Eromanga-sensei – 12 (Fin)

Sagiri allowed Masamune to attend the data collection trip because Elf and Muramasa (without her knowledge, through Elf) agreed to “do whatever Eromanga-sensei wants them to do” afterwards. In the final episode of Eromanga-sensei, the bill comes due.

Sagiri’s “festival” ensues, where she boots Masamune, puts the two girls in swimsuits, and makes them play Twister so they’ll strike lewd poses she can draw. It’s basically heaven for Sagiri and hell for Muramasa and Elf…but a promise is a promise. Needless to say, the session is also an excuse for healthy amounts of fanservice.

When Tomoe shows up at Masamune’s door to congratulate him on the success of his new imouto LN, I feared the worst: that Sagiri, suspicious of this new girl and jealous of her interactions with her dear brother, would somehow get Tomoe into a swimsuit as well, or worse.

Thankfully, that doesn’t happen, and the girl who, in hindsight, seems like the best fit for Masamune leaves with her clothes intact, having delivered a doujinshi of the little sister novel that is actual, no-nonsense porn…then says if Masamune gets an anime and becomes famous, she’d be happy to be his wife.

Sagiri inevitably gets hold of the material not suitable for her, and immediately sets to work drawing her own erotic drawings based on the little bit she saw. When Masamune can’t quite put into words why her drawings aren’t quite anatomically accurate, she and Elf decide the best way to settle things is by stripping Masamune naked…

If they had succeeded, would have been only fair considering how many girls have had to strip for Eromanga. But before they do, Masamune gets on the horn with Megumi, who for all her talk is just as clueless as Elf and Sagiri. It takes Muramasa sketching Michelangelo’s David to show them once and for all how to draw…that.

With the sun low and Eromanga all lewd drawing-ed out, she and Masamune bid farewell to her models for the day, adding they’re welcome to come back anytime. And this time Sagiri opens the window and gives them a proper wave goodbye, showing further progress in her attempt to overcome her shut-in-ism.

As frikkin’ wrong as it may be, it’s thanks to lewd art—the lewder the better—that Sagiri can forget about the crippling fear of being outside or interacting with other people. Her digital life is a means of creative expression and a (surprisingly) safe space in which to have rudimentary human contact.

And thanks to her brother’s uncanny ability to draw girls into his orbit, she now has a slew of flesh-and-blood friends to laugh and have fun with…as well as draw in risqué positions.

Re:Creators – 12

For an episode that purports to have new urgency by doing without the usual OP, this was a jet-cooling return to the less-than-stellar form of some of Re:Creators’s earlier episodes, in which far more is told than seen, things we already basically known are repeated to us so the characters can catch up (almost never a good look), and stakes and details are painstakingly set for a pivotal battle…later.

First off, Souta completes his confession, which was a little puzzling to me, because we, the audience, learned nothing new about what happened to Shimazaki, unlike last week. We knew he chose not to do anything to help her, and that eventually led to her offing herself, and that he ran away and tried to forget about her.

There’s at least a little bit that’s new as we get more interactions between Alice and her creator, whom she’s even more disappointed in after watching Selestia’s creator demonstrate his love for his creation by quickly revising her in the battle. She wants the same thing for herself, so she can save the world, but her creator says it’s up to her.

As he dangles from her flying horse high over the forest, she gets him to admit an embarrassing truth: he actually does love his creation, doesn’t want it to be cancelled, and believes it’s a world that’s worth Febby sacrificing her blood to protect.

She releases him and tells him to draw what he wants for the time being. The bond they’ve forged may make it difficult for him to join the other creators, so perhaps she succeeded in taking a potential weapon against Altair off the board.

Speaking of that weapon, the static group in the boring beige conference room has a nice long chat about Altair’s power and myriad, constantly-multiplying special powers, thanks to fandom. Clearly many a consumer felt a connection to Altair’s aesthetic and background, and she’s all too happy to draw power from people living in the very world she intends to overturn.

There’s great discussion of some clever concepts, including using the resources and reach of the (dubiously reliable) government to build up their own levels and abilities, as well as construct a kind of “birdcage” in the story world with which to capture Altair.

To maximize their power and have any chance against her, they have to create a gripping narrative that will capture and, more importantly, hold the interest and stir passion in their audience. They have to save the world with a story.

Altair may be singleminded but she’s no fool, and wouldn’t be surprised to learn that there’s a plot afoot to stop her using the same means from which she draws power. But she’s confident she still has the upper hand in the situation (no doubt fueled by the deep-seated despair that brought her into existance in the first place).

She also has a new member of the team to replace the KO’d Mamika: Celestia’s partner, whom I highly doubt Celestia will want to fight. With his arrival, and the popping up of two or three more creations she hopes to get to first, Altair likes her odds in the battle that’s coming.

Shingeki no Bahamut: Virgin Soul – 12

The plot of this episode couldn’t be simpler: as Rita, Nina, Jeanne, Favaro and Kaisar escape the prison, the battle between humans and gods commences—and quickly turns into a rout, forcing Charioce to use “The Device”, a WMD cure that looks far worse than the disease and which I have little confidence he’ll be able to control.

