Inuyashiki – 09

The day after he kills an entire gaggle of press and an entire station full of police, Shishigami Hiro is all everyone is talking about. Due to his attractiveness, a number of fan clubs crop up, and many girls aren’t ashamed to voice their admiration for him. It’s a chilling reminder that this kind of “villain worship” happens in real life all the time.

Meanwhile, Hiro hacks all screens in Japan and makes an announcement: because Japan will never stop hunting him, he has declared the entire country of 120-odd million his enemy, and intends to kill every last one of them. He starts picking off targets from his rooftop vantage point, but also uses the screens of televisions and smartphones to execute people.

Andou gets Ichirou to send a hack of his own warning people to put away their smartphones, but it’s too late. In a half an hour, 100 have been murdered. He intends to kill 1,000 tomorrow and cheerfully asks the people to “look forward to it” before signing off.

Needless to say, it was hard to watch Hiro “gun” down throngs of people down in one of the busiest business districts in the world, and a place I spent a lot of time walking around. That sinking feeling is made worst by the fact he knows Chakko betrayed him (but wrongly believes he’s working with the police).

Hiro has also completely lost whatever goodwill he had with Shion. When he contacts her she begs him to stop the killing, but he responds as a machine would: there’s a problem, and they can’t live together in peace until he’s fixed it. He talks of eliminating Japan with the detached urgency one speaks of tying one’s unlaced shoe.

I doubt it will be long before even Andou and Shion enter Hiro’s crosshairs. The next day, as anticipation mounts as to whether, when, and how he’ll kill 1,000, we watch a pretty young woman board a plane, and once in the air, pacify a baby with a YouTube video.

Meanwhile, Mari is playing hooky with her friends in Shinjuku, but wants to keep the promise to come home with a treat for her dad’s dog. With Andou using Ichirou’s last name so often during their phone convos, it’s only a matter of time before Ichirou’s family is at risk too.

All the while, Mari seems to suspect/realize her father is the hero trying to stop Hiro, but is so unused to communicating with him she can’t seem to bring it up to him, or even thank him for going to bat for her over her future.

But that’s assuming she, and the rest of Japan, have a future. That plane with the woman and the baby? Hiro pulls it down in the middle of Shinjuku, in a sickening echo of 9/11. As his destructive capabilities increase, 10,000 dead tomorrow isn’t outside the realm of possibility.

Ichirou HAS to find him and stop him. But right now, he seems over-matched and overwhelmed, and it’s hard to blame him. If there’s a mark against this episode, it’s how ineffectual and unprepared Ichirou was against Hiro’s slaughter. He sent Andou’s warning to phones, but that just wasn’t enough.

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Juuni Taisen – 10

Juuni Taisen may be at the bottom of RABUJOI’s Fall 2017 barrel, but it’s by no means a bad show, and strong, simple, yet heartfelt episodes like this one only help the case for sticking with it till the end. I thought I’d had my fill of Kanae’s endless drinking and killing; it turns out, so had the show.

It wasn’t done telling us Kanae’s story, about how one day, on some random battlefield, she was mistaken for a civilian who had been plied with alcohol by the dastardly soldiers operating in the area. The man making that mistake was none other than Ushii.

Kanae never has the guts to tell Ushii the truth about her, and instead lets him rescue her and take her to a refugee camp on his back. While near him, Kanae soaks up as much as possible about the guy. She wants to know how a warrior like him does the right thing. His answer is simple: first you have to choose to do it; then do it.

Anyone—including Kanae—who is suffering or tortured has to reconcile the fact that it isn’t that she can’t do right, but that she’s chosen not to. Intent is everything. Figuring out how to do right is folly unless one decides that right is what they want to do.

Kanae takes this to heart, and decides she’s going to crawl out of her drunken hole of misery (in which she realizes she’s been suffering the whole time after all) and re-dedicate herself to becoming a warrior that would make Ushii acknowledge her.

That leads her back to the Aira dojo, where she successfully begs her way into the next Juuni Taisen, all to face off against Ushii. To her annoyance, he doesn’t remember her in the slightest (though to be fair, she was wearing a lot more back then).

And yet, the moment she chooses to do the right thing—save Ushii from Usagi’s disembodied killer arms, and take the sword strike meant for her—even seems to take her by surprise. She’ll be damned if she’s going to let such a horrible fate befall the man who not only saved countless innocent lives during his many exploits, but saved her as well.

If it weren’t for him, she wouldn’t even be there; she’d probably have drunk herself to death (though considering the tolerance she’s demonstrated thus far, perhaps not).

Turns out Ushii has never before been saved by anyone the way Tora did. That means he’s determined to save her again to repay his debt, unaware of the debt she was repaying him.

