The Gist: Colonel Sue Anson wakes up in a Kingdom hospital, months after last week’s battle. He’s seen God and has orders to kill Tanya, and his eyes glow yellow with the power to do it. Despite this scene being tucked after the ending credits, and lasting barely 30 seconds, this is the primary purpose of the episode.
The 20 minutes of content leading up to this shows Tanya’s Battalion in the Rhine valley, where they must retake a city that’s being overrun by freedom fighters. The battle is fierce, as the resistance is backed by air-dropped mages of the Republic (the robot horse guys) and the tight quarters of city fighting play against Team Tanya’s advantages in mobility and ranged firepower. Also, because civilian casualties are guaranteed, it plays against her soldiers’ emotional stability.
This is especially rough on a gung-ho second lieutenant who’s been trying to win Tanya’s approval. Specifically, after the battle is won and after hauling wounded bodies for hours, he’s ordered to eliminate the Republican mages providing cover for evacuating Civilians, in prep for a lethal saturation of artillery fire.
It’s not entirely clear if he’s more upset with Tanya’s logical explanation that the survivors will simply take up arms against him and the Empire, or if the truth of her words is too hard to bear (he can see a young man in the crowd glowering at him, as if telegraphing a thirst for revenge) or if he isn’t upset at Tanya at all but the war itself. Whatever the reason, however broken it makes him, it is strongly implied that he opens fire at Tonya’s command.
The Verdict: Youjo Senki captures the horrors of war and the process of dehumanizing soldiers to the point that they act more as tools than thinking humans better than previous outings. However, minus Anson waking up, this was still a ‘war is bad’ episode, it still overly reliant on the ‘ain’t it cool’ factors of the show’s technology and Tanya’s badass war fighting skills. Again, without God or a greater view of the conflict from inside Tanya’s head, the tragedy of carnage isn’t especially compelling.
As for Anson waking up, it finally sets a narrative destination in motion, which is good. However, Anson was never developed enough to be a compelling opponent for Tanya in the first place. Sure, losing his country and being a dad give him the basis for conflict in dealing with Tanya, but we don’t see how his mind works, let alone have there been scenes dedicated to emotional conflict for him fighting Tanya.
This leads me to suspect a fairly straightforward combat focus to their conflict in the future. While that may be visually stimulating, it would be a letdown. Youjo Senki, at its best, can do better than that.