Every time it looks like one guy, say Iga, has the inside track (gradually teaching Kae to be comfortable touching a guy with innocent handshakes), conditions allow for a shake-up. Enter Nana, who is concerned about being the least close to Kae of all the others.
When Kae, dirt broke from the pilgrimage, gets a job at a theme park dancing in a Puri Puri Moon show, it’s Nana’s time to shine, as he’s watched, danced, and sung every song in PPM’s repertoire every weekend with his adorable little sister Kirari.
As such, Nana is the one and only one who can get closer to Kae this way. The others try, but the hiring staff of Usami Land find other part-time jobs that better fit their particular skills and circumstances. As for Nana, he puts everything he has into training for the role of the Dark Prince, even at the cost of his health, suddenly collapsing with fever.
Kae has him brought home, then takes care of him by cooking him food before he takes his medicine. She manages to bond with Kirari a little, but not to the point Kirari is willing to let Kae have her brother, whom she wants to marry. But their shared knowledge of PPM is a definite ice-breaker.
Then things get dark, and I mean really dark, as a fever-addled Nana, essentially dreaming while awake, grabs, kisses, and holds down Kae, who isn’t strong enough to break away. If it wasn’t for an improbable Iga to the rescue, who knows what might have happened.
The show does not contend for a second that Nana was just getting the better of his hormones to awful result; he was well and truly not in his right mind. I have no reason to doubt that, and neither does Kae, but that doesn’t change the fact it was an awful and terrifying experience; one that makes her nervous about touching any guy again, including Iga, the guy she was making such nice gradual progress with.
After apologizing profusely both on the phone and in a very public display of begging outside Kae’s bedroom window (much to the chagrin of her older brother), Nana regains Kae’s trust in the heat of a PPM show gone awry, when three otaku n’er-do-wells must be dealt with, requiring Kae to take Nana’s arm/hand on numerous occasions.
I’ll admit the frozen faces of the character outfits were a little unsettling (not to mention an obvious trick to save money on animation), but that’s often how such theme parks operate; the labor they have at their disposal isn’t always going to remotely resemble specific anime characters.
Indeed, the frozen faces served at least two laudable purposes: they provided a literal “padding” between Kae and Nana to facilitate healing between them, and it also served as a semi-biting commentary on the culture of such shows: play the right tune and bust the right moves, and facial expressions, to say nothing of plot and character, are all irrelevant.
In the most bizarre and surreal episode of WagaMoDo, the newly-restored duo of Kae and Shina suddenly declare they have to go on a pilgrimage to the resting place of Hyakki Sametora, the feudal lord upon which the Lord in their anime is based. The only truly enthusiastic guy is the history buff Mu, but the other three tag along nonetheless. Reasonably priced-but-not flashy hot spring innage ensues.
The night they stay at the inn, Iga accidentally falls on Kae during a pillow battle, and her reactions indicate to Iga that she didn’t dislike that accident. When they end up on the same swan boat (to the possibly cursed island where the lord’s head is believed to reside), he takes her hand and tells her if she’s not used to being so close to a guy, to get used to it…and she does not protest.
Unfortunately for Iga (but fortunately for us), when a sudden storm maroons the group on the island, Kae ends up rescued by Mu (while Iga has to give Nana mouth-to-mouth; an event Shina captures from many angles with her waterproof phone). When Kae collapses from fever, Mu has no choice but to get her to shelter, disrobe her, and use his body heat to get hers up. He does so with the utmost gentlemanliness, while Kae is too out of it to be embarrased.
After that…things kinda go off the rails, as the show suddenly picks up a lot of supernatural elements. The ghost of the lord makes the others walk around in circles, then attacks Kae and Mu, who use the charms they bought at the gift shop to neutralize him. Eventually Kae “exorcises” Sametora when he realizes his legend is not a negative one (thanks in part to the anime that pretties him up and makes him either a top or bottom).
All the supernatural elements are (mostly) explained at the very end once the group gets to shore by a very unexpected and hilarious twist: the restaurant where they ate lunch accidentally used hallucinogenic mushrooms, so they were tripping balls the whole time, likely including during the storm and “lake whirlpool”. Overall a pretty fun episode.
