangled up with. His basic plan could work if he could just get two old estranged friends in the same room together to hash it out, but with an apparently important object now in Mikado’s possession that probably wasn’t given to him so he could pull out of his tailspin, it may already be too late for basics.

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Shouwa Genroku Rakugo Shinjuu – 06

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The play was a sensation, sure enough, but it also awoke something in Kikuhiko; he really liked the reaction of the audience, and wants nothing more than to get that same feeling while performing his rakugo. But at the start of this week, he’s still lacking certitude and confidence, despite the fact he has his own little fan club at the cafe where he works, not to mention the persistent attention of the lovely Miyokichi, who seems to want to be someone whom he can lean on for support.

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Kikuhiko’s latest interactions with Sukeroku involve a lot of the latter stumbling into their apartment late at night wasted, then laying down some uncharacteristic wisdom before passing out. By doing so, Sukeroku inadvertently reinforces Kiku’s frustration with sharing his home and his calling with someone so different from him, who found out who his rakugo was for and how to do it in a way that played to his strengths.

Kiku has had to work hard and struggle and worry his entire life, whether it was when he was struggling to dance before being “gracefully expelled” (with women lamenting he wasn’t born a woman), or struggling to discover who his rakugo is now, when it’s too late to go back, with no other way to survive but rakugo.

Just as Sukeroku sometimes voices characters who seem like him – one bad move away from a sticky end – when Kiku begins a story about a “lover’s suicide” there’s a distinctly personal and dark subtext.

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But one night, with both his fan club, Miyokichi, Sukeroku and a decent crowd watching (and already warmed up by Sukeroku’s energetic performance), Kiku finally figures it out, building on what he learned during the play, but also gaining new insights while he’s performing. As his performance changes – and improves greatly – the audience changes in turn, and he notices it.

Mind you, his method of rakugo is totally different from Sukeroku. Kiku doesn’t try to use a big booming voice. Instead, he plays to his strengths: his femininity, grace, and sex appeal. He makes the crowd laugh, but also has them feeling worried for the would-be suicidal woman, finally rewarding them for following along by releasing the tension at the end, revealing no one died after all.

In his “eureka” performance, we see glimmers of the venerable Yakumo in the young Kikuhiko, finally able to shrug off his inferiority, relax on the stage, and command a crowd with a firm but elegant touch. When he leaves the theater for home, he’s practically giddy.

As a boy he heard words of pity from those who believed he couldn’t cut it. Now, nearly everywhere he looks there are admirers eager to praise him. And this is only the beginning.

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