Eizouken ni wa Te wo Dasu na! – 07 – Spilling Tea for Art’s Sake

Tsubame’s unyielding passion to capture the motion of the world around her through drawing started when she was in grade school, watching her grandma toss tea into the yard with a precise, practiced motion. The action fascinated her, and she yearned to master it herself so she could capture it in all its glory.

When she ended up in classes on how to stand, sit, and walk in preparation for her modeling career, Tsubame voraciously jotted down all the various motions, even discerning a better way for her infirm grandma to move and walk more comfortably. She carries that passion on in every frame of animation she’s drawing for this robot anime.

She does this in defiance of her mother’s insistence she not get involved in animation, but also in lieu of getting the proper amount of sleep or paying sufficient attention in class. Yet even if she’s sleep-deprived and her grades start to slip, there’s no alternative. Tsubame is gradually learning not to be a total perfectionist, but she’s never going to give anything less than 110% effort.

With Doumeki on board, the trio now have someone with far more audio know-how than the rest of them combined, but that just means she’s able to describe in precise demoralizing detail all of the challenges they face and the consequences of not properly harmonizing visuals and sound.

Meanwhile, Midori is presented artwork that the artists believe was following her instructions, but which she worries will fundamentally change the film they’re making. The artists need to be more flexible, but she needs to be more precise in her direction.

While I’m sure Sayaka considers it another strictly-business opportunity to give her talent a much-needed break, and it is their bathhouse visit after school is closed due to rain turns out to be a nice bonding experience. There’s a familial intimacy to bathing together that the team previously lacked.

It’s also fun to watch Midori dutifully call her very nice parents to let her know where she is and what she’s doing with whom, as well as the very rich Tsubame marveling at every aspect of the bathhouse experience, as well as insisting Sayaka douses Midori over and over so she can watch the motion of the water —much like she asked her granny to keep tossing tea.

The three then dine on crawfish after catching their fair share themselves (though they can’t eat the same fish they caught, as they must be purged of mud first, Midori points out), and Midori and Tsubame whip out their sketchbooks to capture their dinner in all its crustacean glory. Few moments of these young women’s lives seem to ever pass without them capturing it with pen or pencil on paper.

When the rain subsides, they return to their studio, and Tsubame gradually becomes frustrated with her animation of a chainsaw. After discussing possible remedies with Midori, the two bring in Sayaka, who thinks its fine and that they should watch it with sound. Sure enough, it makes more than enough impact for the quick cut…but Tsubame isn’t quite satisfied.

Both Midori and Tsubame consider anime to be the best way to appreciate movement, more so than even live action film, and that comes down to intent. The imagination, passion and effort of a great animator comes out in every frame of their work, lending it greater impact than a mere directed and photographed live-action actor.

Tsubame isn’t looking to “make people smile” with her anime. She wants to be able to wow people like her, who can’t help but spot every potential flaw or revelation; notice every triumph or defeat. By being her own harshest, uncompromising critic, an artiste like Tsubame could potentially problems for a production on a shoestring budget and tight deadline.

But doggone it, the eventual visual rewards of letting her go wild are well worth the pain. It’s why Sayaka is almost always irritated and annoyed, but she’ll gladly bear those emotions if it results in an exceptional—and profitable—final product. When you successfully harness the chaotic energy of special talents and personalities, great things can happen. And like a rocket taking off, the sky’s the limit.

ID: INVADED – 08 – The Lone and Level Sands Stretch Far Away

With Hondomachi diving into a well within a well, Assistant Director Togo leads rescue efforts, which consist of sending both Narihisago and Fukuda into Momoki’s id well. No one knows how this will go, but it turns out working out pretty well…for whomever set this elaborate, elaborate trap.

Sakaido and Anaido wake up in a massive, desolate desert with no food or water and an unmoving sun. The two Brilliant Detectives briefly clash on how to proceed, but their disagreements are more a matter of speed than content.

As Sakaido inspects Kaeru’s corpse a bit longer, Anaido follows footsteps of someone who “stole their watches”, which would explain the watch-like marks on their wrists. Sakaido eventually catches up, and the two trudge through the desert until they find something…anything.

It’s notable that with no memories of the real world but the Brilliant Detective programming that came with them, these two get along famously, with Akaido even calling Sakaido “brother.”

The two eventually find a second corpse—that of the “watch thief”—partially submerged in quicksand. They also find a second cockpit, like the one in Narihisago’s id well, which is also programmed for the id well of Asukai Kiki. Sakaido volunteers to dive in, while Anaido stands by to extract him in ten minutes.

In the real world, Momoki is being interrogated by police, but he just doesn’t seem like John Walker so much as the victim of a frame job. When he hears two detectives were sent into his id well, he demands they extract them at once. If Hondomachi is already in a trap of Walker’s making, Narihisago will join her soon.