I thought it ludicrous even in this heightened reality that Tora would last long with a wound like that, especially with the jostling of riding on Ushii’s back. It’s not long then, that Tora herself tells Ushii to put her down; even if they find a hospital and her life is saved, she won’t be able to fight in their duel.

Instead, she calls the duel off and asks Ushii to kill her, lest Usagi claim her corpse. It’s a strong argument, and Ushii agrees to do it. Tora leaves the world with no regrets, with a smile on her face. Her wish, as it turns out, was to be acknowledged by Ushii.

She did more than that. By saving him, perhaps if he survives Nezumi and what’s left of Usagi, Ushii can continue his life of doing what’s right. All because in one crucial moment that made all the difference, Tora chose to do the same.

Shokugeki no Souma 3 – 10

Entering this shokugeki, I was a little dubious: I generally dig the concept of Kurokiba Ryo’s dual identity, but in execution, while cooking Okamoto Nobuhiko yells a lot in that very annoying Okamoto Nobuhiko way (though it has its uses). Meanwhile, this new baddie Kusunoki Rentaro, not only sounds a lot like angry Ryo, he also looks stupid with all his fussy accessories, and his haughty attitude is poised to wear faster than clothes during a foodgasm.

Still, by the time he’s completed his salmon confit flamme, I gotta hand it to Rentaro—the kid knows what he’s doing and he’s supremely confident in victory in a way every chef must be. While I came to love a good many of Food Wars many characters, this episode gets back to the show’s roots, and the thing that got be hooked early on before I knew anyone—the process of creating a dish.

Rentaro is a veritable culinary Radio Shack, employing many of the same innovative gadgets that Alice uses in her molecular gastronomy. And I can tell ya first hand it’s no gimmick—some of the moistest, most flavorful turkey I’ve ever tasted came from the sous-vide water bath method. Rentaro’s “elegant” use of heat (cooking the fish through steam convection) and cold (salmon ice cream from the cryomill) lends his dish a thermal interplay that knocks even Momo’s clothes off.

But while we were hearing all about Rentaro’s dish and how great it is, all we saw at the beginning of the battle was Ryo sauteeing rice and prepping bread dough. The final product is a total surprise: a french dish of Russian royal origin called coulibiac, and it looks every bit as succulent as the confit flamme.

I’m one of those people whose enjoyment of a food—any food, even highly processed—is only enhanced by learning more about it, particularly while eating it. So I can relate to the judges seeming to enjoy the dish even more once they unpack how it was prepared. Like Ryo’s cartoccio in the Autumn Elections, the brioche crust serves as a container for pure, intense umami that causes a brain jolt (and the loss of Megumi’s clothes, sneaking a bite from a portion Alice stole).

So, who’s the winner, eh? Rentaro and his elite colleagues believe the tie will be broken by his dish, because he was able to maintain moisture without drying out the fish. But it isn’t moisture that tips the scales, nor is it Rentaro’s dish that wins—it’s Ryo’s coulibiac.

How did he nab victory after Rentaro’s nearly-perfect dish? With imperfection. His umami was superior due to the use of an outside factor—spinach in the crepe, while his own original blend of spices (using a skill learned at the Indian restaurant where he interned) are unevenly distributed throughout that crepe, a non-homogenous tactic that enables the palates of all who taste it to sense the richness and flavor with greater acuity.

The use and distribution of spices was born out of the guy who ultimately won the Autumn Elections, Akira, as well as Ryo’s circumstance of ending up in the very kind of restaurant where he can bone up on a field he may have neglected in the past.

Then you have Alice supporting him as always (these two should really just get married at this point), and it all adds up to a Ryo who is not the chef who distinguished himself at the Autumn Elections: he’s better. And he gets a sweep and the first blow to the arrogant Central-picked elites.

Nice ep; its main demerit is that it checked in on Erina.

Why is that bad? Because it’s a reminder that, so far, Erina has had next to nothing to do but sit around the dorm. Granted, her movements are limited due to her runaway status, but that amplifies the Princess Toadstool(or Kuchiki Rukia)-esque quality of her arc thus far. But she’s just not the factor I’d hoped her to be so far.

Here’s hoping the series can get her more involved before this Third Plate is finished.

Kino no Tabi – 09

This week we get five stories in one, as Kino jumps from country to country and character to character in a what ends up a bit of a “beautiful world grab bag.” The first story is told from the perspective of two bandits, a student and an elder. The student wrongly assumes both Shizu’s party and Kino are appropriate “prey”, but the elder knows better from a look.

Cute and alone Kino may be, but if she’s alone, it’s because she’s capable of traveling alone, which means she can handle herself. Ditto Ti, holding her hand grenade, and Shizu, who may only be a swordsman but isn’t the type to be defeated by bullets alone. The elder learned a lot after wrongly believing Kino’s master and her apprentice were prey, but turned out to be “devils”.

