Huey and Dalian encounter a phantom book in a batch of newspapers that give rise to zombies. When they investigate, they meet The Professor and the Red Biblioprincess, who plot to distribute the papers and unleash a zombie army that will destroy London. The Professor shoots Huey, who then escapes out a window with Dalian. He unlocks Dalian and convenes with the “Inner Dalian”, tries to release her, and acquires the phantom book that eliminates the zombies. Hal and Flamberge burn the remaining papers, and the Professor flees. Huey and Dalian continue their quest to hunt down phantom books.
“I go on to tomorows unknown,” says Huey. Well, he won’t be going alone. He’ll have a sweet-toothed biblioprincess talking down to him all the way while barely concealing her deep affection for him and everything he’s done for her. She can no longer pretend that there isn’t a part of her inside – one with pale pink hair. After all, that Inner Dalian even speaks to her when Huey is close to death’s door. She and Huey have been a good team, and will continue to be as they go on to tomorrow. The other two keykeeper/biblioprincess duos were almost afterthoughts by comparison, relegated to examples that Huey/Dalian weren’t unique in their relationship. But it isn’t like they needed to be anything more.
Gainax has a tendency to be all over the place with its series. The last I’d seen was Panty & Stocking, which couldn’t have been any different from this. But both were good. Shikabane Hime? Not so good. With only one hiccup to its name, Dantalian no Shoka was consistently fun to watch, its mysteries and themes were suitably clever and eclectic, it’s settings were pretty and often gorgeous, and the core duo and their verbal duelling grew on me as much as they grew on each other.
Fumito reveals himself as the mastermind of Saya’s entire ordeal. He captured her, a being with the strength and abilities to go toe-to-toe with elder bairns, but rather than human blood, she feeds off of elder bairn blood. He made a half-elder bairn play the role of her father and created the whole shrine maiden artifice as a vehicle to propel her to fight the bairns Fumito sent at her. After killing all the cast save Amino, he escapes to Tokyo, shooting her in the face as she lunges at him…but the game he started isn’t quite over.
For those who wanted the bloodiest, most disturbingly goretastic finale, well, you got one; though most of that gore was covered up by censors. That’s okay, I just ate a rich dinner, and was thus relieved to only have to catch the gist of the carnage. I’m not sure if a future Blu-ray release will be uncensored or not, but if it is, I must remember not to eat a big meal prior to re-watching it. Notably, after making themselves far less likable last week, Nono, Nene, and Tokizane get their bloody, karmic comeuppance. But there wasn’t just grisly death on display; we were also treated to some exquisite Saya ass-kicking that got downright lyrical and reached a fever pace.
Fumito’s obviously an immensely powerful person, but also an immesely sick, disturbed, evil person, and the multiplying elder bairns he unleashes on the fake village to slaughter all the extras just drives that point home. That being said, he’s a human being. He doesn’t believe Saya can kill a human, but if ever there was one for whom she could make an exception, it’s him. This whole series could be boiled down to one, long, harrowing, emotionally and physically torturous practical joke played on Saya. Come next June, she’ll look to settle the score in the film that will wrap this story up.
Shoma describes to Ringo how his family killed her sister Momoka on the day she was born. It involved some kind of multifaceted operation that somehow resulted in a subway accident that claimed Momoka’s life. With Shoma and Kanba unable to retrieve the penguin drum, Himari weakens, and the headdress loses its power, which would result in her death. Kanba won’t allow that, and gives his own life energy to her, as he had in the past to revive her, but it’s not enough, and Himari flatlines…
It can be tempting to feel like you’re being strung along with Mawaru Penguindrum. It’s constantly shooting out hints, but it keeps so much below the surface sometimes, you start to wonder: how much of this will make sense by the end, and how much will just never be explained? Is the “Destination of Fate” a future setting? What’s with this talk of taboos, followed immediately by Kanba kissing a nude Himari? And what is the librarian doing with those oompaloompas?
The last few episodes were actually quite revealing from a storytelling standpoint. We now know for certain that Kanba made some kind of a deal to save Himari; it wasn’t a miracle. Shoma too seems to know more than he’d let on early in the series. It could well be that phenomena like helper penguins and survival strategies were old hat to the bros before the series even started? This and many, many other questions still abound. Fortunately, Mawaru Penguindrum has plenty of time to address them. So I’ll remain patient and hopes this makes a little more sense eventually.