Speaking of controlling unknown quantities, Sofiel continues to worry about how Gabriel is using El as the linchpin of their attack. Gabriel, apparently quite jazzed up about going to war, dismisses Sofiel’s wordless concerns with a sidelong glance. But Sofiel is still full of doubt and apprehension; we should keep an eye on her.

Down in the depths of the imperial prison, Rita has no trouble re-springing Nina and Jeanne, and the three women embark on a harrowing escape from an almost unreasonably vast and relentless garrison of guards.

The chase is depicted from a variety of different areas of the prison, and from many different angles, colors, and speeds, keeping things from getting repetitive. It’s a positively rousing adventure, and it’s especially satisfying to watch the ladies taking care of business without help from, say, Kaisar and Favaro, who are still locked up on the men’s side.

None of them escape before Gabriel’s giant celestial donut appears ominously in the skies over Anatae. Charioce has a giant, impressive and deadly-looking force waiting for the gods, but one piercing glance from a fully-operational El renders all the humans’ (and subjugated demons’) fancy toys inert.

From there, the heavenly shock troops are deployed, and waste no time demonstrating why You Do Not F*ck With The Gods. Each one of them is able to take on entire platoons and battalions. It’s enough to make Kaisar’s younger Orleans comrade essentially call for a timeout; though no such halt in the battle is forthcoming. The humans asked for a war, and Gabriel has given them one.

Our heroine trio eventually make it to the other side of the prison, and Favaro decides it’s ready to reveal the secret ability of Kaisar’s metal hand as an explosive device when the right gang sign is made and words spoken. Kaisar is, not unreasonably, quite cross upon learning his hand was explosive all this time, and would like the next one Rita makes him to not have that “feature.”

Both those means of escaping their cells and the moment when Favaro and Kaisar finally cross paths and team up with Rita, Jeanne, and Nina, makes for some warm and laugh-inducing levity in an otherwise intense outing.

Naturally, Favaro makes an inappropriate comment about Nina’s “development”, and Kaisar and Jeanne’s reaction upon reuniting made me a shipper on the spot. The band has gotten back together at the perfect time: when the sh*t is categorically and profusely hitting the fan.

Gabriel has backed Charioce into a corner, but he doesn’t waver in calling for the activation of the previously-mentioned “Device”, which rises out from beneath the prison (destroying said prison in the process…collateral damage much?) and resembles a Laputa core. It seems poised to fire upon the god donut.

It’s the kind of bahamut-like escalation it will take the maximum effort of our heroes to overcome—possibly even a sacrifice or two.

Tsuki ga Kirei – 11

Sooo…this episode was just about perfect, which doesn’t really surprise me at this point. Kotarou and Akane are on splendid terms, so Kotarou faces two new conflicts this week, which prove more complex and challenging than winning Akane’s heart. Gaining the approval of his parents, and being accepted into Koumei.

We know Akane’s grades are great and her family is the reason she’s changing schools, so there’s not much tension on her end; just whether or not Kotarou will like her hand-knit scarf (which…DUH of course he will).  So instead we delve deep into Kotarou’s small, quiet family, and navigate the treacherous waters with him.

Like Kotarou and Akane’s romance, Kotarou’s problems with his folks are portrayed with a heightened sense of realism and equilibrium. His mom may sound worse than nails on a chalkboard when nagging Kotarou, but she’s only nagging because she cares so fiercely about her son’s future.

That being said, I don’t decry Kotarou pushing back against the path she’s already laid out in her head for him. It is HIS future, after all. But just as Kotarou was initially so bad at communicating his feelings (or anything else) with Akane, he’s equally bad at explaining why he’s so hellbent on attending Koumei.

Hell, he never even seems to try, which works against him early on as his mother quickly dismisses his intention to follow a “girl he likes” as teenage caprice. We know better—Kotarou near-as-makes-no-difference loves Akane, and she loves him, but his folks have no choice but to work with the information they have, which is scanty.

Rather than hearing it from him, Kotarou’s mother comes to gather more information on her own, as she watches her son furiously studying late into the night. She can tell he’s working hard for something he believes in, so obviously she’s not going to come in and crush his dreams by forcing him into a municipal school. Instead, she adopts a wait-and-see approach, putting her faith in her son by letting him hold the keys to his future.

The constant studying wears Kotarou down, and his mock exams are, uh, nothing special, so it’s great to see Akane spearhead a Christmas meetup that serves as a much-needed break for both of them, as well as an opportunity to exchange presents.

It’s lovely to watch the couple so comfortable and warm around each other, especially the lack of hesitation when they lean in for another kiss. You really get the feeling, both here and after all we’ve seen, that this isn’t mere puppy love; these kids have a future together…even if they don’t end up in the same school.