This week’s WagaMoDo explores one of the pitfalls of fujoshi friendships: what happens when they develop opposing views on which guy in a new anime is on the left side of the shipping “x” and which guy is on the right. Kae is adamant that it’s Lord x Akane; Shina the opposite.
Once the guys figure out what the heck the girls are actually on about, they set to work trying to mend fences. Igarashi in particular tries to counsel Shina on the error of her ways, but both girls remain ruthlessly stubborn, finally entering into a fan-fiction writing duel that Shina will likely win with her superior writing experience.
Shina is so caught up in her “justice” that by the time she’s loudly gloating her (surprisingly narrow) victory, Kae is on her hands and knees on the roof, sobbing her eyes out, still not willing to concede Shina’s right. That’s when Iga brings the hammer down: Shina, who claims to love only what is beautiful, has done something ugly…and she knows it.
We get a lot of Shina’s backstory, from when her talents were shrugged off as a product of her family’s wealth and status, to her need to “find a place for herself” in the world, to her interactions with Kae, whom she always thought was beautiful.
Reminiscing on the events that led to her friendship to Kae, Shina soon realizes she must make amends. Enter Iga once more, giving up Kae’s whereabouts when she won’t answer Shina’s call. Shina arrives just as Kae is also coming around to realizing that she doesn’t want her friendship with Shina to end just because of a relatively petty squabble.
They both compromise, stating Akane and his Lord to be “versatile.” A great episode that deepens our understanding of Shina and presents a very realistic situation in which something small and seemingly innocuous can turn into something big and destructive, but the two girls’ friends never stopped trying not to force them back together, but get them to see for themselves that together is where they belong.
As Arthur summons Oz (that’s right: the Wizard of Oz…oh my) along with Loki, not necessarily for their aid but to at least bear witness to the impending discovery of the Divine Gate, the show takes a closer look at the cheerful, energetic Midori, who not surprisingly is dealing with demons just like Aoto, which affects her focus and performance in a sparring exercise, and may prove more of a crippling liability as the quest to find the gate heats up.
We haven’t even been formally introduced to three of the six kids in the core group, but as Akane talks with them, one makes clear that Midori’s intense belief in the Gate, or something related to it, could be hampering her development, like an anchor holding back a boat (not the most flattering metaphor, I’ll admit).
As Aoto is initiated into the academy, he still declines warm food and has trouble putting into words why exactly he’s there (as opposed to how he came to be there). But it’s a brief outburst by Midori about “being number one” that shifts Akane’s attention to her later.
Midori decides to open up Akane, telling him about her friendship with Elena, someone who only wanted one friend: her. When Midori, a far more outgoing girl, inevitably made other friends at school, it poisoned the bond between them, culminating in an ultimatum from Elena that Midori simply could not accept. This was a decent, no-nonsense execution of the Obsessive Friend theme.
Midori fails to make up with Elena, who rather than attend the summer festival as they always do, heads off to find the Divine Gate on her own. Once Midori hears of a girl disappearing in the mountains, she rushes to a police-filled scene, and actually sees the massive gate looming over the mountain.
Ever since that strange, vivid experience, Midori has not only believed in the gate, but believed Elena was already there, waiting for her. She wants Elena to still be alive, but she also wants to repair the bond she broke by rejecting her ultimatum (which wasn’t an unreasonable move, but obviously came at a stiff price).
Aoto hears a little of the story, and it probably shows him that he’s not the only one with issues, but unlike her, he’s also got a little boy in his head telling him how messed up he is all the time. Akane and Midori can see him talking to someone they can’t see, and it worries Midori.
She does some digging online (on a computer with a keyboard that seems way too loud and disruptive for a library), but as soon as she accesses Aoto’s files, a red “Restricted Access” wall goes up, stopping her in her tracks and making her and Akane wonder what the heck Aoto did, or what was done to him.
Another episode that efficiently fleshes out one more character, Midori, without solving all her problems, but making us understand her better. I imagine the show will eventually do this with Akane and the other three prominent kids in the group, parallel to Arthur and the Round Table’s more abstract machinations.