After following a hunch and Major analyzes Angel Fix, it’s determined that one has to take the drug in order to find a source. Narumi volunteers, and has a bad trip as he lurches through downtown, but he finds the hideout where Hakamizaka and a group of junkies congregate. Sou and his soldiers pacify the area, while Alice messes with Hakamizaka right until he keels over from overdose. Narumi then gives Toshi a beating. He continues to visit Ayaka, but she won’t wake up. Alice concludes she didn’t jump because of the drug, but because she didn’t want the school festival to invade the garden she and Narumi had made.
They say you should never get high on your own supply. I thought Hakamizaka was smart, but it turns out he’s just another junkie, who starts to believe his own drug-induced babbling. It was very satisfying to see Alice give him a very buzz-killing dressing down, and even a little cruel, but the guy had it coming. As for Ayaka, the fact that the AF amplified the negative emotions she felt about letting the festuval invade her garden was a good touch. It doesn’t let Narumi off the hook for never noticing trouble, nor does it make Hakamizaka the lone culprit in her demise. She also doesn’t wake up, which is kind of a downer, but works for dramatic purposes. It’s a wonder she’s alive at all, but the hope of her waking up continues to haunt Narumi.
So I believe this just about wraps it up for Kamisama no Memo-cho. I really enjoyed it, and it started and ended strong, and fielded a strong cast in a believable and richly-rendered setting in the heart of Tokyo. As a J.C.Staff piece, this was far better than either Index II (which got buried in its religious mumbo-jumbo) and Ookami-san (the fairy-tail gimmick was half-baked). Neither of those shows had nearly as likeable and original characters as the onese here, and as lolis go, Alice was not just tolerable, but downright solid. I was always wondering exactly how this eleven(?) year-old girl got into the position of bossing a bunch of people around, but hey, sometimes special people are born who just can’t wait until puberty to accomplish great things.
Kuuko springs Aki and frees Hibino. Hirashino corners Kuuko and Hibino, but Kuuko pushes Hibino outside and grapples with Hirashino, killing him with his own gun in a struggle. Hibino is met by Mahiru on the roof, who has a bone to pick with her vis-a-vis Kyohei. She gets carried away and throws Hibino off the roof with Magatsuhi, but Kukuri catches her in the knick of time. Utao and Mahriu have a sustained duel, ending when Kukuri lands a blow that makes Mahiru lose control of her Magatsuhi. Now out of her control, it grabs Hibino again. Kyohei saves Mahiru from its swipe, then rushes to Hibino’s aid, only to be ensnared himself. As it crushes them, he remembers the day he told his parents he’d be leaving the village, then meeting Hibino in school. Entering the battle, Kirio accidentally knocks Kukuri out. The episode ends with Kukuri waking up, but rather than singing Utao’s song, it’s singing Kyohei’s.
Rape threats…gun grappling…seki duels, kakashi group battles…flashbacks…this episode had a little of everything. Once again, Mahiru takes the lion’s share of screen time, and she’s still a horrible selfish brat, but she becomes a little more sympathetic once Utao manages to beat her Magatsuhi. Cornered, beaten by a little kid, she’s an emotional wreck. When she loses control of her Magatsuhi, she panics. As I said, bringing her in so late was a bold move, but I’m still glad it was done; her presence and her feelings for Kyohei help get both Kyohei and Hibino thinking about what they are to one another. It also forces Kyohei to stop trying to escape the village.
I thought a lot more was to be done with the diet member, but his death makes me question what his purpose was. Also, while she’s really fun to watch and listen to, Kuuko is again really only around to kill him and save Hibino. Her only goal at this point is to be involved in all this intrigue – the embedded journalist, as it were. But she did kill a man in the middle of Tokyo – one would think there’ll be consequences. The cliffhanger was well-played: it would seem empty kakashis respond to whichever seki is projecting the strongest emotions, in this case, Kyohei’s. I just hope that after all this soul-searching and exposition, the finale will me more than just another episode of Save Princess Hibino.