One night, Kotarou’s father lays it out: they’ll let him apply for Koumei, but if he fails, he’s going to a public school. Kotarou accepts the fair conditions, then stands slack-jawed when his dad tells him when his homeroom teacher told his mom Koumei wasn’t a realistic choice for Kotarou, she fought back, leading to an awesome thunderbolt of a quintessential Dad Line: “She can be naggy, but…Well, there you have it.”

Sure enough, when heading downstairs at 1 am for a snack, Kotarou finds his mother there, making some fresh onigiri; forming the balls with love, care, and gentleness before heading off to bed. His mom is no longer an impediment to his dreams of attending school with Akane. She never was. She saw the effort he was putting in, and decided to support and even fight for him.

The morning of his big, decisive exam—the last true impediment to his happiness (though not really since as I said their love seems likely to endure the lengthy but non-permanent distance)—both Kotarou’s mom and dad are up to make sure he has everything he needs, to wish him luck, and to see him off. And Kotarou does something he hadn’t done all episode, but sorely needed to do: he thanks his mom.

These family interactions are so understated and relatable, and really form a nice little arc within the episode as understanding is achieved between the parties and the conflict is revealed only as a measure of concern. Kotarou puts in the work to assure them they needn’t worry, and they show him that they are and always will be on his side.

Now he just needs to pass that goddamn exam!

Saekano 2 – 11 (Fin)

Megumi and Tomoya go on a date, not just because it seems like the thing to do after the rest of the harem has cleared out, but to cheer one another up. It’s clear it’s not a one-sided case of Megumi cheering Tomoya up from the look of a soundless flashback in which she reacts dramatically to Eriri’s news she’s moving on from the group.

Megumi also seems to take great joy in shopping for clothes and shoes with Tomoya around. Even if he has no fashion sense or money to speak of, his company is appreciated and their instincts—like the one to hold hands in the crowded section—are often in sync.

By the end of the trip, Tomoya is feeling much better, as is Megumi, and the former makes sure they stop by a hat store so he can get her the same white hat she was wearing when he first envisioned her as his main heroine, as thanks both for her company and for getting him glasses last time.

Megumi is touched by the gesture, and when they return to that fateful hill, she tells Tomoya “she’s not giving up”. It strikes me as having dual meaning, as she intends to move forward with the doujin group even without Eriri and Utaha…and intends to make Tomoya fall completely for her.

Tomoya agrees they should move forward, but when his laughter turns to tears of loss, she reaches out to embrace him, only to then pulls back.

Now sufficiently cheered up, cried out, and ready to move forward, Tomoya takes it upon himself to see Eriri and Utaha off, surprising them both on the platform of their train to Osaka. Their looks say it all; Eriri in particular can’t believe he’ll forgive them.

But it’s not about forgiveness at all for Tomoya; it’s about wishing his two dear and wonderfully talented friends good luck on their exciting new venture. And I don’t think he’s putting on airs—one doesn’t turn down something like Fields Chronicle, and he thinks their “god-tier” talent can make it the best ever.

This sendoff, complete with a Megumi phone call with the same positive, concilatory intent, is enough to bring Eriri, Tomoya, and even Utaha to tears. It’s a bittersweet moment, one perhaps made a bit more silly when after Eriri removes Tomoya’s glasses, intending to keep them, then leans in to kiss, it’s Utaha who steals a big, long smooth with Tomoya, and Eriri is forced to whip out her twintails for the first time in a long while. They also miss their train in the excitement.

But no matter; they’re on their way. Post-credits, Tomoya and Megumi are both on first name terms, now seniors in school, chattering away with their usual excellent chemistry and bonhomie. Then, to their surprise, Hashima Izumi appears, a recent transfer, and Tomoya understands Iori’s words about sending his sister to a place where her talents can be put to best use.

Will Izumi be the artist for Tomoya and Megumi’s game? Perhaps, but it’s a certainty that Michiru will score the music once again. Hey, remember Michiru? The show makes sure to let us know it’s in on the joke regarding her absence for the back half of the season (which, frankly, was fine).

But notably, Michiru is conversing with Eriri and Utaha, who are watching Tomoya from afar. Eriri is still enrolled in the school, but the graduated Utaha is there because “it’s a free country.” The more things change, the more they stay the same!

Sagrada Reset – 12

Last week was seemingly an indication that Sagrada Reset was content with a quiet end to its first cour, as it has an entire second cour with which to work. It slowed things way down to allow us to spend some more quality, non-perilous time with Haruki—as well as inside her head.

There was no indication in the episode that “Something Big” was looming in the shadows or lurking around the corner…that was just Mirai stalking Haruki. The question is, would the twelfth and final Spring episode of Reset maintain that casual tone, or would that Something Big turn up after all?

Ah…well…Something Big it is! Let’s get right to it, shall we?

The episode sure does, having more of a connection to the tenth than the eleventh with its Souma-heavy opening. Now that Kei has brought Souma back, he wants her to live a normal life as a normal girl…in the normal world. That is, he means to send her away from Sakurada. Only then, he believes, will her death disappear, both from the world and from her memories.