A neat little outside look at Kino and Shizu. Next up: a country where people accrue “virtue points” to determine status based on good deeds. Points are deducted for crimes, but it’s a system in which it’s possible to accure enough points over a lifetime to exceed those that would be deducted for killing someone.

That’s the dilemma an old man Kino meets is facing, and indeed, he originally approached her with the intent to kill, which is why Kino never took her hand off her gun. The man laments his inabilty to kill anyone as a failure in life, for he’ll die wasting all the accrued points.

That was a bit silly and weird, but at least had a nice Kino moment of a seemingly nice guy turning out to be much darker. The third segment involves Kino’s visit to a “country of cooking” where a council of chefs begs her to cook a dish for them.

Hermes worries for the country, because apparently Kino’s cooking sucks (har har). However, the country buys into her super-spicy chicken, though another traveler comes along and makes a milder version that’s equally popular.

The fourth segment is the shortest, as Shizu, Tifana and Riku arrive in a city with giant statues people attach wishes to so they’ll come true. Ti decides to wish for “everyone’s wishes to come true”, which earns her many thanks and approving words from the folks around her. Of course, Ti only made that wish because she believes it’s all bullshit anyway.

Finally, Kino enters a country her master once mentioned as a place of “beautiful memories”, moreso than any other country. And yet, Kino was never able to get any actual info about the country out of her master. When Kino enters and seemingly immediately exits through the other gate, she learns why.

Upon entering the country, visitors must agree to have all of their memories of their stay wiped if they wish to stay. Kino agreed, which is why she remembers nothing. Hermes, whose memories weren’t wiped, nevertheless won’t tell Kino because he promised the country he wouldn’t and isn’t one to go back on his word.

All he can say is that she enjoyed herself, perhaps more than any other country they’ve visited. The details of that enjoyment, however, remain classified, though she was allowed to leave with a crude drawing of her posing with people she must’ve met there.

The end credits came a message from Kino’s original creator, Sigsawa Keiichi; an “anime afterword” consisting of words of encouragement for anyone seeking to make their dreams come true, as they apparently did for him. Well…good for him, and thanks for writing Kino so we could have this anime! It just seemed strange to get such a message when there’s still a quarter of a season left to watch…

Mahoutsukai no Yome – 09

After the dispersal of Cartaphilus, life returns mostly to normal for Chise, who enters a nice, steady routine along with her new familiar Ruth. The part that isn’t normal is Elias: he’s confined himself to his room and Chise doesn’t dare enter. Eventually, Silky tires of her standing by Elias’ door and throws her and Ruth out of the front one with spending money.

It’s not long before Chise runs into Angelica, and the two do some sightseeing and shopping around town. Angelica first tells her she needs to learn to rely on people more, but later wonders out loud if she’s being too dependent and fixed on Elias. While Angelica apologizes for saying too much, Chise latches on to her latter point, and turns it into a larger criticism on her own perceived “selfishness” for not wanting to be abandoned.

Obviously, Chise’s being too hard on herself. Considering how much she’s already lost in her sixteen years (and how few years she may have), I’d say she deserves a measure of selfishness. Besides, even as an apprentice she’s touched a number of lives in meaningful ways. She’s a good person becoming a good mage.

As if she heard my words about her, Chise decides to do what she wants, which is storm in Elias’ room and ask him what exactly is going on. The Elias who she meets is even farther from human than usual, and he warns her (with a steady voice that belies his fearsome appearance) he’s having trouble controlling his body. I couldn’t help but think of Howl (of the Moving Castle) when he’s extended himself too far and become beast-like.

Chise was startled initially, but doesn’t remain afraid for long (thinking it’s because she’s cursed). In fact, she spends the night with Elias, during which she dreams of him on top of her turning into her mother, who tells her she should never have given birth to her. How creepy and messed up is that? She wakes up to find Elias gone and a note saying he’ll be back that night.

That’s not sufficient for Chise, who didn’t get all the answers she wanted, and initiates a search for Elias with Ruth. Along the way, they encounter an old man apparently in thrall to a leannan sidhe, a kind of vampire that gives their host talent in exchange for their blood – but she is invisible to him.

The thing is…while Joel Garland is a big reader and occasional writer, he doesn’t have the talent or fame one would expect the Sidhe to give him. Nor does she even take his blood, because he lacks the ambition that is usually the opening her kind uses to gain a host.

Instead, she fell for him, years ago, when they met eyes. They meet eyes again, and the Sidhe believes it’s because Chise, a sleigh beggy, is there. She gives Chise a couple of kisses as thanks and asks her to come see Joel again some time, but insists, almost tsundere-like, that she doesn’t actually love the guy, since she can’t give him talent or take his blood.

Chise doesn’t think she can talk of love when all she can think about is herself…but is she really doing that? Does she only worry about Elias because he saved her; because gives her a reason to live; because she benefits?

