Sousei no Onmyouji – 29

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Whew…I knew we were going to get some answers and stuff was going to go down once Rokuro, Benio, and Sae arrived in Kyoto…I just didn’t know we’d get those answers and everything would go down so quickly. The episode even teases the possibility of a “rest episode” in which Sae and her two de facto parents soak in the city and its many choice ohagi spots.

Then Arima calls them and tells them to get over to Exorcist Union HQ pronto. Rokuro and Benio have to put their plans for fun on hold, but they promise Sae they can go wherever she wants…once the Dragon Spot problem is taken care of. This promise, and the lingering long shot of the three in near silhouette against the river, felt like pretty strong death flags for Lil’ Sae.

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As Roku, Benio, and Sae head for HQ, Arima finds himself ambushed by Kuranashi, and we finally get to see what Arima is made of when he dodges the initial strike, then sends fire and ice summons after Kuranashi when he tries to flee to Magano. Kuranashi, whom we learn for the first time is a Basara…and the most interesting one since Kamui, to boot.

A furious, top-level duel ensues, highlighting SnO’s strengths: hard-hitting action with an above-average score and sound design that really makes blows and magical effects pop. We also see just how wet behind the ears our Twin Stars are, considering all the incantations they have to do in order to launch attacks. Here, Arima exorcises lesser Kegare with a look or a thought; I bet he just said “Begone” for effect.

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But then something happens I did not expect: Arima falls into Kuranashi’s trap, something called a “seman” that drains all of his spell power, which is then absorbed by Kuranashi. As Arima slowly descends into his apparent demise (though I doubt we’ve seen the last of him), he wears a defiant grin: Merely getting rid of him won’t give Kuranashi what he wants (to cover the world in darkness). This is his faith in the Twin Stars talking, for as he says, stars shine brightest in the darkest darkness.

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Of course, Arima’s faith doesn’t automatically mean Rokuro and Benio are ready to deliver the world’s salvation, as the most important answer to this cour so far is finally answered: Who or what is Sae? Turns out, she is a broken-off branch of the legendary tree Ame-no-Mihashira, the tree that forms the barrier between Magano and the real world. The dragon spots were caused when she was broken off by Kuranashi.

In the Miyazaki-esque deep core of HQ, Subaru and Tatara are there to explain all this too Rokuro and Benio, and to tell them that the only way to stop the Dragon Spots, and by extention save the world, is for the branch to return to the tree; for Sae to cease being a person.

It’s a hard pill to swallow, and the Twin Stars’ initial shock and denial is replaced by knowing, as Sae has demonstrated time and time again she’s no mere lost girl. Now, it would seem, the fate of the world depends on whether they’re willing to say goodbye to someone they’d come to see as their own child—’pre-Miko’, if you will, bringing the couple that much closer together.

It looks pretty likely Sae is not long for this world in her human form. But who knows? Maybe restoring the branch isn’t the only way. Whatever decision the Twin Stars come to, they’ll have to come to it fast, as the largest Dragon Spot yet opens over Kyoto. What will they do?

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Hibike! Euphonium 2 – 04

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In the end, Kumiko couldn’t do it. Or at least she couldn’t do it in time: confront Yoroizuka Mizore about Nozomi. Time is something no one in the concert band has: the competition is in ten days and they’ll be playing after Myoujou Technical.

It’s apropos that moments after nailing her piece in practice, Nozomi appears to praise her, than to ask if Mizore is around, since she heard her oboe. An oboe, by the way, that Nozomi remembers as being far more “fun” than it is now.

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There’s a reason for that, and it’s revealed this week, in IMO the best episode of the Fall 2016 Season so far (keep in mind I’m not watching Yuri!! On Ice). The tension when Kumiko realizes Nozomi is headed to Mizore, and Mizore’s painful reaction and quick retreat, are all beautifully done, as is Yuuko dropping all pretense and begging Kumiko to find Mizore quickly.

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Kumiko is the one who finds Mizore first, and though she didn’t get to her in time to save her from a painful encounter, she more than mitigates that by forming the conduit through which misunderstandings can be cleared up and fences mended, which was Kumiko’s hope in getting involved all along.