It is then Souma, not Haruki, who primarily drives Kei’s latest mission. That mission is a little nebulous at first, as we start off with that mission in progress. Sakuin has instructed Kei to investigate Katagiri Honoka, a girl who has been asleep for nine years, but whose ability has created a dream world in which she now resides.

Because it’s a dream world, and thus not “real”, Kei believes it’s the perfect “test facility” to experiment with his theory about sending Souma away. After all, there are no do-overs in the real world; in Katagiri’s world, he can simply wake up, Reset, and try something else the next time. And it just so happens Kei goes on a long date with Haruki on the day they reset.

Before starting off on this journey to the dream world, Kei receives an unexpected visitor, Nonoo, who was sent by Souma to make contact with…someone who may well be…another Souma. But before that, she, Kei and Haruki go to the hospital and fall asleep in a room adjacent to Katagiri’s. It’s notable that we never see her in the real world.

There’s a Wizard of Oz-like quality to the trio nodding off then awakening in another world…a world where left and right, east and west are reversed. Kei is actually the last to arrive, while Nonoo doesn’t appear to have come along for the ride. Along with Haruki, there’s a new person in the room: a girl who goes by Michiru, with a bluebird on her shoulder.

 

Ebulliently voiced by Uchida Maaya (this show has great casting), Michiru insists she’s Michiru and not Katagiri Honoka, and asks Kei and Haruki if there’s anything they wish they could have. She’ll contact “Chiruchiru” who will then grant that wish. It’s a case of Katagiri, a god of her own world, abdicated her power to a surrogate, so that she could feel the joy of having her dreams granted by a god.

The bureau doesn’t approve of the “fake” happiness such a “closed eden” provides, perhaps fearing its grip would cause people to lose their grip on reality. That certainly seems to be the case with Katagiri. After Kei and Haruki leave the hospital to explore this mirror image of the real world, they discover a wall of fog that surrounds this version of Sakurada, ostensibly preventing Kei from performing his experiment.

As for Souma, she shows up in the hospital to read Chiruchiru’s future, which looks the same as always. “Michiru” never changes (this is an Eden, after all). Chiruchiru voices his frustration with the apparent pointlessness of his efforts, but Souma tells him they’ll be rewarded—but it’s up to Kei, not her.

Kei and Haruki encounter Ukawa, sent by the bureau for an initial report, who states ominously that, depending on the circumstances, she’s supposed to “crush” the dream world. While having dinner with Haruki in a restaurant the reverse of the one in the real world (like everything else), Kei gets a call from Chiruchiru, warning them not to go out at night.

Since they’re already out, Chiruchiru teleports them to Kei’s bedroom. Kei manages to get him to answer two questions: the white wall is an “isolated birdcage” for the “blue bird”, and Michiru is definitely Katagiri Honoka, only she’s forgotten that fact.

With that, Kei and Haruki start yawning and rubbing their eyes, meaning it’s getting to be time to wake up in the real world. After Kei frets a bit over the proper sleeping arrangements (he offers Haruki the bed and takes the floor, but Haruki wants to be on the floor too), Haruki dozes off before him, just as she did in the real world.

But she’s not asleep long, as a tremendous racket emanates from outside. Kei watches with quiet awe as a colossal, grotesque, slimy monster emerges from the white wall and starts wreaking havoc in the town. A suddenly awake Haruki calls the monster a monster, which appears at night to “destroy the world”.

Reset’s second cour starts off an episode early, with style…and in Top Bizarro form. With an ability user apparently trapped in such a world, does it fall to Kei to free her and restore the memory of who she was, even if it means destroying the Eden she created? Is Chiruchiru the monster? How will this mission further his desire to “finish saving” Souma?

It seems we’ve got three more episodes of this arc to sort through it all. I don’t doubt things will get stranger before they get…less strange.

RokuAka – 12 (Fin)

Rock Bottom: Leos threatens a frightened Sistine into submission; if it means protecting Rumia, she’ll marry him; sure, whatever. Rumia visits the absent Glenn, who say’s he’s got this. But then the day of Sistine’s sham wedding arrives, with no Glenn in sight. Sisti is resplendent in her nuptial white, but her face is a mask. Rumia and Re=L aren’t fooled; Leos is a Bad Man. But where the heck is their hero?

Ah, there he is. Just when Leos is about to plant a kiss on Sistine’s lips to seal the deal, he bursts in to object to and cancel the wedding. Sistine, who had worked so hard to steel herself, and isn’t convinced Rumia will be safe if she doesn’t do as Leos says, is initially upset about being saved.

But Glenn insists he’s got this. When hordes of Angel Dust addict puppets appear, things start to feel a lot like the battle he fought years ago; the one in which Sara died. Meanwhile, Sisti gets a front-row seat to some bloody, intense professional mage shit…and she’s not steeled for that.

When Leos turns out not to be Leos, but a former fellow Mage Corpse Executioner, Jatice Lowfan (dumb name), who tells them the real Leos died horribly, Glenn again orders Sistine to get the hell out of here; she doesn’t belong in this world.