Ruth finds Elias resting in a pool and Chise races to him, demanding more answers even though she expects only a few mixed with half-truths and deflections. Elias always assumed a minimum of information was needed since she understands and accepts him so quickly.

What he didn’t realize was that Chise cares about him to the extent a note and a little bit of explanation isn’t always going to cut it; she’s going to want more sometimes. Elias, taken aback by her “new faces”, now understands, but still needs more time to recover and gather his thoughts.

Just then, Echo’s familiar appears on behalf of Lindel, to invite Elias and Chise to the Land of the Dragons where he has “business” with her, revealing the setting for Chise’s next adventure.

Kekkai Sensen & Beyond – 09

The “Desperate Fight in the Macro Zone” concludes in epic, massively satisfying, and surprisingly moving fashion, proving that splitting it into two parts was a smart move. Hellsalem’s Lot gathers on rooftops to watch the pandemonium unfold, confident the world’s largest individual, Gigagigafutmassif will put the Rielmonster in its place.

Of course, using force against Riel only makes him bigger and stronger, leading Giga to beat a hasty retreat and leaving the crowd without a champion to save them from certain ruin. Chain and the Werewolf Bureau are in the midst of a week wine cellar-emptying girls’ “night” out, and miss the whole thing.

Riel has long since had his fill of his situation, but Gemnemo is unsympathetic; he wants his latest experiment to play itself out to its devastating conclusion, with him pulling the strings the whole way. Riel now knows how solitary it is “at the top” of the city’s food chain.

For such an action-packed episode, the act of him remembering a day in Central Park (or whatever it’s called in HSL) with Leo, and when a batted baseball breaks Riel’s arm, Leo goes to bat with him, not only standing up to the bully that hit the ball and laughed at Riel’s arm, but headbutting him.

Leo didn’t back down on that lovely, pastoral day (it really is a gorgeous memory accompanied by a gorgeous soundtrack), despite being small and relatively puny; Riel, on the other hand, is disgusted with himself for running away in a similar situation.

Now that he’s more lucid, he can see Libra members not back down even though their opponent is orders of magnitude bigger and stronger. And with infiltration expert Chain indisposed, it falls to lil’ Leo and Sonic to deposit Li Gado’s weapon into Riel’s giant body. Leo has to take his God’s Eyes to their absolute limit, but he’s not giving up on his friend.

Gado makes it clear that Riel is probably not even in control of his body any more, as Gemnemo is a control freak who responds to Riel’s second thoughts by starting an operation that will eliminate his free will—but not his senses, making him watch and hear all the millions he’ll kill.

Gemnemo, in the end, is just another bully who has exploited Riel’s need to be stronger for his own scientific gain. Thankfuly, Sonic gets to Gemnemo in time to stop him, and Riel’s giant body gradually shrinks, until he stumbles and falls into the Eternal Hollow.

In the aftermath, Zapp tries to excoriate a contrite (and likely hungover) Chain for being AWOL during the battle, but Leo steps in to remind Zapp that he was indisposed as well due to his attempt to swindle Riel when he was more human-sized.

Five days later, Leo has a walk in the park, still picturesque and tranquil, but seems lonelier without Mr. Riel by his side. All of a sudden, he notices something under his shoe: Gado’s weapon shrunk Riel to the size of a mouse!

But Riel is actually just fine being this size; for one thing, the view’s not bad (Leo now appears monumental to him, matching his bravery and loyalty to his friends); for another, he wouldn’t feel right being all the way back to normal after the fuss he caused.

Shoujo Shuumatsu Ryokou – 09

In a change of pace both neat and foreboding, Girls’ Last Tour ditches its usual cute OP in favor of giving us a couple more minutes of “Life.” Chito and Yuuri enter another vast, city-sized facility, and while they assume they’re the only ones Alive for miles around, the facility is still “alive” with a lowecase “a” due to the lights, fans, pumps, and other various machines still working, even after the civilization that built them fell.

They also find a fellow “living thing” in a single, solitary fish, the last fish in a facility that probably churned them out in the billions in its prime. That single fish is kept alive by the one maintenance robot still functioning, much like the robot in Castle in the Sky, many of its not-so-lucky robot colleagues were not so lucky. Last tank, last fish, last maintenance robot voiced by Kamiya Hiroshi (I think?), and two of the last girls…it’s like a last convention, complete with pool facilities.

Free spirit Yuuri is all too comfortable skinny dipping, but Chito keeps her skivvies on in the presence of the robot, even though his “empathy” is just sophisticated software. But being in the presence of such complex electronic and mechanical systems that still function have Chito and Yuuri constantly wondering what “life” really is. That’s driven home by an effective fast-paced montage of all of the various patterns of sound that emulate the functions of organic life forms.

The fact that evolution bred from rebirth and change is required for life is also explored, with the only other robot at the facility being responsible for constructing or deconstructing parts of the facility as its programming dictates. When that includes the aquarium where the last fish lives, Yuuri spearheads an effort to stop the giant ‘bot.

