Tenrou: Sirius the Jaeger – 12 (Fin) – Bringing the World Together

Fallon manages to land the plane without killing anyone, and Dorothea deals with their vampy stowaway. Willard gains access to the airship’s bridge and brings the ship close enough to the ground so Yuliy can grab hold and board it. Yevgraf immediately becomes drunk with power and spends a lot of time smirking, laughing, and gloating about it.

Indeed, Yev proves just a few minutes into his “merging” with the Ark that he’s only in it for number one. Having gained the knowledge of the Ark, he believes vampires to be a weak and inferior race just like humans, and plans to purge both in his new world.

This naturally comes as a shock to his always enthusiastically loyal underling Tamara. But even more shocking to her is that Yuliy is the one who comes to her rescue against a Yevgraf who has changed a great deal in a very short time…and not for the better. Like myself, she did not see such an alliance coming!

Yuliy isn’t interested in killing vampires for the sake of killing vampires. He made a promise to his father to keep the Ark, and the pride of Sirius alive, and to prove him right about all of the races of the world being able to peacefully coexist. I mean, if the Ark doesn’t have the answers to such a future hidden somewhere within it, what good is it, really?

The Jirov brothers team up to fight this new “deformed final boss” version Yevgraf, who is little more than a monster now; all subtlety regarding his lamenting the end of his kind by some random disease utterly evaporated for the sake of a good-vs.-evil showdown.

Yev can heal super-fast, but eventually the power proves too much even for his body, and the regeneration slows and eventually stops altogether. This leaves him a far more vulnerable target for attacks by both Yuliy and Mikhail, who work together to finish him off.

Not soon thereafter, Misha succumbs to the disease and his wounds, but not before handing Yuliy the Ark he pulled out of Yev’s chest and telling him to keep living, this time with the Ark.

The airship crashes into the sea, and Willard washes up on the shore, but while he’s out, Yuliy reaches out to him, telling his second father he’s found a new way to live: by using the power of the Ark to help the world, as he believes those who bestowed it upon his predecessors intended.

Willard wakes up surrounded by the rest of V Company, Iba and Ryouko. A bit later Ryouko returns home and enrolls in college business classes, hoping to one day walk by Yuliy’s side once again. Willard & Co. receive word of the location of a couple matching Yuliy and Tamara’s description, and are ordered to capture them.

While their superiors now see Yuliy as an adversary to keep in check, nobody in V Company is against what he’s doing, which is why they intend to be the first to find him. When we leave Yuliy, he’s on a train, preparing to meet with vampire elders about reaching some kind of détente.

And that’ll do it for Sirius! I’ll admit it took me a while to get through it, but that wasn’t out of lack of enthusiasm. On the contrary, despite its lukewarm reception in the halls of MAL, I quite enjoyed P.A. Works’ foray into the vampire genre. It tweaked the blueprint with period and steampunk touches and a likable (if not particularly unique or deep) cast of characters.

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Kuromukuro – 17

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Ken and Yukina were actually able to witness Muetta’s fall on a video feed, so when all geoframe pilots are on standby, Ken is understandably anxious and unwilling to sit around doing nothing.

He doesn’t sympathize with the Efidolg, he just wants his beloved princess back. He wants her on their side. They simply have to channel his energy into something productive.

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The commander lets Ken and Yukina take the Kuromukuro out, and Yukina using its newfound recon toys to find…a bear, along with her commenting on how a walk by the river could be fun, keep things light and breezy.

It’s easy to forget how stressful a situation Yukina is in: co-piloting a giant alien mecha with a samurai whose lost princess looks just like her. You gotta keep your wits about you somehow; Yukina does it with wit.

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The leader of the Efidolgs sends Yorba down to retrieve their two agents, and he comes down in style, in the “Bluebird”, a huge flying geoframe with a dragon’s form, slicing through Earth fighters like they were warm butter and deflecting their missles.

This show has always done a good job showing how implacable Efidolg technology is…if only the people wielding it had the discipline to match.

(Also good? Never going too far up the chain of command, at least on the Earth side. I’m sure there are conference rooms full of suits determining our characters’ fates – I just don’t need to see them. The show seems to get that.)

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I can’t help but love an episode in which Ken and Yukina have to stop trudging in the river looking for Yukihime so they can stop an immense USAF C-5 Galaxy transport from crashing into the damn lab.

I also appreciate the valorous portrayal of the Air Force transport pilots, who complete their mission even though their bird is on fire and going down. We didn’t see the faces of the fighter pilots Yorba slaughtered, but thankfully we get to see the faces of some luckier ones, who survive thanks to the Kuromukuro.