However, I won’t be around to see it, because the mystery of the gate just isn’t doing anything for me, and there’s no indication the revelations (if they ever come, as we’re likely to be strung along for some time beforehand) will be any less half-baked than the characterization of iconic characters like Loki and Oz. So I’m making a discreet exit now; no hard feelings.
Divine Gate’s second episode delves further into both Aoto and Akane’s troubled (if very different) pasts, and there’s some okay character work going on as Aoto discovers a way to start moving forward.
But it paints with awfully broad and familiar strokes, and my initial enthusiasm about Divine Gate being an absorbing if imperfect diversion took a big hit when I was introduced to Loki, another very loaded character name.
The idea of a character who’s neither entirely good nor evil is good in theory, but the execution falls short, thanks to his really dumb clown/jester design. I don’t particularly want this joker pulling the strings. Also, a name like Loki has inescapable baggage attached to it. Like King Arthur or Leonardo da Vinci, if you’re going to use a name, you’d better do something interesting with it.
Meanwhile, the refreshingly normally-dressed Akane and Midori visit Aoto again, they see he takes care of alley cats, but not all the time, only “when he feels like it”, something Akane thinks is worst than not feeding them at all. But when the hungry creature in need shifts from cats to a little boy, Akane himself can’t help but help, even if he can’t always be there to do so.
When Loki makes a police robot go berserk and the kid ends up in mortal peril, and the father is too terrified and injured to save him, Aoto has to make a choice; like the one he made on the train last week.
He chooses to help Akane and Midori, who destroy the robot while he extinguishes the fire. While the saved boy initially hesitates going to his inept father, and Akane curses the dad for doing nothing, Aoto can relate to consciously wanting to do something—like move forward—but being hampered by a subconscious that’s not in sync. The father’s fear overpowered his conscious desire to save his boy.
I know all this because a little boy with white hair and red eyes in Aoto’s subconscious tells him and us, which is a bit clunky, truth be told, like the clowny Loki, the very sight of whom irritates me. But he apparently staged the whole crisis to shake Aoto off the shelf, and he succeeded.
Aoto goes back to the night his parents were murdered, and we learn it was his brother, the favorite son, who actually did it. When Aoto takes his hand, he briefly sees the Divine Gate, but his subconscious delivers a shock of pain to his brother, who separates their hands and walks off, never to be seen again.
So Aoto isn’t the parent-killer. Yet I felt that absolving him so easily was an overly safe choice that sapped his character of darkness and complexity. Being messed up because you killed your parents, and being messed up because your brother did, are two different things.
But it’s because his brother is still out there, and he wants to see him again, that Aoto joins the academy. Also, because Akane and Midori were “annoying”.
Many years ago, Noriyuki Abe wasted no time drawing me into a world where a youth named after a berry, who looked like a delinquent to many around him, actually had a very kind and generous heart. He could also see and talk to ghosts, which is how he met his first shinigami; a very cute one who sucked at drawing.
I’m talking, of course, about Bleach, my first extended foray into serialized anime. There’s a lot of that same welcoming, beckoning quality coming off his latest work Divine Gate, as well as its exploration of spirituality and mythology. It’s a hard feeling to put into words, but Active Raid didn’t have it; not for me at least. Divine Gate, like Bleach, did.
In DG the normal human world is just the normal human world, but there are two other worlds: a world of fairies and a world of demons. A few of those humans have elemental powers, and work under Arthur of the World Council either as full-fledged members or academy students like Akane and Midori.
Then there’s Aoto, who’s clearly a powerful water-user, even without a power-enhancing driver, but wants nothing to do with the Council, despite Arthur’s believe his powers will help maintain peace between the three worlds. Instead of attending a school that will help him hone his powers, he’s at regular old school, where his peers shun him as the infamous “parent-killer.”
Even though most of Aoto’s early dialogue is internal (and quite flowery), the fact I can hear what he’s thinking is an effective way of drawing me into his world and his plight. He’s mopey and morose, but there are very good reasons for it.