While there was an early running joke of Yuuri constantly saying they should just eat the damn fish, she gradually develops empathy for it, to the point she’s pulling some Mission Impossible-type shit to strap explosives to the giant robot, bringing it down.

In doing so, Yuuri may have saved the fish and its attendant for now, but without the giant robot the facility will no longer change or evolve. The last robot will cease functioning, the last fish will die, and one by one the last functioning systems in the facility will shut down, in time. And since everything is the last of its kind, that will be all she wrote; no more “life.”

It’s a stirringly bittersweet close, as Yuuri and Chito themselves serve as “mutations” in a system that looked poised to self-destruct anyway (when the giant robot destroyed the fish’s home) before continuing their tour. They mostly agree that “life” means something that has an end…which this episode does with a classic credit roll with a haunting new piece of music.

3-gatsu no Lion – 30

“All you can do is what you can do, one thing at a time.” That’s the advice Hayashida-sensei gives Rei after another consultation about Hina’s predicament. Hayashida is as outraged by the attitude of Hina’s homeroom teacher—and as rearin’ to go give her a piece of his mind—as Rei, but neither of them can.

Hayashida is a total stranger in the matter, while Rei took a path of isolation that won’t work for Hina…though I maintain that his plan of “at least have lots of cash sitting around” isn’t a bad one, though Hayashida is right that the Kawamotos would not easily accept it.

Akari’s emotionless tale of their father’s whereabouts—he left them to start another family—was suitably heartbreaking. But so is the sudden news that his self-appointed rival Nikaidou lost the semifinals in the Newcomer Tournament, and is apparently now too ill to leave his home.

Rei wants answers, so Shimada provides them—by telling Rei the story of how his master took on one more disciple after him: a tiny, round, sickly boy. Shimada dismissed him, as most did, as a pampered rich boy, but in him raged a burning passion the equal of any shogi player, even if he lacked adequate skill to match.

Due to his (undisclosed, incurable) illness, Nikaidou couldn’t have a normal childhood any more than Rei could with the loss of his family and turbulent years with his stepsiblings. But back then, as now, Nikaidou only ever “did what he could do, one thing at a time,” staying in every match until he had nothing left. He was doing it because he could, but also so Rei could have a worthy rival to keep him on his toes.

Now that Rei knows how weak Nikaidou is, one could be forgiven for thinking he’d go easy on him next time. But Rei understands what devoting oneself to shogi means, even if his path to the game was much much different. That understanding demands he show Nikaidou no mercy next time. And hopefully there’ll be a next time.

Houseki no Kuni – 09

In the winter days and weeks since the loss of Antarcticite, Phosphophyllite has been busy. As the snow and ice starts to melt, heralding the start of spring, we get a very cool slow-build reveal of the individual Phos has become: serious, dutiful, efficient; calm, cool, and deadly. Sounds kinda like Antarc, doesn’t it?

The time jump to Spring wasn’t a surprise, so much as the intense change in Phos, and I have to say, I like it. Even Kurosawa Tomoyo’s lower, sterner voice emulates Mariya Ise’s Antarc’s tone and cadence. There remains a measure of the old Phos’ spunk and rawness (Kongou catches Phos at the end of a successful Lunarian battle) but overall, Phos has become a polished and capable member of the group—and the only one with a alloy membrane that can take any form.

Phos kind of had to, after Antarc was lost; but more than necessity, it is how Phos honors Antarc’s memory; no more slacking off or complaining. Phos also keeps a small shard of Antarc’s remains, and has vivid hallucinations of Antarc resurrecting from the wooden bowl, only to shatter and force Phos to relive Antarc’s final moments. It’s a full-blown case of Gem-PTSD, and Phos can’t forgive herself…or sleep. She also cries gold tears, which is both sad and very cool.

When the other Gems wake up (and are issued Summer uniforms), they’re initially shocked at the change in Phos, then scared of Phos’ alloy membrane, then fascinated to the point of surrounding and demanding that Phos perform a variety of tricks, or be poked and prodded every which way. Phos creates a nifty galloy decoy to thrown them off, but they’re pretty relentless.

Before all of the events that made Phos the way they are took place, Phos was often derided as being dead weight and a source of stress and extra work for everyone. Now Phos has never been more popular (in a good way rather than bad). The thing is, it’s the old Phos who would have loved such adulation; New Phos doesn’t quite know how to deal.

I imagine part of that is Phos long-term isolation, which aligns Phos more closely with someone like Cinnabar. Phos briefly forgets who Cinnabar is, but when the two meet during a patrol, Cinnabar is as cold and aloof as ever, clearly trying not to dignify the changes Phos has gone through with a reaction.