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Getting back to Efidolg arrogance and suspicion being their undoing, Yorba isn’t satisfied with simply picking up Mirasa, though to his credit, he doesn’t buy her lame story about Muetta dying for a second. It’s almost as if Mirasa is lying for the first time, and it’s not her forte.

I’m not convinced Yorba is as concerned with avenging Muetta as he claims, but I’m willing to bet that’s as good an excuse as any to pick a fight with the black glongur that’s been giving his fellow Efidolg so much trouble. So rather than return to base with crucial information, he satisfies his desire for a real fight.

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He gets one, but at first, he tosses the Kuromukuro up above the stormclouds like a cat flicking a toy in the air, bashes at it while it falls then flicks it back up before it falls too far. It’s a battle Ken and Yukina can’t win without the power of flight…so it’s fortuitous that they gain that power, thanks to Mr. Ogre, who it turns out has a flying geoframe of his own.

Once the odds are evened, Ken gives Yorba a run for his money, until Yorba exercises the better part of valor. Back to the mothership he goes, a Mirasa richer but Muetta-free.

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As for the winged benefactor, he asks Ken to consider whether he’s been wrong all along about the “ogres” destroying the Washiba, then releases them at a safe altitude, convinced he’s not quite ready to hear the whole truth.

And Yukina? She hears a bit of her father in the Ogre’s voice, because let’s face it, he probably is her father. It’s as if he’s Darth Vader, only he’s been helping his kid all along, instead of waiting until the bitter end to do so.

But as he said, more answers will have to wait until a future encounter between them. Until then, after such a harrowing battle, I’d say Yukina and Ken have earned another break.

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Ushio to Tora – 08

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Before he even boards his flight to Hokkaido (with a very excited Tora) to find out more about his mom, supernatural trouble seems to gravitate towards Ushio. Case in point: a bitter, grieving young woman named Yuu (an angsty Toyosaki Aki!) whose father was, according to his co-pilot Atsuzawa, killed by a monster in the air. Yuu blames Atsuzawa, because there’s no such thing as plane-wrecking sky monsters…right?

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Well, actually, there is; Tora calls is a Fusuma, and it stalks his plane as well. Before that, Ushio does a fine job both introducing himself to Yuu and offering a comforting hand during takeoff, admitting to her he’s scared of flying too. As for Tora, he’s having the time of his life. The the Fusuma attacks and all hell breaks loose.

The pilots are killed, so Atsuzawa must take the controls and try his damndest to save Yuu for his late comrade’s sake. Ushio prods Tora outside the plane to deal with the Fusuma, who is weak to fire, but Tora can’t breathe enough of it to kill the sky youkai, and neither lightning nor melee attacks have any effect.

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The Fusuma is truly one of those sinister yet also immensely irritating bosses for whom only certain tactics will work. When Tora breaks it to Ushio that he needs to take a more active role with his Beast Spear, Yuu is eager to lend a helping hand, and Ushio actually shares the spear with her as they deliver a blow to Fusuma.

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Ushio then steps outside himself, trusting in and depending totally on Tora to keep him from flying off the plane to his death, and slashes all the Fusuma’s limbs off, separating him from the plane and allowing JASDF fighters to finish him off with the requisite amount of firepower, courtesy of a missile. But wouldn’t you know it; our boys still aren’t out of the woods, as the crippled plane’s rear landing gear won’t respond.

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It’s another job for Tora, whom Ushio basically goads into doing by saying it’s okay if he can’t lift a plane. Tora, throughout all of this, still doesn’t quite get why Ushio is so eager to save strangers like Yuu, but is protecting Ushio so he can someday eat him—having him die by other means won’t do. So he serves as the rear landing gear, the plane lands roughly but safely, and Yuu, Atsuzawa, and the rest of the passengers are safe and sound.

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Ushio wants to help out with the rest, but Yuu sends him off to take care of the important stuff he has to get to, and Tora also keeps him on task. The implication is that the cute, feathery-haired Yuu, who has now seen the monster who killed her father and helped to slay it, no longer blames Atsukawa, and will be just fine…though she wouldn’t mind seeing Ushio again. Bawwww…

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GOD EATER – 03

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GOD EATER follows up its slow, stretched-out, uninspired second episode with a big shot of adrenaline, as the entire third episode is one big aerial battle. It could also have been titled “Enter Underboob”, as after a couple of glimpses of her last week we finally see Alisa in her element (as opposed to sitting quietly on a plane) as a (mostly) efficient exterminator of Aragami.

The First Unit and Lenka in particular gawk from their helicopter as the one-woman army Alisa darts and jumps and repels about the giant transport plane. Not only does it get to show us the extent of her abilities (and her superiority to fellow new-type Lenka), but also the various tools at a new-type’s disposal. Alisa switches from sword to gun with ease, and when she tuns out of ammo, she simply uses her arc to devour an aragami and convert it into more ammo…which is a handy trick.

