A hearty omedetou gozaimasu to Hideki Matsuyama, the first Japanese and Asian-born man to win the Masters!—RABUJOI STAFF
With far less exposition to dump on us, this week’s CWBD is an improvement, flowing much better structurally and focusing on its kooky characters, like the artificial combat chimera Rose and Grimm, archpriest of Zenarith, god of undeath and disaster.
While both are eccentric to say the least, Alice deems them two of the more powerful assets at their disposal. With their ultimate goal of defeating the Demon Lord in mind, they can’t be picky about personalities.
And just like KonoSuba, there’s nobody here whose personality you’d call “normal.” Alice comes closest, but she’s an android. Six continues to be a cad, racking up Evil Points. Rose is a timid glutton who has a sinister chuunibyou side. Grimm wants a man, and Six would seem to do. Grimm and Rose were both exploited by the military as frontline weapons.
The newly-formed party first tastes battle after harassing a demon lord army supply train, which distresses Snow because she wants more exciting frontline combat so she can affort to pay off her sword (the news she clawed her way to where she is from nothing makes her character more interesting).
Then two of the Demon Lord’s Elite Four arrive: the voluptuous Heine of the Flame (whose “cosplay” reminds Six of his comely bosses back home), and Gadalkand of the Earth, who straight up murders Grimm, just like that!
Even though his sole interaction with her was catching a glimpse of her thong, Six still wants to avenge Grimm, but Gadalkand and Heine both withdraw before he can fight them. Then he learns from Snow and Rose that due to her demon blood and position as Zenarith priest, she comes back to life no matter how many times she dies…which should prove quite handy!
While Six continues to be, for the most part, pretty scummy, he comes off far better this week, especially when he sits vigil over Grimm’s corpse in the temple of Zenarith. When she wakes up, she’s surprised he’s there because he didn’t want her to be lonely.
The episode closes on a sweet note, as Six orders her a spiffy new Kisaragi-brand wheelchair and the two go on an adorable date racing through the wastelands and breaking up couples in a village. This is still no KonoSuba, but I came away from this second episode feeling like it’s starting to find its own voice, and liking everyone just a little bit more.
“We are kept keen on the grindstone of pain and necessity.”
― H.G. Wells, The Time Machine
Hanagaki Takemichi, 27. Former delinquent, peaked in middle school. Virgin. Aimless. Menial employee, prone to mistakes. Too used to the mess in his apartment. Too used to apologizing and having it not be enough. A pebble worn smooth and shiny, the better to be carried by the whims of the river.
Then a news bulletin arrests Takemichi’s listless flow: gang violence has claimed innocent lives, including Tachibana Hinata, his first and only girlfriend, and her brother Naoto. That name from his past makes him look at his present and wonder Where Things Went Wrong.
Then Takemichi falls—no, is pushed—onto the track as a train approaches. There’s a flash of light, and the first image in his head is of Hinata, shamefully blurry for someone he was once so close to—a symptom of the dreary inertia of the ensuing twelve years.
Before Takemichi knows it, he’s not under a train, but on one. He catches a glimpse of himself in the mirror: open collar, bleached hair, baggy pants. To his contemporary eyes it’s all too brutally lame…and yet this is when he says he peaked. When he was a delinquent in middle school. When he was Hinata’s boyfriend.
Sensing that his life must be flashing before his eyes, those times twelve years ago slowly come back to him, making him realizing how easily he forgot them. By the time he realizes he and his four delinquent friends are walking into an ambush by third-years and his tough-talking cousin is merely their errand boy, it’s too late to avoid the beatdown by the hands of the Tokyo Manji Gang—the same group responsible for killing the Tachibana siblings.
And yet, as Wells quote above makes clear, it is only through adversity and failure, personal or collective, that we are compelled to change and improve. The beatdown is a wake-up call to the adult Takemichi. He splits off from his friends and rushes to Hinata’s apartment.
When he rings her doorbell, Hinata answers, and her first reaction is concern that he’s been fighting again, asking if he needs help. Takemichi is so happy to see Hinata’s face clearly for the first time, and so ashamed that he forgot it and his love for her, he begins bawling.
Hinata, in turn, doesn’t believe for a second that nothing is wrong, and tells him to come out with it. After all, she’s his girlfriend, and she wants to know everything about him. Seeing her face and feeling her hands on his serve as another wake-up call—another turn on the grindstone—in twelve years, this wonderful person will die needlessly.
As Takemichi contemplates his present situation, a small boy is being hassled for changed by three slightly older kids. They’re interrupting the moment Takemichi is trying to have, something in him snaps, and suddenly all of the worries and questions that flooded his head earlier when he first realized he’d be getting into a fight disappear.
He slugs one of the harassing kids, then breaks a bottle in half and threatens to kill the other two if they don’t piss off. He’s left with the small boy, whose first instinct isn’t to thank him for saving him, but to say it’s dangerous to just throw the broken bottle on the ground.
After properly disposing of the glass, Takemichi gives the kid some pointers about having confidence and resolve—things he never had—before learning that the kid is Tachibana Naoto, Hinata’s little brother. Takemachi goes for broke and tells Naoto how he’s travelled back in time, and Naoto, possessed of the open, curious mind of youth, believes him: on July 1, 2017, he and his sister die. But now that he’s warned him, Naoto can protect her.
If this is real, then I want to change the future, Takemichi thinks to himself before shaking on it with Naoto. Upon that handshake, an odd spark runs through Takemichi, and next thing he knows he’s coming to in the train station infirmary, very much not dead, on July 4, 2017. He’s told a man saved his life at the last second, who is there to speak to him.