While Phos can now perform all manner of dazzling parlour tricks (but no longer has any intention of performing them for amusement) Phos doesn’t seem to mind demonstrating to Amethyst twins how much has been learned during the solo training and learning from Antarc and Kongou.

Phos is truly a force to be reckoned with, and has absolutely no trouble throttling another Lunarian attack, to the twins’ amazement and elation. But not every Gem is impressed. Bort cannot believe this is the same Phos who used to cause so much trouble and contribute so little, to the point of suspicion. I imagine a test of Pho’s combat abilities is in the offing.

Itsudatte Bokura no Koi wa 10 cm Datta. – 02

“Summer, Fireworks, Color of Love” is this week’s title, and it pretty succinctly sums up what we get. If you’ve heard of these themes in romance anime before well…you’re not alone! But what this show lacks in original themes, it makes up for in solid execution and attention to detail, and variety.

We get looks not just into the budding romance of Miou and Haruki, but see how close Yuu and Natsuki are without officially dating, as well as Souta’s attentions towards Akari. The plot of making one last film together, starring a character who is an art student in love, is pretty hoaky, but super-charming if you can switch off the cynicism.

In her desire for her art (and not Akari’s) to be chosen by Haruki, Miou puts undue pressure on painting the perfect canvas, and ends up unable to paint anything at all. Haruki seems to get a bit jealous when he overhears that Miou will soon meet the man who saved her from drowning.

But they largely set aside those issue when the six friends gather for a fireworks festival. Natsuki sets things up so Miou and Haruki are alone, while Souta’s in the right position to catch a stumbling Akari, breaking the ice. All three couples have great chemistry and it’s fun to watch them interact.

Everything seems to be ruined when Miou faints and she and Haruki end up with an obstructed view of the fireworks, but they find a platform to get a better view. Haruki tells Miou he’s looking forward to seeing what art she comes up with (adding to the already high pressure of that project).

When he awkwardly offers to grab something for them to eat, Miou bravely, finally closes the 10cm distance by grasping his shirt. The two come this close to kissing, but are lamely interrupted by a couple of yappy dogs. LAME, I say. At least they can laugh about it.

Then the next day the thing I knew was coming came: Miou learns the man who saved her life is dead. Not only that, he’s Haruki’s big brother, Chiaki. She goes home, and rather than paint what love looks like for Haruki, she defaces the painting of her memory of being saved, ashamed that he lost his life, and Haruki lost his brother, all for her sake.

Net-juu no Susume – 09

The penultimate NjS‘ cold open has a hell of a hook: Morioka taking a shower in Sakurai’s apartment! It’s safe to assume the episode to follow would tell the story of how such a seismic development in their relationship (“level up” in MMO terms) occurred. It’s also safe to assume that there’s nothing untoward going on; the two were caught in the rain and his place was closer seems about right.

But first, we go back to the aftermath of Sakurai’s confession that he’s both Lily and Harth, knows Morioka is Hayashi, and has been her beloved confidant and partner under her nose. At first, the news seems to break Morioka—it’s a lot to process, and her “CPU” overloads. She comes out of it to ask him when he first knew; he suspected when they started talking more in-game, but their “first date” was the confirmation.

In her head, Morioka is happy Sakurai rushed to her, lamenting how she might not have done the same, as she’s be so worried about upsetting the apple cart. The two have taken their next step, but neither has any idea how to proceed, nor are they remotely on the same page.

To whit: when Morioka tells Sakurai she wants them to “keep being good online friends”, she says it believing that’s all Sakurai will ever want, while Sakurai considers it a rejection—that she only wants to be good online friends and nothing else. Both are misunderstanding a great many things.

Sakurai’s belief he’s struck out is a weight that replaces the weight he just got off his shoulders with his confession, and he makes matters worse by not going online, leaving Morioka feeling lonely and unfocused in the MMO, as well as free to incorrectly interpret his motives.

Koiwai can totally deduce why Sakurai gets so uncharacteristically drunk on night, can reasonably conclude he’s misinterpreting things, and texts Morioka, asking if they can meet and talk something over.

That something is Sakurai, but Morioka never meets Koiwai in the park. Koiwai summons Sakurai into the park so he and Morioka meet. And that’s all he really has to do (though I wish he’d delete that photo of Morioka sleeping…that’s not cool, man!).

I’ve been up and down with Koiwai, but I never should have had any doubt that he’s a true and loyal friend to Sakurai and that Morioka’s a much better match for his blonde-haired friend…if only they could get together and relax…which he makes happen.

They relax, that is, until they go to the convenience store together and Morioka, already worried she looks like shit, gets even more self-conscious when the shopkeeper asks Sakurai if she’s his girlfriend, to the point of running off as the clouds gather. She believes, of course, that the shopkeeper meant “there’s no way she’s your girlfriend, right?” She was teasing, not condemning!

