Big Order – 01 (First Impressions)

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From the artist behind Mirai Nikki comes a story about people called Orders who can turn their wishes into powers thanks to the mysterious, annoying Daisy. Ten years ago, Hoshimiya Eiji believes she made his wish to become a TV antihero come true, leading to the near-destruction of the world, the death of his parents, and the hospitalization of his brocon sister.

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One day a ridiculously out-of-the-entire-school’s-league cutie transfers to his class and follows him home, claiming she lives above him and broke her key. When he opens his door, she shocks him, then reveals her true face: she’s an assassin sent to get rid of him. Or wait, she’s there for revenge for her dead parents.

In any case, the initially pure and innocent cutie who turns out to be sadistic and homicidal is nothing new, and I’m not sure at this point what if anything Rin adds to the conversation. I will say that I did not expect Eiji to inadvertently kill her with her own blade via the more focused use of his power, visualized by a glowing medallion on his hand.

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Rin steps out of Yuno’s shadow a bit by later revealing she can’t be killed; she’s an Order to, who gained the ability to instantly regenerate from even serious wounds. She shows more cold cruelty by stabbing Eiji’s sister Sena in the back, using her as bait to draw Eiji to her and her assembled army dudes.

(Rin is part of some military/paramilitary cadre of Orders, who all look like a bunch of weirdos. She’s a second lieutenant, so pretty low on the food chain).

After Eiji’s initial rage at seeing Sena maimed subsides, Daisy visits him and makes a slight mod to his powers, reducing their range considerably so he won’t lose control like ten years ago (why ten years had to pass for any of this to come down on him isn’t clear).

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Eiji is done being Mr. Nice Guy. His wish, which had remained a secret the whole episode, is revealed as “world domination.” As such, his powers give him dominion over anywhere he goes, and over anyone or anything in that vicinity. Unfortunately for Rin and her troops, that includes physics, which means bullets fired at Eiji do not reach him.

Now that the beast has been awakened, he gets his ‘tentacles of domination’ into Rin (in a fairly suggestive cut to black), I suspect he’ll have dominion over her as well.

I mean, this show is awfully on-the-nose and trying too hard to be edgy at times, but is better-looking and has more interesting (and far fewer!) characters than Mayoiga, plus I enjoyed Mirai Nikki well enough…so I believe I’ll give this late starter a try. At the very least I’m interested to see if Eiji joins Rin’s little org…or simply turns them into his peons.

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Ushio to Tora – 30

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With Mayuko doomed to live the rest of her life replacing Ushio’s mom, Asako in the hospital still growing her skin back, and a lot of people either dead, turned to stone, or unable to remember Ushio, this entire second season has been one big fat DOWNER.

There seems to be no end to Ushio’s torment, as one thing after another crops up to make his life that much more dark and tragic. Just take Nagare, who “frees” Ushio and Tora from a JASDF transport taking them who knows where.

As was teased previously (by his evil grin), Nagare is now on Hakumen’s side. There’s no explanation why, nor why he retreats as suddenly as he appeared when a HAMMR helicopter approaches (he sliced an armored humvee in half; he can’t take out a chopper?)

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So yeah, there’s been a lot of piling on this season, and each episode has dug deep into the vast repository of Ushio to Tora characters from the first season, dusting them off and putting them back on the game board, like the two HAMMR scientists who didn’t die.

All the negativity of compounded ordeals early on made it hard to enjoy this episode, but the show does,to its credit, throw us a few bones of both hope and levity, which are much appreciated—though Asako getting out of bed and wandering around town with her skin still healing, looking like a damn mummy, is definitely not one of those bones. For the love of God, Asako, go back to the hospital!

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Rather, Ushio’s first bone is the Rock Eater armor HAMMR procured from the Kouhamei Sect before shit went down. They believe it will help them in the latest trial he must face: stopping the JASDF, all the brass of which have been fooled by a false Jei Mei, to launch missiles at the stone pillar at the bottom of the sea where Hakumen is (barely) being held.

It’s pretty obvious by how she speaks and looks that this Jei Mei is not Ushio’s mother, but a Hakumen fake, and it’s just as clear destroying the stone pillar will have the opposite effect of destroying Hakumen’s power.

You know you’re in a plot-heavy show when a fleet of submarines makes an appearance in your supernatural action fantasy shounen rom-com-a-drama! So much stuff going on.

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After Nagare’s tease and HAMMR, Ushio decides to stop by at home to…clean his room for some reason. Naturally, he runs into an ambush by more agents of Hakumen determined to crush the stone Azafuse before they revive and join the fight.

In the process, Ushio’s house is fucking destroyed (I can’t believe that hasn’t happened like five times already, considering all his dangerous adversaries!), and even when he dons his arguably badass Rock Eater armor, he and Tora end up in a tight spot.

So it falls to the shattered bits of petrified Azafuse to glom onto Tora like armor which, while lamer-looking than Ushio’s, enables Tora to take out the baddies with ease.

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After that, all that’s left is for Ushio to collect a couple of mementos from previous episodes and go down to the cellar to re-enact the scene where he first met Tora, which was….weird. I guess it speaks to how on-the-same-wavelength these two are—and how desperate for a moment of fun and levity among all the destruction and despair—that they’d do such a goofy thing.