She obeys, but after slipping in her long, bloodsoaked gown, she remembers how much she cares for Glenn and isn’t willing to let him kill himself in some random fight for which he already carries emotional baggage.

She tears away excess fabric so she can run and saves Glenn from a critical hit in the nick of time. She knows she doesn’t belong in this world…but neither does he. She’s taking him back where they both belong.

Glenn and Sisti form a two-man cell and proceed to hand Jatice his ass-tice, even ruining his lovely summoned esper, Justia. Jatice straight up wasn’t expecting Sistine to join the battle; not when he was sure he’d sufficiently messed up in the head with the Leos wedding ordeal.

So yeah, it’s another villain who simply underestimates the power of Sisti, Glenn, or the combination of the two. He admits defeat this time and strolls off…but of course, This Isn’t Over…Jatice is after the titular Akashic Records that allow their owner to essentially rule the world, and he thinks he has to get rid of Glenn with his own hands to do so.

As bad guys go, Jatice is pretty lame; as his his name. But the threat he poses will surely drive a chunk of a second season, if RokuAka ever gets one (I’ve heard no plans). Nevertheless, the re-reconciliation between Sisti and Glenn, and in particularly Sisti overcoming her fear, saving Glenn rather than vice versa, and fighting by his side made for a satisfying tentative conclusion.

RokuAka was far from perfect, but it featured a great core of highly likable, rootable characters which kept things entertaining and made it easier to overlook the fact the show’s not that great-looking. Not only that, but starting with its first episode, it’s always had a great way with its audience, balancing comedy, drama, and outright peril with wry aplomb. If a Season 2 ever surfaces, sign me up.

Re:Creators – 11

Meteroa and Celestia quickly recover from the injuries sustained in last week’s battle. Matsubara is by Celestia’s bedside when she thanks him for the drawing and story that ultimately induced Altair’s retreat. Matsubara believes the people who deserve more of the credit are the masses who saw and liked the art. He also clarifies that he wrote her story as proof he lived, not simply for fun.

While taking Souta on a head-clearing, exhilarating ride in the Gigas Machina, Kanoya talks about how differently the creations all seem to approach their reason for being, but notes they’re all the same in that all they can do is what they’re meant to do: save the world, in the case of heroes (and threaten it in the case of the villains).

Creations like him who save the world only exist because worlds that have to be saved exist. Kanoya recognizes and respects Souta and the other creators’ role as the makers of those worlds, whether as proof they existed, or any number of different motivations creations simply don’t have access to.

Kanoya gives Souta a lot to think about, and at the first meeting with Meteora back on her feet, discussing how a change in strategy is necessary, Souta provides the reason why: Altair’s creator is already dead, and he killed her.

From there, we travel back to Souta’s first contact with Shimazaki Setsuna, when she praised his drawing of Celestia. He liked her drawings, and she liked his, so they started an online friendship that eventually led to an in-person meetup.

When they meet at the station, we learn Shimazaki’s real name isn’t Setsuna, but Yuna, that Souta is exactly how she had hoped he would be. Yuna is also kind, beautiful, and adorable, in a way that makes watching her and Souta enjoy the day together, while knowing her ultimate fate, that much more heartbreaking.

Their day is suddenly infused with danger and dread but also intimacy when they arrive late to a presentation and Souta decides they should go up to a catwalk for a better view. Yuna slips and almost falls to her death, but Souta grabs her (thankfully well-made) purse strap and saves her.

The two are suddenly in each other’s arms, heavily breathing, and Yuna is excited by how much of an adventure the day has become. Souta then lends her his glasses, which she takes without hesitation and asks how she looks.

We know that despite the sweet start to their relationship, things gradually turn bitter, and while we had the broad strokes of how and why Shimazaki ultimately offed herself, it’s instructive to get the heartbreaking details.

Souta, who is, after all, only human and just a kid, gave in to envy and resentment as Shimazaki’s popularity on their art boards took off while he stagnated. Souta found he couldn’t be the supportive voice Shimazaki wanted and needed, and he drifted further and further away.

His supportive voice would’ve been of great help to Shimazaki with enduring the storm of hate that hit the boards when another poster—possibly also jealous of her—started the rumor of her plagiarizing work. From there, the mob was off to the races, viciously attacking her and suggesting she kill herself.

Throughout all this, Souta was merely an observer. While he initially felt he had to step in and try to help Shimazaki, he felt paralyzed by a number of things: the possibility of the mob turning on him, as well as the slight satisfaction he can’t deny he got from some of the criticism.

So while Souta didn’t plunge a sword in Yuna’s chest, he did nothing to stop others from doing so. It was a choice he made; the kind of choice Kanoya said creations don’t have; and it was the wrong choice.

Now the world is a place where Yuna is dead, her creation is loose and on a quest of vengeance. But his choice to come clean with the others wasa good one; hopefully the first of several he and the others will make and bring an end to Altair’s tempest.