Meanwhile, since this is a show about elements and colors, his moroseness is balanced by his would-be academy mates. Akane outwardly mocks Midori for actually believing in the titular “Divine Gate” that will grant any wish once opened with the power of all the elements, but somewhere in the heart of every student and Council member is a desire to encounter that gate, their individual wishes ready to go.
Midori and Akane meet Aoto twice, but neither encounter goes particularly well. He’s got a wall up, one they don’t—and can’t—quite understand, anymore than they understand right now how a kid could really kill his parents—which Aoto freely admits when the subject comes up (though I’m not sure he’s being truthful).
But the flashback makes it clear: Aoto was the family pariah; his parents doting on the younger son while he was exiled to a shed in the backyard eating cold food. His brother knew of his plight, but also knew Aoto had the power to do something about it, so he did nothing, instead doing whatever he wanted.
So Aoto endured a thoroughly cold and loveless upbringing. Why exactly, we don’t know. The “rain” (his tears) continues to fall unendingly inside him. He doesn’t believe power can do anything, because he’s always had it and it’s never done him any good. But perhaps, with more interaction with other perspectives and elements, those inner clouds could break one day, and he’ll find that wish to be used at the Gate.
DG effortlessly drew me into its world; it’s a place I wouldn’t mind coming back to next week. Not sure about the show’s logo, though. Tilted Impact?Really?
Mika screwed up, in part because he put everything on his shoulders. His plan to free his family, which was more than fine going along with it, ended up killing them all except for Yuu. Mika himself would have bled out, were it not for the intervention of Krul Tepes, Loli Vampire Queen, offering him, nay, forcing upon him, her blood.
Now he’s a vampire, and the pain and guilt could stay with him for centuries, potentially twisting him into a wretch. Yet he still carries out his duties alone, eliciting resentment form his vamp peers but gratitude from a single girl he saved from a monster, who gladly offers her blood to him as thanks. Once his escape plan failed he had no choice in becoming a vampire (Tepes wouldn’t let him die), but he can choose what kind of vampire to be. It’s a choice that’s perhaps lost on someone so racked with guilt.
From checking in on Vampire Mikaela the episode segues to Yuu and Yoichi transferring to the Moon Demon class, where he makes the most ridiculous overbaked shonen speech possible about not being there to make friends and declaring he’ll get the best gear. His seat happens to be positioned right in front of that of Kimizuki Shiho, the dude who picked a fight with him earlier to test his ability.
And so we have our two arrogant, hotheaded rivals who both have something to learn from one another and will become tentative pals by the end of the episode through greater understanding of where they’re coming from. If this sounds somewhat rote, it’s because it is; nothing out of the blue here.
Like Yuu, Shiho lusts for power…all of the power, though not for revenge, but to save his sister, who is dying from the Apocalypse virus. But Guren warns him, with demonic visual aids, no less, that Shiho can’t go anywhere near cursed gear as long as that lust for power drives him. Like Yuu, Guren needs him to make friends and learn to rely on the strength of others. Going it alone won’t end well for anyone.
Shinoa fixes it so at their first major evaluation, Yuu and Shiho are paired up. Predictably, they try rushing in opposite directions despite the fact they’re handcuffed to each other. Seriously is their mutual lust for ultimate power so strong, it affects their basic understanding of the physical limitations of handcuffs?
Apparently, but they don’t get to demonstrate just how badly they fight together, because word comes Shiho’s sister has taken a turn for the worse. Suddenly understanding why Shiho is so gung ho about beating him, Yuu insists, with prejudice, that they go to the hospital. Being with his family is more important than the evaluation.
Shiho relents and goes, and doesn’t regret it. His sister pulls through, but the doctors warn regular medical equipment will only keep her alive so long. The military has tech that might be able to cure her, but the military, like society, is transactional: if Shiho wants that tech, he’ll have to distinguish himself in the Moon Demon Squad.
Yuu, jerk that he is, still won’t back down on claiming the best demon gear the army has to offer, but he won’t stop Shiho from taking the second-best, now that he understands what Shiho is fighting for. Both guys failed the evaluaiton, but while Shiho feels defeated, Yuu tells him it’s no time to give up. He’s going to do everything he can to avenge his family, regardless of evaluation scores or moon squads. He expects Shiho to do no less to save his sister.
