In this Yuri-centric episode, a young Yuri lives with her horrible, abusive father, a famous, renowned sculptor. He only loves things that are beautiful, and thinks Yuri is ugly, so he “chisels” away at her, leaving a body part bandaged after each session. It is during this abuse that she meets Momoka Oginome, who tries to gain her trust by telling her about a her diary, which she can use to transfer fate to living things, changing their futures. Before Yuri’s father kills her, Momoka transfers Yuri’s fate; her father and the massive tower that represented him is gone, as are her injuries – but Momoka has to pay the price, and dies. Masako infiltrates the bathhouse and makes off with half of the diary, but Yuri still has the half she stole from Ringo.
This episode began with a fresh new opening sequence, so we knew that a big episode was in store, and it didn’t disappoint one bit, opening up an entirely new can of whoopass by answering a lot of questions hanging out there, among them, who was Momoka? We finally see and hear her, as she befriends Yuri. Momoka has god-like powers. Her diary can transfer fate as easily as transfering subway routes (we friggin’ love that analogy). We also know what killed her, and that was a selfless act that saved Yuri from The Worst Father In The World. So there’s a little bit of Jesus in her, too. And how about the fact that the Tokyo Tower used to be a massive stone skyscraper in the shape of Michelangelo’s David? Weird. Wild.
Was was so amazing about this week is just how much managed to be dished out. Not only do we learn a bunch about Momoka and Yuri, but Shoma realizes the error of sending off Ringo so forcably, and comes to save the day – although, true to fate, he doesn’t have to go far, as he just happens to be in the hotel room right next to the one where Yuri has Ringo tied up and ready to do awful things to. We also have a great surprise cameo by Masako, taking back half of the diary after an excellent little battle between the two feisty women. So now we know just how powerful the diary (penguin drum…) is. And if Ringo was successful in using it previously, than it’s clear she too had to pay some kind of price for every fate she changed.
Rating: 4 ~series elevated to favorites ~
Rin is released from the grip of the giant moth demon that grabbed him last week, thanks to some quick thinking from Bon. Bon is getting increasingly frustrated with Rin’s puzzling behavior: how can such a loser keep saving the day?
As we know, he misunderstands Rin’s desire to fight alone. Rin doesn’t want him to see what he is: a son of satan. But this week, it becomes impossible for Rin to keep it secret. Amaimon crashes their training party, sticks a bug in Shiemi that puts her in a docile trance, and threatens to have his way with her. Rin ain’t gon’ stand for that.
So Mephisto Pheles finally gets what it seems he wanted: Rin draws his sword and goes all out against Amaimon, proving to be more than a match for him. He also does this in full view of his friends (though some are conveniently un- or semi-conscious). Still, it looks like the cat sith is out of the bag…and even worse, Rin seems to have lost all control.
With this, Sket Dance has proven it has lost none of the novel, potent absurdity of the best episodes of the first half. Bossun, Himeko and Switch are firing on all cylinders (though Switch has a reduced role this week) attempting to help an extremely frightening-looking wood shop teacher find a wife, then attempting to decode a Visual Kei dude’s cryptic speech.
The first part does a nice job of pulling the rug out from under us in the end. A potential wife arrives who doesn’t care about J-son’s looks, and everything seems to be going swimmingly. But just as the Sket-dan is dusting off thei hands, J-son blows it, and the woman runs out screaming and drives away with screaching tires. Hmm…Sket-dan can’t solve everything.
Perhaps more hilarious were Bossun and Himeko’s interaction with Date (or whatever his real name is), a purple-haired kid who grinds the show to a halt everytime he responds to a question by pausing in a super-dramatic imagined scene. It doesn’t help that everything he says is baffling, and results in Hime putting him in a different wrestling hold each time. Date’s friend translates at the end, and suddenly it all makes sense…sort of. Rating: 3
At one point in this week’s proceedings, in which Ohana arrives to the rescue of the same inn her class is staying at, she proclaims with surprise: “I’ve learned my job!” She was taught so well, she wasn’t even aware of when she transformed from more of a Yuina-like liability to a serious inn professional. Her “waitress’ instinct” wouldn’t allow her to stand by and let the inn’s service suffer. So in her free time, she volunteers to work.
Nakochi and Minchi soon join her, and they do what they do best. Yuina goofs off around town a little longer, but eventually returns to the inn to find that her friends are hard at work preparing dinner for the class. She stops by the bath, where an annoyed Yosuke tells her if she doesn’t want to work by his side in the inn when he inherits it, there’s no way they can marry. What’s interesting is that Yuina laid out her desired future so confidently and bluntly, and it turns out she isn’t nearly as sure about everything as she would let on.
All it takes is Yosuke praising Ohana and even suggesting a girl like her would be more suited to be his wife, and Yuina grabs a mop and starts scrubbing. This is a girl whos classmates call her princess, and she is in a lot of ways, having never done much manual labor. But she’s determined not to let Yosuke fall (settle?) for Ohana: she can work to, she just chose never to do so.
Yuina indeed helps Yosuke finish cleaning the bath just in time, and the dinner is a success thanks to the Kissuiso staff. The experience not only makes Yuina rethink whether an inn has no place in her future, but also leads to Yosuke rethinking his managing style. It also reinforces the friendship of the three Kissuiso girls, who proved that no matter where the inn is, they can make it rain, so to speak. Rating: 3.5
With this final web extra, Oreimo finally comes to a close on a happy note. Disturbed by a cryptic text from Kirino, Kyou totally brushes off a confession from Kuroneko (bastard) and dashes off to L.A. It’s a bit of a shame they don’t spend any time in America at all; he just takes a cab to her dorm, they play an eroge (her first since she arrived) and with a tearful confession of his own, convinces her to come back to Japan.
Kyou must’ve sensed the same thing his father did from those texts: she wasn’t doing to hot, and was going to proceed to keep working hard, perhaps too hard, to reach her goal of becoming a track star. Basically, it wasn’t working out. She swore she wouldn’t contact anyone back home until she beat another runner: three months later and no texts, save the ones instructing Kyou and her dad to toss her collection and trophies, respectively.
While Kyou kinda had to go and snap her out of her stubbornness, it’s still a bit disconcerting he so casually shot down Ruri, especially after her unprecedented spilling of her honest feelings. He made her happy caring for her. But this is a show where the imouto is the star, unfortunately for Ruri. So rather than be happy with an Ayase or Saori or Tamura or Ruri as his girlfriend, Kyou continues to live his life in service of others. He derives his happiness from making others happy. Pfft…what a weirdo! Rating: 3.5