Eromanga-sensei – 11

No Emily and no Muramasa this week: it’s just Masamune and Sagiri, with the latter trying so hard to welcome the former home in the foyer (and in a swimsuit), only to retreat to her room at the last minute. When the launch date of the novel they collaborated on arrives, Masamune takes a trip to the bookstore in Akiba with Sagiri in tow—in the form of a streaming tablet; a “sibling date” as Masamune puts it.

That journey becomes the vehicle for some pretty hefty reminiscing for both Masamune and Sagiri. After his mom died, Masamune decided writing stories online was the thing that made him happy, which made his family happy.

The reason writing made him happy? There was someone who found his stories interesting and would chat and text with him about it all the time. That person was Sagiri, but he didn’t—and still doesn’t—know that. Meanwhile, Sagiri, who had no dad, found drawing fun because someone liked her illustrations—Masamune, natch.

He even helped motivate her to go back to school and ask her mom to teach her more about illustrating, as both basically agreed to cut off their ephemeral relationship to realize their mutual dreams to become professionals in their respective arts. And they did!

That’s all well and good, and it is nice to see Masamune and Sagiri getting on so well while not technically related by marriage, though that’s what happens later on. These are two people who have always, at the end of the day, relied on one another to fill the hole of praise and support left by the absent parent in their lives, as well as serve as catalysts for their growth as writer and artist.

What I’m a little dubious about is that Masamune started writing these stories when he was only eleven damn years old, and Sagiri started reading them and drawing when she was only seven. That’s…really frikkin’ young to be having such a nuanced online relationship of mutual creative support with someone.

Then again, these two aren’t your normal youths. Also, a big chunk of the cast of Oreimo pops up at the end, with Kirino and Ruri debating the potential of Masamune’s new novel. Even Kyousuke and Masamune’s eyes meet. But just hearing such enthusiastic discussion about his work makes Masamune happy, which was the whole point of this all along. And when he comes home from Akiba, Sagiri does manage to greet him in the foyer.

Attack on Titan – 37 (Fin, For Now)

Erwin manages to tie off his arm stump and stay conscious enough to witness a lot more of his scouts get eaten by the swarming Titans, but Eren and Mikasa are rescued from “Momeater” by Hannes, looking to settle a score from the very beginning.

Historia, who is now correcting people who call her Krista, tells Ymir it’s time for them to live for themselves, and when Ymir is around, no matter how messed up things get, Historia isn’t scared. Seeing her brandishing a sword and a confident smirk is a great way to close this chapter on the character.

Hannes lasts about as long as one would expect, but Momeater ends up eating him in much the same way, as Eren and the injured Mikasa can only watch. Eren tries to transform before his hand is fully healed, resulting in failure and an emotional breakdown.

But Mikasa is there to pull him out of it, bringing out the Full Adorable Mikasa routine and essentially charming Eren into calming the eff down, which still leaves the matter of Momeater starting to finish up with Hannes.

When it reaches out to grab another snack, Eren stops its hand with his fist, and something happens: Eren gains a new power. That power transforms his ravings into orders for all the rank-and-file Titans to follow, making them his minions.

They surround and tear Momeater apart, then aid the scouts’ retreat by swarming Reiner, forcing him to give up on grabbing Eren. Seeing that Reiner and Bertholdt are in deep trouble, Ymir runs to their aid, leaving Historia behind with a simple “I’m sorry” and tender caress of her hair.

Reiner and Bertholdt survive the day, and that night, Ymir tells them why she helped: because the day they brought Wall Maria down was the day she was freed from her nightmare of a life, into a life that’s, if we’re honest, still a nightmare, but maybe not quite as bad because she does have a measure of freedom.

As for Eren, he has no idea what happened, so Armin has to put two and two together for him, having talked it over with Jean. That Eren now knows he can control Titans without becoming one (he’s the “coordinate”, as Reiner says), is huge. It means civilization behind the wall isn’t as imminently doomed as everyone thought the previous day.

Not that there’s going to be smooth sailing ahead. As the scouts look out, the camera speeds past the horizon and beyond any point the humans we’ve been following have ever reached…all the way to another wall; another civilization, where a shirtless man with glasses sits atop the Beast Titan…whom I’m guessing is Eren’s dad.

That’s an effective, world-expanding teaser for a continuation of the story…whenever it happens to come around. While I’m not greatly informed of the particulars, it seemed like a huge effort just to get these twelve new episodes produced and aired, so I’m not holding my breath for episodes 38-50.

However, for all the questions from the first season the second failed to answer, I still feel it did the job most people expect of Titan: to entertain. I can’t say I wasn’t, or that I don’t look forward to the next chapters.

Shingeki no Bahamut: Virgin Soul – 11

Jeanne and Nina wait for the right moment to make the slip and start the long climb to the elevator that leads to the surface, and freedom. Jeanne quickly learns how useful Nina can be as an ally.

She’s able to run and jump better than any Olympian even with a ball and chain, as well as bend metal bars. These two have great chemistry and their repartee during their escape attempt is great stuff.