Mind you, I’m not sure the lesson about teamwork has quite stuck, since both seem dug into their own separate aspirational trenches, but the seeds of a alliance or possible friendship were certainly sown.
That’s good, because Yuu and Shiho can ill afford to stay ineligible for handling cursed gear. They need to get into good fighting shape soon, because Tepes has formally declared war on the humans who would organize into armies to oppose them. A rancher wouldn’t let thier cows join a union barring slaughter, now would they?
As for Mika, he’s determined to “rescue” Yuu, and while I’m not sure what that entails, if he’s planning on loading everything back on his shoulders once again, he hasn’t learned much. As repugnant as Ferid is, he could be a valuable ally against Tepes, the mutual thorn in their side.
Episode three opens with Yui receiving a love letter from a cute girl. Falling for a not unattractive young lad who saved you from being drained by an escaped vampire prisoner is not an unreasonable thing for this girl to do, but as strong and brave as he is, she still doesn’t know him, and he’s too busy with his quest for vengeance to notice or deal with romance.
While this girl sees him as a hero, Shinoa continues to look down at him as a novice, as well as a frustrated virgin. She points out the Demon Army isn’t just about killing vamps, but also creating an environment suitable for human procreation. The virus killed 9/10ths of them, after all, so the remaining tenth “needs to make babies”, to quote Commander Adama.
Shinoa doesn’t doubt Yui’s physical strength or his courage, but warns him he shouldn’t move to fast with his training. Only those with cursed gear can fight vampires, and the demons within them will consume, rather than contract with, those with “weak hearts.” Shinoa believes Yui’s unyielding thirst for vengeance makes his heart weak. Not a bad conclusion, but incomplete, as we see.
When one of their classmates wanders into a forbidden dungeon below the school, where demons roam ready to take the souls of the weak, Yui, Shinoa and Yoichi head down there. Shiona reveals it’s really a training ground for the VEU, and the whole school is a human experiment for recruiting VEU members, who are naturally drawn to said dungeon.
So while there are bullies and love letters and cut euniforms, the school isn’t just a regular school after all. Shinoa even mocks Yui for potentially thinking “such a peaceful place” as the school appears on the surfact could ever exist in such a messed up world.
If Shinoa was hoping to intimidate Yui with all this show-and-tell, she failed, and if she didn’t want him to do anything rash, she shouldn’t have let him in the dungeon at all. Then again, when Yui goes through the forbidden door, she doesn’t stop him, suggesting she’s letting him make his own choices. Once there she insists he not touch he demon gear his classmate is holding, lest he become consumed by a demon. Again, Yui ignores her warnings and grabs the ax with a nifty little move.
Then all of a sudden he’s gone back in time with Mika and his family. Shinoa didn’t say how the demon would consume him, but creating a very real illusion of his past is a good way to start. But where both Shinoa and the demon underestimate Yui is in not in their calculation of his desire for revenge—which is high—but the fact such a desire is a weakness.
Yui knows his desire is wrong, so it can’t hurt him as badly. He also knows it’s something Mika wouldn’t want, so as soon as Mika and the other kids are acting totally out of character, Yui knows he’s in an illusion and breaks free.Doing so impresses Shinoa once again, who again seems put out that he proved her wrong yet again.
Yui’s heart isn’t as weak as she thought, but will see what happens if and when he learns Mikaela not only wasn’t killed, but became the very thing Yui wants to wipe off the face of the earth. We finally get a good look at Vampire Mika, who doesn’t seem particularly friendly with Ferid. More likely, he’s done what he’s done all this time to survive. He always put others before himself, so I’d like to think a few years of being a vampire hasn’t bleached out that inherent goodness.
As the credits rolled and SawanoHiroyuki[nZk]:Yosh’s excellent ending theme “scaPEGoat” played (the OP was also dope), four words blazed through my mind: “Are You Not Entertained?!” I certainly was.
