Kaguya-sama: Love is War – 04 – Cat Ears, Banned Words, The First Text, French Invective

Citing that France is second only to Japan in cosplay popularity, Chika insists the StuCo welcome their new French exchange students while cosplaying. But when Kaguya and Miyuki put on cat ears, neither of them can resist smiling at the intolerable cuteness of the other.

Regardless, both don’t want the other knowing they find them cute, so they try to tough it out by grotesquely contorting their expressions in a futile effort to hide their mutual delight. To an outside observer like Chika, this looks like they’re glaring at each other with looks that could kill. Loser? Chika…for once!

The StuCo must organize a welcome party for the French, and two of them are needed to do all the necessary shopping, so Chika suggests the two losers of a “banned word” game will do the honors. This is a case of both Kaguya and Miyuki actually wanting to go shopping together, so it behooves them to let Chika win.

That suits Chika just fine, since she wants to win and pulls out all the stops to do so, demonstrating that while the Prez and Veep might look down on her as a second-rate intellect and airhead, she can more than handle herself in a banned-word game. She switches up her manner of speaking by rapping, and has the perfect words she knows Kaguya and Miyuki will readily say if properly stimulated: “love”, and “serious”, respectively.

With Kaguya and Miyuki both losing, their shopping date is set; they just have to agree when and where to meet, which requires one of them text the other for the first time. Kaguya’s maid (and audience surrogate) is somewhat exhausted by her charge’s beating around the bush (as are we all!) so she puts Kaguya in a corner by calling Miyuki then tossing the phone to her.

Miyuki’s extremely stern-sounding father answers, and eventually hands the phone over to his son, who is in the bathtub but doesn’t mind talking since his phone is waterproof. Once they’re talking, the tension fades away, but Kaguya makes the mistake of hanging up when Miyuki was in the middle of saying something else.

Kaguya curses herself while kicking in bed, but the result of her error is that Miyuki ends up being the one to text her first, telling her to stay warm and have a good night. Winner: Kaguya. Unfortunately, it pours so hard Shibuya Station floods, and the shopping trip is cancelled before it can begin. Still, Kaguya’s instinct to go regardless was correct: Miyuki was waiting for her, in the rain, by Hachiko…with his waterproof phone.

Thankfully, Miyuki doesn’t catch cold just in time for the French exchange students’ welcome party, so we get to watch him try to bluff about speaking French when he only skimmed a guidebook. Meanwhile, Kaguya merely pretended not to know French, only to turn around and speak fluently with one of the students. Even Chika, daughter of a diplomat, speaks French and other languages. Just full of surprises!

Little does Miyuki know the headmaster intended the party to be an important test to determine whether he’s truly worthy of leading the school. Betsy, the French StuCo veep and notoriously foul-mouthed master of verbal invective is sicced on Miyuki, and she proceeds to absolutely enrobe him in nasty French insults. Since Miyuki doesn’t speak a lick of French, it all bounces off!

The thing that isolated him ends up convincing the headmaster he does have what it takes, by enduring everything Betsy could through at him with placid “oui, ouis” in response. Even better, when Kaguya overhears Betsy, she comes to Miyuki’s defense, all while showing Betsy is no match for a properly scary Japanese high school girl.

Once the party has ended, Kaguya is ashamed of her nasty word-using, but Miyuki reminds her, he doesn’t speak French, so he didn’t hear any particulars of what she said. All he knows is she didn’t like how Betsy was talking to him, and fought on his behalf. For that, she has his gratitude. And so the episode closes with a win for both Kaguya and Miyuki.

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Boogiepop wa Warawanai – 06 – Protecting Unstable Hearts

For whatever reason Orihata Aya, AKA “Camille”, is beholden to the Towa Organization’s Spooky E, and he treats her like a disposable tool, urging her to hurry up and sleep with Anou Shinjirou, as well as gather clues that will lead to finding Boogiepop. Already, we see that “Camille” is bound in chains of fear, deference, and servitude. Who will break her chains, and is that even what she wants?

At least in this instance, Masaki intervenes, “saving” Aya from Spooky, who assumes the kid is an enemy of Towa when he’s just good at martial arts. Spooky shocks Masaki unconscious, and when he comes to he doesn’t remember his assailant. She apologizes, but Masaki likes her, and wants to do anything he can for her. So she asks him if he knows anything about Boogiepop.

Back at Shinyou Academy, Asukai Jin’s cousin Kinukawa Kotoe reaches out to Suema Kazuko, the school’s resident researcher of weird tings, regarding Jin’s odd and suspicious behavior of late. Suema promises to look into it, and before you know it, she’s hiding in a classroom into which Jin invites two girls, who promptly remove their tops and undergo some kind of magical ritual.

When it’s over, they feel like all the weight of their lives has been lifted and that they can do anything…for Jin. This is how Jin and Imaginator are taking over the world: one schoolgirl—one fragile adolescent mind—at a time. At some point someone’s going to have to stop them, but I imaging Boogiepop will again only play a supporting role. Suema, for her part, has always longed to “take on the darkness [her]self.”

In an auspicious crossing of paths, Suema encounters Anou as she’s talking with Niitoki Kei. Kei has kept her distance from Suema’s friend Touka (and vice versa), but not just because Touka’s guy rejected her, but because she knows Touka’s “other side.” Anou still seems pretty out of it, unable to remember what he’s doing at the academy while feeling like something important is missing.

Scenes of Aya talking to Masaki are intercut with scenes of Suema finding Aya on the roof, ready to die. Aya wants death to free others from her, not to free herself from Spooky E and Towa. Her self seems to the least important thing to her, whether that self has been tampered with by supernatural forces, or if it was always in a troubled, fragile, easily manipulated state…as most kids entering adulthood after all.

Both Aya and Masaki have initially believed the rumors going around that Boogiepop is a reaper that takes the lives of girls at the peak of their beauty so they’ll never become ugly, but Suema corrects her: Boogiepop is there to lend the helping hand to fragile young hearts that adults won’t provide, as adults they feel adolescence is just a phase everyone goes through, and will pass.

The reality is that sometimes it doesn’t pass, and you either get kids who kill themselves rather than continue suffering, or try to make others suffer as a salve to their own. In that regard, Boogiepop is there to protect them from themselves as much as those forces that would hurt or use them.

Rather than Boogiepop, the one doing the reaping here, or rather gardening, is Jin/Imaginator, as we see him “convert” more and more willing and in some cases eager young women to “their side.” The fact that this is visualized as Jin tending the roses so that they have roots, stems, leaves, and blooms – the height of their beauty.

Their hearts may thus be said to be complete and at peace, but they’re paying for it with their free will. It’s swapping one set of chains for another. I for one hope Suema, no doubt with help from Boogiepop (and others), can manage to shine a light on that darkness.

So…everything’s starting to make a little more sense, but this still felt like yet more setup, and with so many characters shuffling around, it’s hard to find firm ground on which to plant my feet and actually care about anything consistently.

Hopefully, as with previous mini-arcs, the payoff will be satisfying enough to make it worth all the setup. This seems like a show in which the destination is better than the journeys, or at least in which the destinations must be known before the journeys can be fully understood or appreciated.