Sakurai chases her down, and after hearing her lay into herself and apologize for being seen with him, Sakurai sets the record straight: he doesn’t think like that at all. Then those clouds open up, he uses his coat to keep her dry(ish) and suggests they go to his place, which is just nearby, dry off, and he’ll cook some lunch.

Sakurai didn’t think, he just suggested this…and Morioka doesn’t think, she just agrees and comes up with him. As soon as they start thinking, she realizes she’s taking a shower, and he’s leaving out some of his clothes for her to change into. In other words, pretty boyfriend-girlfriend kinda stuff! I’m all for it. Hang in there, you crazy kids. Just one episode left!

Just Because! – 08

Komiya Ena took Izumi’s photo before getting his permission, but after an extensive yet completely organic charm campaign, she eventually got it…and developed feelings for Izumi along the way. Perseverance and optimism won the day.

Komiya does the right thing by asking Natsume permission to ask Izumi on a date, but Natsume’s stern “no” doesn’t discourage her. Komiya knows intrinsically that she’s responsible for her own happiness and can’t wait around for things to happen on their own.

Natsume may have thought she’d bought a little time with her “no”—itself a huge move for her that confirmed she’s at least not indifferent towards Izumi—but she does nothing with that time. Izumi even asks her what she wanted to talk about, but she gives him the “never mind, it’s nothing.”

Natsume and Izumi’s situation takes a back seat when they join Souma and Inui for lunch at Morikawa’s house, which could and probably should have been just a Souma-and-Morikawa (and her little brothers) lunch.

It’s a cordial meal, but there’s something distancing about the way Natsume speaks of the support she got from everyone when Izumi provided the lion’s share of said support during the snowy exam day. It’s like the warmth of that day has been replaced by the more familiar coolness of earlier episodes.

That said, it’s not all Izumi’s fault; Izumi is the one so stealthily demonstrating his feelings for her by applying to the same school, where they’ll presumably be able to see each other. But if that’s what he wants, what the heck is he waiting for? Like Natsume, he simply lacks the proper amount of gumption to act on his feelings, or even put them in forthright words to the necessary party.

Komiya, meanwhile, has a lot more gumption, which is why she comes so tantalizingly close to asking Izumi out via LINE. She wants to send something, but gets caught up on the structure, formality and perceived tone (another reason to just talk to someone).

She needs a little nudge—or in this case, the paw of her big fat cat—to send it, and when it’s read immediately, I really related to the waiting game she had to endure, as well as her elation upon getting a positive response from Izumi.

Komiya doesn’t know exactly what she’s feeling or what she wants, but she does want to move forward with exploring it, and more importantly, has the wherewithal to follow through in a timely, direct fashion. It would help her out a bit if Izumi wasn’t so dense—asking Siri (or a Siri equivalent)  what “date” means? Really?

Then we have Haruto, who like me, sees the wonderful chemistry Izumi and Komiya share, and see Komiya get so pumped about her date, and I just can’t help root for Komiya.

Naturally, on the morning of the date, Izumi runs into Natsume first, and Natsume is on to him; they’re so in sync, she even asked Siri the exact same question. Natsume’s on her way to cram school; she wasn’t trying to break up a date; but she looks awfully bitter when Komiya shows up, leading to one of the better-delivered exchanges of the episode, if not the whole show:

—”I told you no.”
—”Do I need your permission?”
—”Then, why did you ask?”
—”Well, just because.”

In addition to Komiya finally delivering the TITULAR LINEthis dialogue so nicely encapsulates the differences between Natsume and Komiya. Komiya didn’t ask permission just so she could do it anyway; she didn’t think Natsume would say no, or feel so strongly about Izumi at all.

After all, who’s spend more time with Izumi of late? Komiya. She’s not saying “shit or get off the pot,” but her way of doing things just naturally runs roughshod over Izumi’s more deliberate approach.

Also great? Natsume and Komiya having a moment of solidarity when they both tell Izumi that their cryptic discussion is “none of his business.”

Natsume doesn’t protest any further; she has to go to cram school. So Komiya carries on with her date with Izumi. And it’s such a nice, low-key date! She takes him places where she snaps photos…and he snaps a photo of her, which she then makes his wallpaper!

They look like they’re having so much goddamn fun, even sitting in the dark clubroom looking at photo albums. One of those albums show a first-year Natsume with her older sister Mina…

…Who we then segue to! Mina asks Mio why she wants to attend the same university as her, telling her she should go to the one she wants. Seems a bit late in the game to be telling her this, but it does expose a certain “running on inertia” style to Natsume’s life.

Right now, she defines her purpose, first and foremost, of entering college, which is the same one as her sister, probably just because! What’s wrong with just because?

The sisters don’t happen to spot Izumi walking Komiya home after their adorably awesome date…which is for the best; enough coincidences, already! But that album photo reminded both Izumi and Komiya that there’s another side to their triangle, and it’s a side Izumi is studying hard to stay beside in the future.