In the finale, Yune offers to help in the workshop, and when she grabs a pair of gloves, he yells at her and tells her to leave. She goes outside, and later, nobody can find her, and Claude starts to worry. He finds her on the roof of Galerie du Roy, chasing after the sound of a theoretical cat bell. While saving her from a fall through the dome, he reveals why he was angry earlier: the gloves reminded him of his father,who died falling from a scaffold at the Grand Magasin, which is why he didn’t want her to go there. Having found her, he insists all he wants is for her to stay safe and enjoy life in Paris, then changes his mind and offers to take her to the Magasin.
This last episode was a good microcosm of the series, as well as a showcase of everything good and bad about it. First the bad: Claude can be really angsty and impatient at times. Yune is a girl from a foreign land, and she’s very fragile, yet time and time again, he barks at her or scolds her, without telling her the reason. That grew a little repetitive. Also, I believe we’ve already had the “Yune Gets Lost” episode, did we really need another one?
That said, the episode does make the best of things, using the search for Yune as a vehicle to give all the various characters of the show a little sendoff, including Alice and Camilla. As usual, the visuals of the Galerie du Roy are gorgeous, and we get to see them from a new vantage point, the roof. And finally, we learn a little more about what’s eating Claude all the time; anyone who watches their father die is entitled a little angst now and then. Just…try not to frighten the tiny Japanese girl!
Well, I guess that was a kind of an ending, but it certainly didn’t answer all that many questions that were posited in the build-up of this series. Karako and Ganta manage to get Nagi to snap out of it; Ganta protects Shiro and asks for her forgiveness, and then proceeds to kill Genkaku (whom we get a little background on) with his best Ganta Gun bullet yet. And then…the series just kinda…ends.
Toto, who had just been introduced, just shows off how deadly he/she is by totally wasting the second grader, and he/she seems to want to kill Ganta, but none of that happens. Everybody seemingly runs out of time. The only sure thing is that Ganta and Shiro are friends again. But even that isn’t certain, because we know that Shiro is Red Man, and if Ganta ever found out that she was the one who killed his class, he’ll surely be none the kinder.
So what, are we supposed to expect a second season? I’m not all that okay with that. I was invested for twelve episodes, and even though by the tenth or eleventh it was pretty clear things weren’t going to be resolved, that doesn’t mean I have to like it. AnoHana was a brillant series that managed to accomplish everything it set out to do and then some, in only eleven episodes. Now after twelve of this, I feel like more effort should have gone into bringing the story to a conclusion, It’s a good story; why drag it out? Rating: 3.5
Can the wrong in a lifetime’s worth of indifference and passivity be righted in one glorious moment? It kinda is this week, the final episode of Denpa to air on TV. Makoto has been dreading the day of the big game, but Yashiro’s words moved him; he takes a stand and makes his big entrance as the hero for once. And he does a fairly nice job.
I like baseball settings, so I’m not annoyed in the slightest that this episode was all about baseball on the surface. But baseball can be a metaphor for countless things. Baseball is a sport with roles. There are background roles, temp roles, and lead roles. It’s all about specialization. But sometimes, one player has it all on their shoulders. The stress of this leads the ace pitcher of the market district, Maekawa’s dad, to go AWOL.
Sent by his aunt to look for him, Makoto finds him and finds a kindred spirit in terms of how he sees himself, the world, and his role in it. After he convinces him to come back with him, there’s a priceless and extremely hilarious scene where Mr. Maekawa, who has to sit behind Makoto on his bike, sternly interrogates him on his intentions with his daughter. Makoto just has to carrry everyone on his bike…
So yeah, Makoto gets out of his funk and steps out of the shadow of his doubt and fear and just goes for it. He manages to hit Hanazawa’s pitch, but it’s a pop fly until Yashiro apparently changes the wind to carry the ball all the way into the drink for a home run. Unfortunately for him, the only kiss he gets is from his aunt. It would seem that while he may have learned to be more assertive, Makoto still needs a lot of adolescence points before attaining his ultimate goal. The true conclusion will come in a few months. Rating: 3.5
I wasn’t expecting a masterpiece, and I was expecting just an isolated, mostly irrelevant slice-of-life episode that drove home Keima’s ideals once more (like last season’s finale), and I shouldn’t have expected the series to resolve itself in just one episode, but I was still pretty disappointed with this final week. Last season’s finale was more unhinged. This one was kind of recycling ideas, and the presentation of his ideal dating sim was a major let-down. It just felt kinda lame, and the horribly-drawn character just seemed like an excuse to…horribly draw something.