That man is none other than Tachibana Naoto, who credits Takemichi with changing his fate. Thanks to his warning twelve years ago, he worked hard to become a cop so he could protect Hinata, and survived the gang attack so he could save him in turn. Despite all that, in this timeline, Hinata is still dead. Which means Takemichi’s quest is far from over.
While no one can mistake this for a fully or even remotely original affair (with elements of Erased, ReLIFE, and Steins;Gate, along with Groundhog Day and Back to the Future), its straightforward, confident execution and blooming emotional resonance count for a lot.
And while even his 27-year-old self is a bit of a wide-eyed baby-face (some weight gain and scraggly beard would better sell his plight) Takemichi makes for a surprisingly likable protagonist, ready and willing to make the most of the second chance the universe has given him. It remains to be seen if he can change enough of the future to save Hinata, but I’m committed to watching him try.
This is going to be one of those shows most viewers will either hate with a steaming passion from the moment the titular Nagatoro first speaks, or follow with a kind of morbid curiosity about just how much teasing, taunting, and straight-up abuse our MC Hachiouji Naoto is ready, willing, and able to endure before he snaps and…asks her out!
Nagatoro’s way with Naoto can be very stressful at times, even for someone who wasn’t bullied as a youth. I wouldn’t be surprised if this is just not a pleasant time for some people, and would totally understand if they want to wash their hands of this show after its first outing made clear what it’s going to be about.
All that said, I came away from Nagatoro thoroughly entertained, and I think a lot of that has to do with tuning into its very particular wavelength. It certainly helps that Uesaka Sumire is so good in voicing Nagatoro’s role, and the visuals are gorgeous and sometimes downright stunning. You have to buy into the idea that for as horrible as she is for much of this episode, this is all really Nagatoro’s way of engaging—and flirting—with Naoto.
Nagatoro is first introduced as one of four faceless gyaru-esque types loudly carrying on in the library, where none of the shyer people around them have the guts to tell them to shut up or leave. Naoto is intimidated by their mere presence on the opposite end of the room, thinking he’s never going to have anything to do with “that species”.
When one of the girls picks up a manga drawing he dropped, Nagatoro seems more interested than the others, and stays behind while they go hang out elsewhere. This is key, as no one else is around during all of the teasing that ensues when she has a flustered Naoto reenact the scene from his manga with her. That’s not an accident; I think she likes it that way.
Nagatoro may be ridiculously irritating and invasive and almost utterly contemptuous of personal boundaries, but she is this way to Naoto and no one else, and with no one else around. It’s the same in the art club, when she makes sure they’re alone before teasing him by offering to be a nude model.
I daresay Nagatoro gets off on dominating the year-older Naoto. Her face does a lot of things throughout the episode, but one thing that stands out is that she’s often blushing just as much if not more than he is while she’s engaged in her teasing. When he’s knocked backwards when she unbuttons her top, she blushes. When she relents and agrees to draw her normally (with her clothes on) she blushes.
She’s loving every minute of this, and seems to be fueled by Naoto’s passivity and submissiveness. Her criticism of his manga and his portrait of her is actually pretty constructive when you think about it, as her goal seems to be to get him to either draw a manga with a character more like him or to become more like his character. She also wants him to draw her better, which means she wants him to draw her again. She was, after all, the first girl he ever looked at so closely.
When Nagatoro makes Naoto cry in the library and she offers him a handkerchief, it almost feels like rubbing salt in the wound. But then when she makes him cry again—after she physically overpowers him and says he’s “so weak”—her demeanor softens considerably and she apologizes while gently drying his eyes, admitting she “had to” mess with him again.
More like she couldn’t resist, because she gets so much pleasure out of riling him up…and also out of drying his eyes. It’s like she’s breaking him down so she can build him back up. In any case, it’s a very cute and tender moment when she realizes she might’ve gone too far there.
That said, Nagatoro continues to pester Naoto as he leaves school, and they apparently share a route home. It’s here whre Nagatoro may actually be hiding a genuine request to go out with her behind a layer of teasing. Sure, even if Naoto straightened up and said “yes”, she’d laugh it off as a joke, but the simple fact that Nagatoro won’t leave him and only him alone means there’s something there.
When she accidentally pushes him into the river (due to some creative physics on the part of the episode) and he comes out soaking but still not letting her have it, she remarks how he never seems to get angry. The thing is, Naoto is used to bullying and used to dealing with it by looking away and closing his mind. Because of that, he doesn’t remember the faces of his previous bullies.
When prompted, he tells Nagatoro that she ticks him off and gets on his nerves, but “he doesn’t hate it that much…talking with [her] and stuff”. Having called her simply “miss” throughout their interactions, Nagatoro finally gets him to ask her for her name, and for good measure, she writes it on his chest with her finger, never passing up a chance to get a rise out of him.
The episode ends with her trademark devilish smirk, but also flushed cheeks as she says “Let’s get to know each other, Senpai.” I’m willing to give Nagatoro the benefit of the doubt because Naoto is, and has dealt with worse treatment before, and to him Nagatoro simply feels different. Perhaps it feels less like a bully and victim, and more like a dom/sub or top/bottom relationship? And it also feels safer because so far all of the humiliation she’s brought upon him has been private?
I doubt at this point that Naoto perceives that Nagatoro harbors genuine attraction to him precisely because he lets her drive him to tears, but as he said, he doesn’t entirely hate it that much. Will the D/s dynamic continue, or will Naoto start to try to assert himself more as he grows more comfortable around her? I’m eager to see where this goes. Your mileage may well vary considerably.
Episode 1 “Senpai” Count: 51