This ambitious, thrilling episode had a complete and compelling arc and aced all the fundamentals, giving it the feeling of a rich, self-contained short film when combined with the premiere.That premiere was key in setting the brutal tone of the human/vampire conflict while creating solid kinship and sympathy with young Yuu and buying into his motivations for wanting to live a life of revenge. This episode would not have been nearly as emotionally resonant without it.
Owari also surprised me quite a bit with its deftness with bait-and-switches. Last week’s cold close created an It’s On Like Donkey Kong vibe, but Private Hyakuya Yuuichirou proves to be a rough fit in the demon army, where soldiers are expected to put their personal feelings or vendettas aside and obey orders. Yuu breaks the rules, and so he’s punished…by being sent to school.
This sudden addition of the school drama allows the show to let its hair down a little after a stodgy start and finds a pretty strong comic voice in the process. Yuu isn’t just banished to school, but there’s a soldier posing as a classmate whose tasked with supervising his progress in making a friend. If he keeps breaking rules, his suspension from the army will only be extended.
That soldier/classmate is Hiiragi Shinoa, deftly voiced by Hayami Saori, whose standout performance blends military formality and authority with feminine grace and sly humor. Her character design and eyes in particular somewhat remind me of Steins;Gate‘s: clean, attractive, and stylish.
Yuu’s punishment makes sense. Yes, he’s scarred by past traumas, but if he wants a future fighting vampires, he needs to learn how to engage people and work in a team, which means forming bonds. That’s not going to be easy for someone who lost his whole damn family, and you could say the show’s being tough on him, but I think Yuu has just the right amount of arrogant, rebellious dickishness to allay that concern for me.
And just because humanity’s population has literally been decimated (not entirely wiped out as Yuu thought; but then he grew up absorbing vamp-prop), high school is still high school, so there are bullies and weenies and he decides he won’t let the former have their way with the latter…which is when Shinoa helpfully warns him his suspension will be extended if he harms a civilian. This guy can’t win!
But in another glorious case of the good kind of bait-and-switch, the would-be victim of bullying, Saotome Yoichi, turned out not to be a weenie after all, nor was he being bullied: he wanted the non-bully to put in a good word for him with the demon army. Yoichi tried to enlist and failed the exam, but he wants to keep trying so he can avenge his sister, who died to protect him, as we witness in a grim micro-flashback that made my heart sink.
This externalizes Yuu’s own desire for revenge, but in this case, he justifies his own desire as backed up by his strength and ability. On the other hand, he still thinks Yoichi is a whiny little weakling who’d only get killed, and in any case, his sister probably wouldn’t want him avenging her. The discussion is put on hold when a bomb goes off and the city P.A. alerts everyone of an escaped vampire test subject.
Seeing this as a perfect opportunity to prove he belongs in the extermination unit, Yuu runs to school to seek out the vampire, stopping her from feeding on a student. The non-bully is there too, but in this moment of crisis, he’s paralyzed, and admits he lied about wanting to enlist.
Here, the show shows off its readily apparent action combat chops, as well as the inherent trickiness of fighting a vamp with a regular katana when her wounds and severed limbs quickly grow back, and any bystanders are like phoenix down for her. Yuu needs help, and he gets it when Yoichi tackles the vamp minx. When Yuu asks why, Yoichi calls him a friend. Yuu then holds the vamp back and they go out the window, Spring Break-style.
Yuu is able to get the vamp to land on his sword, but it’s still just a sword. Enter the anti-vampire spell-dosed sword of Lt. Col. Ichinose Guren, commander of the Vampire Extermination Unit, Shinoa’s superior, and the man who rescued Yuu four years ago. When he pulls out that sword, the vamp dissolves into a cloud of gore and ash.
Ichinose thinks Yuu looks every bit the helpless little kid he saved back then, but he can’t deny the fact he held his own with that vamp pretty well, and also minimized causalties. He also can’t go back on his promise to lift Yuu’s suspension if he makes a friend, both because Shinoa won’t let him, and because Yoichi is so happy his friend Yuu is okay he pounces on him like a cat, knocking his head on the pavement.