There’s a semi-serious mention of the show “continuing” for yet another season, which explains the filler-like nature of this episode. After all, Keima and Elcie still have collars that bind them together until a certain number of souls are caught. Now, considering the number 50,000 has been tossed around, perhaps their contract will never be fulfilled, and Keima is simply doomed for life to make girls fall in love with him and then lose them.
And that’s the flaw of this season: for all the girls whose lives he’s changed by releasing them from loose souls, Keima remains stubbornly static. He just goes through the motions. He hasn’t changed one bit. This season resolved nothing. At the end of every arc, he seems to dump whatever emotional investment. I can’t help but wish he’d develop a little more beyond discovering new schemes for conquering. But he doesn’t care about reality, and so none of the relationships he forms ever have any lasting emotional effect on him.
It’s a shame, and if another season is just going to continue the by-now tired formula, it’s going to be very hard to watch.
Ah, screw it. It’s just good, dumb, light entertainment. I’m actually glad that something deeper and more serious isn’t being attempted; I can go elsewhere for that…and I will. Whether I watch next season totally depends on how much is airing that’s better than this. Rating: 2.5
This is the episode where I totally stopped caring about what’s at stake in this ridiculously high-budget competition between Sket-dan and the Student Council, because the show doesn’t really care about it either at the moment, it’s all about the here and now. And it delivered not one but two superb duels – one between Tsubaki and Shinzo, and another between Switch and Daisy. The two matches couldn’t have been more different, but they both worked, and rocked.
Tsubaki probably had Shinzo hook-line-and-sinker had he not called into question his samurainess. The words stung Shinzo deep, and made him remember his master’s teachings. The fact he burst his own second-to-last blood ball was particularly badass, and it made sense why he did it – Samurai only have one life to give; and his only two options are to win or die. So with the teams tied at one victory apiece (complete with victory rock that reminded me of Queen), Switch volunteers for the shoot out with Daisy in a dark warehouse.
Daisy may well be a crack shot who carries out orders without hesitation, Switch arguably scores the first unofficial point by loosing a barrage of information about her character, along with his analysis that she may be into S&M. She returns fire with perhaps the best and most elegant-sounding insults of the whole season – “Dobu De Oborete Shinde Ikikaete Mata Shine”, or “Drown in a gutter and die, come back to life, then die again.” Itai! Another nice touch – the two are kitted out in classy noir costumes.
As I said, Daisy has the better eye (though they both wear glasses; who knows), but Switch has a laptop, which he uses to misdirect and fool her into thinking he’s out of ammo. It’s more chess than pistols, as Switch uses his heretofore ambidexterity to get the winning shot just one-hundreth of a second before Daisy shoots him. Margin for error was zero, but he had confidence. Sket-dan up 2-1. Now, will the ringer, Roman, lose the “love challenge” against Uryuu, or will Bossun lose the last match to the council Prez? We’ll have to find out next week. Rating: 3.5
I can’t quite put my finger on it, but this latest crisis to hit Sternbild just hasn’t been doing it for me. A lot of what goes on simply doesn’t make sense. The city is being held hostage by a fleet of “exosuits” that apparently have to be taken out all at once, or else they’ll collapse the city. Ouroboros has altogether too much power. So does Jake Martinez for that matter. He’s the most boring villain of the series to date; all Crazy Evil, no depth, no time limit on his powers, and seemingly invincible. He and his lieutenant, Kriem, are also visually over-designed as characters. Too much stuff going on.
If someone exists who can swat Sky High and Rock Bison away like flies, how the hell was he contained in a prison? Some kind of anti-NEXT field? If so, why aren’t steps being taken to activate a similar field around him now? I mean, he’s busy fighting heroes, and Kriem is simply watching…go under the radar! And I guess that’s the crux of why I’m just not enjoying Tiger & Bunny like I was earlier. There are just too many stupid things going on, and I’m constantly getting the sense I could come up with a better solution than the series provides; never a good thing. Credulity has been over-strained.