Meanwhile, in the realm of the gods, Gabriel lifts whatever seals had been cast on Mugaro, AKA El, and he transforms into someone who, well, looks like they belong among the gods.

El also gains a voice; the voice of Kugimiya Rie, to be exact. He uses that voice to essentially parrot Gabriel’s words: he’ll “correct” humanity and save his mother. He’s like putty in Gabe’s hands so far.

Back at the prison, Rita arrives and quickly works her way down to the lift that will take her to the subterranean network where everyone else is imprisoned, showing what a force she can be on her own when motivated.

It’s also a ton of fun to see Rita clearly take so much joy in her work; she’s having a hell of a time barreling through dozens of guards with ease…until they shoot her out of the air. Even then, she has her umbrella to slow her descent.

In the capital, one of the mob-appeasing demon-on-demon gladitorial matches Charioce is holding in the colosseum becomes the dramatic stage upon which Gabriel gives him one last chance to heed her demands he return the godly property he stole, along with St. Jeanne.

Charioce remains unbowed, despite knowing the gods now have Jeanne’s powerful son. Apparently he believes El isn’t enough for the gods to defeat humanity…but he may well be mistaken. Nevertheless, Gabriel gives him what he seemingly wants: a declaration of war.

Once Nina and Jeanne approach the lift (after a harrowing ordeal with a spider), Jeanne is discouraged by the legion of guards awating them…but Nina assures her she’s got this—she’s “strong”, after all, and demonstrates that strength by acting as a one-woman wrecking crew, creatively using her ball and chain as a leg-mounted mace.

But it’s all for naught, for when the elevator doors open, it isn’t Rita awaiting them, but King Charioce XVII himself, who quickly points his sword at Jeanne’s throat and demands that she join his side against the gods, so that neither the gods nor her son will suffer or die.

Jeanne says “thanks but no thanks”, and Charioce orders her thrown back in her cell, where she’ll stay, powerless to stop those she cares about from “marching to slaughter” (though I still think he’s being overconfident). Say what you will of Charioce the villain, he did give Jeanne a kind of chance to prevent a war; it’s just that Jeanne would never betray her gods, even to save her son…not to mention Charioce simply can’t be trusted.

At this point, Nina, on the bridge, holding off the guards literally singlehandedly, has had enough of Charioce picking on Jeanne, and gives him a peace of her mind once more. Charioce approaches her and gets in her face, causing her not just to blush, but realize he is the man she arm wrestled with; with whom she shared that magical night; with whom she danced.

Learning that man and the evil king are one and the same is definitely gutting for Nina, who offers no resistance as she and Jeanne are re-imprisoned (though I wonder if they’d be placed right back in the same block together again).

Nina’s spirits immediately lift when Rita and Rocky appear, having taken advantage of all the ruckus Nina and Jeanne’s escape attempt caused to sneak in under the radar. Here’s hoping Attempt #2 is more fruitful.

Tsuki ga Kirei – 10

Akane’s text about moving is such a shock to Kotarou, he actually calls her on the phone (!) in what is known as a “phone call” for all of you born after the iPhone. Both seem terribly down about the idea of being apart, but also agree that they’ll make it work somehow.

That, despite the dubious success of long-distance relationships throughout history they can’t and shouldn’t think about, lest they get way too depressed. Kotarou also considers applying for the same school in Chiba she’ll be transferring to, which would obviously allow them to see each other regularly.

The festival that follows their talk will be the last one Akane attends as a resident of Kawagoe, so it too has a pall of sadness over it, even though the presence of Kotarou in full fox regalia performing the Hayashi dance on the mobile stage in the streets combines that sadness with a sense of awe and venerability.

But since Akane attends the festival with the track team, she inevitably ends up alone with Hira again, and at the worst possible time – when Akane is about to meet Kotarou on his break. Worse still, Kotarou happens to see the two together. Hira confesses to Akane, who promptly turns him down, but when she sees Kotarou, he can’t hide his annoyance and, yes, his anger; he can deny it all he wants!

While one could say he’s been over-possessive here (especially since Hira has no chance against him), let’s not forget how young and inexperienced in the relationship arts this kid is. He’s never been in a true “fight” with Akane until now; with “fight” meaning a failure to properly communicate at the proper time and place.

Both are miserable and still unable to talk to one another the next day, but by the time that day is at an end and Akane and Kotarou are done cram school, Akane notices a book on Koumei high schools was requested at the municipal-office-thingy-place, and Akane uses her mad running skillz to track down Kotarou.

He’s not coy; he was the one who requested the book. He’s seriously applying to her school, and was going to tell her once he told his parents (who still don’t know and at least one of whom, his mother, will be hard to convince).

Their silly row at the festival quickly fades away as a rush of happiness comes over Akane, after hearing Kotarou tell her whatever shape his future takes, he wants them to be together in it. That’s what Akane wants too, and after rushing into Kotarou’s arms, crying tears not of frustration, but joy, she quickly dries her raw eyes and leans in to kiss him.