With that in mind, Komiya asks Izumi why the heck he doesn’t just confess to her. His answer—”I would if I could”, doesn’t satisfy anyone; particularly himself.

So Komiya does what she’s always done to reasonable good effect: go her own way, proceed, persevere, hope. Now winning a prize at the photo competition isn’t just about keeping the club alive, it will determine whether she confesses her love to Izumi.

And no, Izumi, she’s not making a funny joke, she’s picking a direction and going. If you don’t like it, say something; do something. Otherwise, enjoy the journey.

*****

With all this talk about the triangle, I almost forgot about Souma and Morikawa! It’s…fine, they’re fine; they’re just not quite as compelling. She still owes him an answer. It was good to see Souma continue to get along with the bros, and Morikawa’s little makeover, which Izumi of all people sees first (and does a double take), was a cute and unexpected way to close the episode.

Inuyashiki – 08

Hiro never bothered to cover his tracks that well, and so it was only a matter of time before a SWAT team showed up. In their attempt to capture him, Shion and her grandmother are killed, and the ostensible sociopath, who has chosen them as tethers to his humanity, is clearly very upset and guilty about that.

The police empty clip after clip into him but of course cannot penetrate Hiro’s skin, and he’s able to escape with Shion and her grandma and, I assume, heal them. Still, he leaves them behind, with words of apology, and will likely never let them get in harm’s way again—which means never coming near them again.

It’s a busy episode of Inuyashiki that checks in on just about everyone, even a random cop duo who hope to catch Hiro soon. But its focus is on Ichirou’s daughter Mari, who gets some welcome development beyond the thin outline we’d gleaned thus far of a girl ashamed to have such a poor, pathetic old-looking man for a father.

Turns out that was not nearly the whole picture. Mari’s grades aren’t great, and isn’t that interested in going to college. Instead, she wants to strike out as a mangaka, utilizing a craft she’s honed in secret since elementary school. She’s motivated by her neighbor and classmate, the rich and entitled son of the famous mangaka Oda, and she resents that he’s trying to follow in his footsteps simply because it seems like the natural thing to do.

Meanwhile, Ichirou continues to explore and refine his abilities with the help of Andou, another classmate of Mari’s, and it isn’t long before she spots the two walking and talking together. She stalks them, and dismisses the wild (and hilarious) theories that initially enter her mind (Andou is asking for permission to pursue Andou; her dad is into younger boys; Andou is his bastard son).

She keeps following them, watches them go into hospital rooms, then Googles the “miracle worker” who has saved over 120 lives. Then she sees her father launch himself into the sky like a rocket, and nothing will ever be the same.

By that, I mean Mari immediately starts to think of her father in a different way. Not much time is spent on her processing what she’s seen—it would understandably take some time—but when her mother confronts her on her low grades and insist she abandon the manga hobby and go to college, expense be damned—Ichirou walks in and immediately takes her side. 

Granted, Ichirou probably has no idea Mari knows anything about his abilities, so there’s no leverage at play here. Indeed, a pre-transformation Ichirou may have taken his wife’s side instead, because he struck me as a bit of a pushover. But not now. Now he’s willing to let his daughter embrace her dream, because he wants her to be happy.

As for Shion and her Grandma? They’re alive and well, in a new apartment, receiving payments from “him.” He healed them, but apparently could not wipe their memories. My money is on Shion trying to reach out to Hiro again, perhaps to her peril…again.

But being apart from Shion, her grandmother, and their quiet, simple life, not to mention the reason he had to leave it, has an immediate and strong negative impact on Hiro, who slips back into his old homicidal ways. The ones he cares about may still be alive, but it doesn’t change the fact that the police killed them, obviously lacking the knowledge he could repair them.

Had the police left him alone (whether that was the right thing to do or not), he may have continued on his peaceful course. But now he wants revenge, and to lash out at those who dared hurt Shion and her grandma. So he heads to the station and starts systematically slaughtering every policeman he sees—including the two cops we saw earlier.

When he’s done inside the headquarters, he goes outside to find a huge force waiting for him. A sniper knocks him down, and SWAT teams riddle him with bullets anew, but they can only slow him down; they can’t stop him, or really even hurt him. Even when “unconscious”, his defensive systems deploy and eliminate all threats with grim efficiency.

All of this unfolds before the video cameras of the media, which it seems Hiro doesn’t kill. Indeed, he leaves one defiant policeman alive so he can witness him killing all the other police around him, to prove to him he will always win in the end.

But because those cameras are capturing him, Ichirou and Mari are watching on the news, and Ichirou doesn’t see the boy who fought to protect Shion and her grandmother, or saved as many lives as he killed (though he’s now clearly “in the red” again). Ichirou just sees a butcher only he can stop.