However, after seeing Asako wander the streets in her bandages, I was really hoping she’d end up at Ushio’s place, even if, realistically, she’s still probably too frail to make it there. But she didn’t, which sucks, because now Ushio is off to the Okinawan Sea to stop those JASDF subs from doing something stupid.

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Space Patrol Luluco – 04

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A massive meteor is heading for town and Luluco’s desire for Alpha Omega Nova’s undivided romantic attention must be put on hold. The chief has a plan to stop the meteor and it’s going to take all three Space Patrolers to pull it off…

because they will effectively be the booster rockets of their own spaceship and the weapon to destroy the meteor!

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Midori is in the first stage to be ejected, followed by AON, leaving Luluco alone to destroy the meteor and somehow get back from space. All does not go entirely to plan, if a plan actually exists.

However, Luluco is eventually successful… only to learn her Space Mom (and possibly a space ship) were inside.

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SPL is a rapid fire constant stream of madness kind of show. So the opening, which lingered on Luluco’s romantic longings for AON, had me nervous. Fortunately, the head-sirens come out and quickly thrust the cast into an FLCL style “have to read it twice to get it” storm of delicious nonsense.

Little details like the English speaking mission control guy saying “the current episodes storyboard is under production without a final script” before simply repeating the Japanese mission control guy’s lines in english are the cornerstone of this type of humor.

The chief mumbling do this because something something with a nonsensical explanation behind him on a white board, pixel art technical animations of the rocket stages, and the claw-game style controls Luluco must use to drop a bomb on the asteroid… this episode was densely packed with quirky details.

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I have no idea where SPL is going. I’m not sure what if it’s actively parodying other Gainax shows like DieBuster or if the style just makes it look that way. I don’t know if the teen romance with an impotent triangle is all that interesting.

But I do know to I love this show for its stylish art and sense for humor.

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Kuromukuro – 03

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After the yellow “Demon” retreats, Ouma spots another part of the world (other than the mountains) that hasn’t changed since his time: a castle. When he calls out to be given an audience and gets no reply, he is confused. When he gets a look at Yukina’s outrageous-for-his-time outfit, he scolds her.

When Yukina starts talking to a “box”, a lady appears inside of it, and the castle’s floodlights come one, he believes it all a matter of demon trickery. This is a man stubbornly clinging to his time, but this week he finally relents, even if it means becoming, as he sees it, ‘useless’.

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What Ouma does not and will not set aside is his honor, which means even though he considers Yukina his hostage, he shan’t lay a hand on her, nor any woman or child. That policy is tested when he’s quickly re-captured by the UN, escapes again, and comes afoul of Sophie. She surprises him by taking him down and putting him in a hold, but she releases him when he gropes her. While not every female soldier in this day and age would have reacted as Sophie had, in this case he was lucky.

What’s nice about Japan is that many man-made things haven’t changed much in four centuries; not just the castle: Yukina’s uncle Yakushi Osho is a monk, and wears the same basic threads as his forbears of yore. He manages to finally calm Ouma in a great little scene in which the two men sit together and speak plainly.

Even so, when Ouma is in transit flanked by UN guards, he runs into Yukina’s precocious little sister Koharu, who came to the lab to see her sister and wandered off on her own. Koharu gets in trouble with the guards holding Ouma, who knocks them out for threatening to raise a hand to a child, something he cannot abide in any century.

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Now, it’s a bit implausible and convenient for Koharu to have such free rein in a high-security facility, and that of all the halls of the vast complex, she crosses paths with Ouma. Then again, Ouma seems to be a bit of a man of destiny, while Koharu is a known “adventurer”, as some little kids tend to be. She’s also a bit of a samurai otaku, and cheerfully greets him with the traditional –de gozaru vernacular.

She also follows him out into the woods, but it isn’t long before a demon “Cactus” gives them the jump. Koharu is captured, and Ouma must run back to HQ for help—and his “steed.” He enlists Yukina’s aid, promises seppukku if it turns out he’s wrong, and the steed flies to his location to scoop the two of them up.

A thrilling ride ensues, with the steed flying over the massive dam and through the river’s canyon, with Yukina using her phone’s GPS to locate Koharu. They find her just moments before the Cactus makes off with her (covered in some kind of cocoon) and with some UN assistance, Ouma is able to slay the demon.

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For his heroics, he is pardoned for his latest escape, but more than that, this whole ordeal ends up leading to Ouma’s final realization that much time has indeed passed since he went to sleep in that cube. He knows this because the landscape tells him: a great rock cleaved in two by his own (relic’s) hand so long ago, now covered in plants.

Meeting again with Yukina’s uncle, with no lord to serve Ouma knows not his purpose nor why he is alive anymore. But I will rest assured that purpose will be revealed to him in due time, if it hasn’t already. I presume he was awakened so he could join Yukina (distant relation to his former lady?) in fighting the new scourge of demons poised to wreak havoc across the globe.

That he was able to rescue Koharu can be a purpose in and of itself, though it’s true she only ended up in danger because of him. Still, before long everyone may be in danger, at which point his new purpose—to protect those weaker than he—will be clear.

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