Their road ahead will have more bumps, but I’m pretty dang confident in the staying power of this couple’s love…and confident the show isn’t about to break their—and our—hearts in the home stretch. They’re going to be just fine. I take comfort in that.

Saekano 2 – 10

It’s very rare indeed for an episode to come around that gives you everything you wanted; everything you held out hope would come to pass but didn’t dare expect. And yet, well, here we are.

The completion of Cherry Blessing was an arc closure at an odd time in the run of a season, but the groundwork that was laid thereafter pays off wonderfully here, as Kashiwagi Eri decides to Take Her Talents to Rouge Beach, thus enabling Kasumi Utako to come along for the ride.

We start in the aftermath of that hellish meeting with Akane, still shaken from the abuse they were forced to endure. Utaha is no less honest and upfront as Akane was: she’s steaming mad that she’s being treated as an afterthought; a James Jones, if you will.

But as much as she hates Akane for doing so, she still agrees with the producer that Eriri is many years too early and too green to presume she’s “in a slump.” If Eriri agrees to do Fields Chronicle, Utaha will strive to crush her, even as they collaborate.

Of course she does. Competition, even outside one’s own field, drives a creative like Utaha. She wouldn’t be who she is if she didn’t treat Eriri as a rival; and when such a massive job comes around such as this, her’s is the name she’ll want spoken first in praise of the game.

Eriri laments that Utaha is dumping such a huge decision on her alone, but Utaha points out she’s not the one doing the dumping; that’s Akane. Utaha never had a choice. But if Eriri says yes, she’ll work with her, and not just because she’ll be able to as part of the deal with Akane, but because she believes the two of them can move forward together.

Not long thereafter, Eriri calls Utaha out of the blue, inviting her to join her back at school, where Eriri announces she’s defeated her slump and has her drawing touch back.

She forgot to bring the sketches to prove it to a giddy, over-the-moon Utaha (who curses Eriri for being so damn useless), but Eriri doesn’t need them, and instead proves it by sketching then coloring a gorgeous portrait right before a stunned Utaha.

She is indeed back, and Eriri responds to Utaha’s approval with smiles and laughter, but those turn to bitter tears when Eriri thinks of the reason she can draw again. As much as she wanted it to be because Tomoya wanted her and because of his support and love, she can draw again because of the less-than two minutes Akane spent insulting her.

Akane’s tirade did what it was meant to do, whether Akane meant to do it or not: Rattle Eriri’s cage; rattle it until the latch slips loose and Kashiwagi Eri can be fully released from behind the iron bars of Tomoya’s safe, comfortable doujin group.

That place is no longer conducive to the creative growth required for Eriri to be as amazing as she can be—and as Tomoya said she could be. It’s a hard pill to swallow, but Eriri does so, and Utaha offers a comforting hug in the process. You heard right: Eriri and Utaha hug. 

In return for her empathy, Eriri warns Utaha not to let Akane look down on her. Utaha had seemed thus far to be taking Akane’s words as gospel because she’s so experienced and successful, but Eriri, staunch Kasumi Utako fan, offers a different view: Akane “isn’t anything special” if she would so blithely underestimate Utaha’s talent.

That, in turn, elicits tears from Utaha, but she wipes them before bumping fists with Eriri, the first step on their new and exciting journey that is almost asssured to make them a part of video game history.

That leaves Tomoya Aki, whom I half-expected to blow his top and throw some kind of temper tantrum at the news that not only would Utaha be backing out of his group, but Eriri would too, thus “betraying” him for the second time in their long years together.

But I found that such a half-prediction was selling Tomoya short. He’s certainly not elated by the (off-camera) defections, but he’s a big boy, and he’ll get over it. I was pleased with how mature he acted, while Hashima Iori, who left rouge en rouge with Izumi for, presumably, the same reason Eriri and Utaha left Blessing (to grow), urges Tomoya not to quit game developing and creating just because he lost his two “golden geese.”

And I totally get why: Eriri and Utaha were just as much training wheels as geese; he’ll now have to test his producer mettle other people; creatives who may not be as hugely talented, and people who won’t be lured into working for him by the feelings they harbor for him!

But there’s another reason Tomoya will be just fine: his harem has been shattered, and with it all the myriad routes he could have chosen to take. Now there is one route, and it leads him up the same sakura-scattered hill, where a familiar figure seems to be waiting for him…

That figure is, naturally, Kato Megumi, the girl who is best suited for Tomoya, and always was; a girl he won’t be stifling creatively, because they work so well together. She’s returned to the short hair that first inspired Tomoya into making a video game about a nice, astonishingly ordinary, “boring” girl.

Tomoya, in turn, drew Eriri and Utaha into his orbit. Normal as she may sound and appear, without Megumi there’s no Blessing Software, no Cherry Blessing, and no Fields Chronicle offer. She was their heroine, the heroine, and now he’s his. And like any good heroine, she makes the first move, suggesting they go out on a date at once.

Sounds good to me! Well done, show: Satisfying resolutions, character growth, and so many feels.