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Mizore, as we know, is bad with people. It’s hard for people to approach her and harder for her to approach them. So when Nozomi did approach her, in middle school, and they became fast friends, it was a revelation.

So much so, that when Nozomi quit the band without telling her, Mizore worried that it was because she was being left out. Nozomi was her only friend; Nozomi had many; and she feared more than anything that she was mistaken about their friendship.

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When Nozomi quit, Mizore shifted to Yuuko, but anyone could hear in her oboe play that she was still playing only for Nozomi; that Nozomi quit and could no longer play with her. When Yuuko arrives, worried sick, Mizore is so worked up about Nozomi that Yuuko has to remind her she has her too.

To that, Mizore reveals something more: that Yuuko was friends with her only out of pity; another misunderstanding. She was also mistaken in thinking her guilt over Nozomi and the others quitting was more important than being happy about winning the Kyoto Competition.

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Tanezaki Atsumi and Yamaoka Yuri do superb, powerful work here, bringing vitality and raw emotion to Mizore and Yuuko, respectively; there are moments when Tanezaki channels Hanazawa Kana. When Nozomi enters the classroom to find out what’s amiss, Touyama Nao adds her voice to this choir of awesomeness.

The most important misunderstanding is revealed by having the two friends finally face each other and clear the air: Nozomi didn’t tell Mizore she was quitting because she didn’t want her to quit too. She admired how diligent Mizore practiced.

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This was a case of someone who has trouble making friends and someone who has trouble not making friends ending up in each others’ blind spots. So it’s a good thing Yuuko and Kumiko are there to help bring them both into the light.

It’s also a case of my patience being rewarded, and I always reward shows that do that. Just when I needed some kind of catharsis over the building character tensions Kumiko was juggling, we get exactly that, and it’s as compelling and dramatically satisfying as anything on HBO. That’s the power of KyoAni at its best.

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Those fantastic scenes between Kumiko, Yuuko, Mizore, and Nozomi were bookended by Kumiko encounters with her older sister (who wordlessly storms past her and out of the house after an argument with their father), and her sister from another mother, Reina. The earlier scene very succinctly illustrates how wading deeper into her bandmates’ problems has taken her further away from her family’s. To be continued.

Her scene with Reina, on the other hand, is almost a reward for Kumiko (and us!) For a second I thought she’d bring up the fact that Taki-sensei is a widower. Instead, she asks Reina if there’s anyone in particular she plays for. Reina is, as Kumiko so perfectly puts it, “so Reina” in her reply that she mostly plays for herself.

But I’d wager a part of her plays for Kumiko too, as part of Kumiko plays for her. After all, come the next competition, everyone in the concert band will live and die on each others’ performances, not just their own.

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To Be Hero – 04

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Fortunately, our Hero is completely invulnerable…

The Gist: after a moment of surprise, Old Man discovers that his can not be harmed for more than a moment. Not even by blood loss, which does occur when he is ‘penetrated’ by Prince.

Things get boring fast, so Old Man picks his nose, which leads Price to believe boogers are Old Man‘s weakness. So Prince eats one and makes a giant booger ball but, before the showdown can happen, Old Man’s little girl shows up and beats ‘the perv‘ to a pulp.

…which reminds Prince of how his mother used to beat him, and how much he felt loved back then. Roll Credits!

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Yes… that is a giant ball of snot the Alien Prince is holding…

Verdict: This week would probably appeal to an 8 year old. The opening gag (where Prince keeps stabbing into Old Man yelling “but I put it in you from behind” type lines that Old Man calls out as creepy sex references) seem tailor made for that audience. However, the whole gross section devoted to eating/smearing boogers, seems fit for an even younger audience. Who knows who the child abuse gags were meant for…

Like the second episode, which spent more time being gross than funny or intelligent, episode 4 fell totally flat. I mean I get it. The aliens are dumb and dumbfounded by our world, and the humor doesn’t hold its punches but watching people get covered in animated bodily excretions isn’t appealing to me.

Shrug? Given the bipolar nature (and shorter episode length) of this series, I’m happy to tune in next week but man are the review scores going to be all over the place!

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