In addition, the pacing is very off, with lots of momentum-killing scenes of heroes just standing around like there’s no emergency at all. With the exception of Agnes, all the non-NEXT characters come off as useless, bumbling morons. That explains why Sternbild is in this mess, but doesn’t explain why Ouroboros hasn’t just destroyed the city already. If destruction is their only goal, they themselves are just stalling needlessly. Stalling is supposed to be the good guys’ job. Enough playing around, just get on with it! Rating: 2.5 (11), 3 (12)
After a phenomenal start and a rather less inspiring middle, the final third of this first season of Hanasaku Iroha is really ‘festing it up’, to borrow a phrase from Ohana. This week picks up where we left off; Ohana plucked off the street by Tohru and Minko. They spend the night in a hotel room, Tohru and Ohana have a late-night chat about Ko, which Minko listens in on. The next morning, Ohana wants them to help her kidnap her mother. Tohru agrees, but only if they bring Ko too.
Before that though, Tohru takes Minko on a dizzying culinary tour of Tokyo and makes her eat way too much. At times she considers this a date, but the fact of the matter is, Tohru may just be doing it to get her acquainted with famous tastes, without an ulterior motive. As Ohana said last night, he is kind, but his manner with women leaves too much to said womens’ imaginations. I feel pretty bad for Minko, since she (and we) know for sure that a part of him likes Ohana, but he won’t make a move. That said, Minko could be a little more forward with him regarding her feelings.
While in Tokyo, Ohana learns that she’s been acting selfishly, without regard to anyone else’s thoughts or motives. This is hammered home for her when Ko tells her he went to visit her but came up empty. This episode marked an even lower mark than was reached last week as far as their future together is concerned. They may both like each other, but they remain firmly lodged in a holding pattern, at best, while both of them have other potentials (Tohru in Ohana’s case; Igarashi in Ko’s). This is probably it for their story, until next season.
I was as surprised as Ohana when her mother had packed to come back with them to Kissuiso. Something finally clicked in her; perhaps the same thing that clicked in Ohana. At times, both of them play the villain in the lives of others (“Deferring her answer for a later time” is pretty villainous). Ohana had so much to yell at her mom for, but chose her bad review of the inn. When she heard the indignation in Ohana’s voice, it reminded her of the arguments she once had with her mother. Now for good or ill, there’s going to be a family reunion. Rating: 4
And so, the best series of the Winter 2011 season ends – in late April – not with a whimper, but with – what else – the re-making of the entire universe. Madoka can make any wish, so she decides to wish for there never being any witches. This pisses off Incubator, but it happens. Of course, there’s a price to be paid. That price is, no more Madoka. Aside from episode 10, this is the only time the heroine is a maho shojo, and she’s nothing like any other; as her newly-gained godlike powers allow her to free the souls of maho shojo from soul gems all over the world, so they’ll never become witches. No maho shojo, no witches.
Of course, even though Madoka makes sure to be as explicit and detailed with her wish as possible, the universe proves just as devious as Incubator. The new universe she creates still has Maho Shojo, but they fight “magical beasts” rather than witches. Ah well, close enough! Kyubey is still around, but it seems he’s more of a friend than a trickster. Also, in the realm/void between the end of the old universe and the birth of the new one, Madoka and Homura say their goodbyes, and Madoka gives her her hair ribbon. The result of this is, Homura is the only person who remembers Madoka. Even for her brother, Madoka is just an imaginary friend. While Madoka is now free of her fate, Homura can’t be all that happy her best friend had to sacrifice her entire existence in order to eliminate witches.
While this series has never been shy about highly abstract settings, especially when dealing with witches, the whole end-of-the-universe transition was a little sudden and overwrought, with whispers of End of Evangelion. The naked space Madoka and Homura bordered on silly-looking, and their tearful goodbye, while earned, bordered on sappy at times. Despite these issues, the series ended strong, and now complete, I can count it among my favorite anime series due to its highly original and entertaining twist on the maho shojo genre. It’s also perhaps Akiyuki Shinbo’s finest non-comedy series. Don’t be put off by the girly opening and frilly costumes; this series has true grit. Rating: 3.5
Series Mean Ranking: 3.750