Izumi Masamune is a popular light novel writer despite still being in high school. He lives with his stepsister Sagiri, whose face he hasn’t seen in over a year. One day while he’s watching a livestream of Eromanga-sensei, the mysterious illustrator of his works whom he’s never met, he notices the note he left with Sagiri’s meal, proving that she is Eromanga-sensei.
She finally lets him see her face, and even invites him in her room to talk, but despite having collaborated with each other on light novels for three years, the road to re-connection won’t be a smooth one.
Eromanga-sensei’s value isn’t in the twist that the siblings are artistic collaborators. I figured that out the moment Masamune said he’d never met his illustrator. Rather, it lies in excitement bred from the sudden disruption of a long-standing status quo; a stalemate between Masamune and Sagiri that had no end in sight.
Now that they ‘know who each other are’, so to speak, they have an opening that I imagine they’ll be ever-so-slowly exploring throughout the show. A show with a crisp, clean, airy look and theme of emotionally distant siblings that viewers of he Oreimo series will find familiar, due to the two shows sharing the same character designer, Kanzaki Hiro, and writer, Fushimi Tsukasa (the two collaborated on the source novels of both shows).
The moment Sagiri finally opens her door is a momentous moment, but the Schrodinger’s Cat-style tension it releases is replaced by the long, difficult, and outright awkward road ahead.
As Sagiri says, this is all very sudden, and it’s hard for adults to wrap their heads around and process such sudden changes in life, let alone a kid who hasn’t left her room in three years.
It’s far easier for, say, Masamune to wrap his mind around this, because the mystery of who Eromanga-sensei was always irked him, and he never suspected for a minute it was his sister (Sagiri, on the other hand, seemed to harbor some vague suspicions, as his pen name is the same as his regular one, albeit in katakana).
Masamune also has the benefit of being able to leave the house at will and interact with other people face-to-face rather than exclusively through technology. Sagiri’s voice-amplifying headset is a nice touch for illustrating how ill-prepared for social interaction she really is. Even having Masamune in there is so strange, on more than one occasion she cuts off their encounters so she can return to the normalcy of solitude.
This is all to say that I really admired the way Sagiri’s condition is portrayed. She’s not slob; her room is neat and tidy, and there’s no denying she’s an immensely gifted artist, especially considering her age. She just…can’t leave her room, nor has she been able to since her mother (who encouraged her to draw) passed away. We all process grief in different ways, she did so by shutting herself off from the world that took her mom away.
Learning her brother is Izumi Masamune doesn’t change any of that. She still feels trapped in that room because of her mother’s death. And unlike Masamune, she doesn’t think they’re family just because they live in the same house and he serves her meals. It’s a combination of frustration over her self-confinement and shame that she’s been such a ‘troublesome sister’. Masamune’s unconditional love is confusing and frightening, and Masamune does come on a bit too strong with his enthusiasm over learning the truth at times.
But one thing’s for sure: Sagiri loves drawing for the enjoyment of fans and readers, just as Masamune loves writing for the same reasons. She likes the interaction her livestreams and blogging allow. She is every inch a child of the 21st Century, in which even self-imposed prisons still contain windows to the world. It will be interesting to see if, when, and how Sagiri is able to emerge from her room, and from the house to see the world again with her own senses.
…It will also be interesting to see if Masamune ever asks Sagiri where she’s been stashing the cash she’s made illustrating, and why she hasn’t contributed to living expenses!