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When Lindow, Sakuya, and Lenka spot a gigantic swarm of fresh Aragami on the horizon, Lindow decides it’s time to grab Alisa and leave before they get there. It’s a practical and pragmatic call, considering Alisa’s importance to the war effort. But when Lenka jumps down to get her, Alisa pounces on him and proceeds to beat the everloving shit out of him. The message is clear: she’s not leaving the plane. Shortly thereafter we learn why, and see another side of Alisa: the plane is full of wounded survivors, and she won’t abandon them to save her own skin. She values their lives as much as her own (if not more).

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If Alisa won’t leave and they can’t make her, Lindow changes his orders: the four God Eaters will go all out in a defensive stand. They’ll either defeat all the Aragami after them and land safely at Fenrir east together, or they’ll die together.

We get a lot of badass shots of the team about to get to work, and then working. Lenka gradually gets the hang of his arc and is able to keep up with Alisa; while she had a head start I imagine his kill tally was comparable to hers when all was said and done. He even learns to devour.

There are also a lot of smooth moves, like Alisa and Lenka using both versions of their weapons to kill Aragami, or Lindow tossing one into Sakuya’s firing line so she can finish it off. Their flying battlefield, surrounded by sky on all sides, adds excitement and breathlessness to the proceedings.

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Speaking of breathless, how about that sunset, as seen from the plane’s cargo bay ramp? Or the shot of the absolutely massive Aragami taking the helicopter decoy bait, which definitely looks like a very very good thing to happen, as despite our heroes’ successes, there remain things well out of their league…at least for now.

So…why only an 8? Well, because GOD EATER is very one-dimensional. It’s hella cool and stylish and fun, but it’s ultimately empty calories: immediate satisfaction but no nutrition. The characters are very well-drawn and awesome looking, but there’s nothing below the surface. Alisa, like Lenka, is just another bland cipher we’ve seen a million times before (though Sakamoto Maaya does a good job voicing her).

And while I’m not really going to get into the hefty suspension of disbelief required to accept the physics of the battle (Are everyone’s shoes magnetic? Does no one need oxygen), it was pretty silly how last week the much faster fighter jets were immediately taken out by the Aragami, yet this week the helicopter was completely ignored. GOD EATER remains great fun and this was a far better episode than last week’s, but its core flaws remain, which can’t be ignored.

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Kill la Kill – 11

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After Ryuuko seemingly defeats Jakuzure in an aerial clash, she bounces back with an encore in her “Da Capo” Symphony Regalia, paralyzing Senketsu with Beethoven’s Fifth. Ryuuko negates the attack with the sound of her own heart, and turns the sound on Jakuzure, who falls in defeat. Uzu faces her next, but their battle is interrupted by Nui Harime, Grand Couturier of Revoc, an organization led by Satsuki’s mother Kiryuin Ragyo. Nui brandishes the other half of Ryuuko’s scissors and tells her she was the one who killed her father.

“Things are getting more complicated by the minute,” Mikisugi laments when Harime Nui (voiced by the lovely Tamura Yukari) makes her appearance. We personally couldn’t be happier with the significant raising of stakes. Satsuki is fresh out of three-stars, and the self-amplifying dynamic of the show demanded that eventually Ryuuko’s conflict was going to soar far beyond the walls of Honnouji Academy. Here we were thinking Satsuki was unquestionably Ryuuko’s dad’s murderer, but in comes Nui, turning our (and Ryuuko’s) assumption on its head.

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Not only is Satsuki not the culprit, but she’s not even Ryuuko’s greatest threat anymore. The show really underlines Ragyo’s magnificence by making her literally shine with a blinding light. As pumped as we are for the ramifications of all these new introductions, which will reverberate across the second half of the series, we commend the episode for resisting the urge to dispatch Jakuzure too quickly. Satsuki’s right-hand woman deserved a longer, more intense fight against Ryuuko than those who preceded her, and got it. (Also cool: the theme to Ryuuko’s heart sounds like Aoi Eir!)

We also appreciated the running gags of the losers sitting with Mako, Gamagoori gradually warming up to her, and her family’s struggles to catch all the action. Let’s not forget that by summoning Fukuroda and commissioning a bullet made of life fibers, Mikisugi sure looked like he was fixing to “subdue” Ryuuko lest she get out of control, perhaps. But both his plans and Ryuuko’s battle with Uzu were cut short (quite hilariously in the latter case) by this whimsically-attired young lady who can dispatch a three-star with one finger, and cheerfully admit to killing Ryuuko’s dad with a smirk on her face. The Anti-Ryuuko.

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Rating: 9 (Superior)