In the episode’s beginnings, Yuu remarks how every time he closes his eyes he sees the faces of his family before they’re murdered by vampires. So while he’s out cold after a life-changing day, there they are. Only this time, they express their relief Yuu was able to live and fight for something other than revenge. Just as Mikaela put his life on the line for Yuu, and Yoichi’s sister for him, Yoichi and Yuu protected each other.
From now on, he won’t be living just to avenge his family, but to protect the two friends he’s made today, all the other friends he’s sure to make in the Vampire Extermination Squad (which he and Yoichi are assigned to, joining Shinoa), and to protect a humanity in resurrection. This looks like the start of something great…especially if we take the hints that Mikaela didn’t die, and is now a vampire.
Owari no Seraph’s opening episode was a swift, merciless Saturday afternoon gut punch. It was all about getting things done. I mean, the entire population of earth over thirteen years old simply keels over in the first minute. No messing around!
As for the little ones who are left, well…my heart’s not made of stone; it’s hard not to sympathize with their plight as they cower in their home and are taken captive by scary red-eyed vampires in robes. The power differential is simply staggering.
The episode jumps forward four years to when Yuuichirou and his “family” of fellow orphans, including Mikaela and Akane who are his age, live a dreadful underground existence as living blood bags to be periodically squeezed for the vamps’ use. But everyone adapted and made the best of a shitty situation. Yuuichirou is always talking of fighting back one day, and while it’s all talk, the smaller kids believe him, and that hope sustains them.
It turns out to be Mikaela who actually does something, acquiring a pistol and a map from a vampire noble and suggesting they book it out of there. Nobody here on RABUJOI cared enough for Rolling Girls to watch it all the way through, but that certainly wasn’t because of Wit Studio’s animation, which was very crisp and zany and pretty.
Wit shows RG was no fluke with another gorgeous presentation, only this time the big backgrounds are filled out with lush detail of the subterranean city. Sawano Hiroyuki (Kill la Kill, Aldnoah.Zero, etc.) contributes another soaring score that lends gravitas to the proceedings.
Unsurprisingly, the kids end up caught by the very noble who liked the taste of Mikaela’s blood so much he kept him around. So far at least, this is not one of those shows with grey areas in the affiliations, as Ferid is pretty much pure evil and likes the look of despair and hopelessness in the kids’ eyes. As they try to run for it, he kills them one by one with lightning speed.
All of them except Yuuichirou. Mikaela is able to distract Ferid long enough for his brother to get a clean headshot off, but as Ferid had just put his hand through Mikaela, all Yuuichirou can do now is RUN, alone, out into the unknown world. Ideally, twelve-year-olds shouldn’t have to deal with this kind of trauma, but kids are all that’s left of humanity, and those kids have been dealt a tough hand.
Upon emerging from the caverns, Yuuichirou finds three adult humans in uniform who have been waiting for him, following some kind of “prophesy.” How long have they been out their waiting? Did they take shifts? No matter, they were here when they were supposed to be, and the kid emerged on schedule.
Now they intend to use him to defeat vampires, something Yuuichirou, who may be in shock but is still lucid enough to express his interest in helping them. After all, he pretty much has every reason in the world to want to dedicate the rest of his life to exacting revenge.
We jump forward another four years, and we see Yuuichirou more grown up and in a very slick-looking suit, patrolling what looks like the ruins of Tokyo. It’s a wordless, music-less scene made all the more powerful by its use of silence and the white noise of the wind, a silence that continues into the credits.
Presumably we’ll watch Yuuichiro’s life as a budding professional punisher of vampires in the episodes to come, but it was a good idea to begin with a prologue that shows us just how much torment he, and probably everyone else who managed to escape the vamps, went through. After all that darkness, I won’t begrudge them their righteous vengeance. Even so, less one-dimensional vamps would make for more compelling foes.
In the first half, both Himeko/Switch and the Student Council conspire to send Bossun and Tsubaki on a banner-writing mission alone together while they observe. The newly-discovered twin brothers bicker the whole time, and end up making multiple mistakes. In the second half, Tsubaki comes to Bossun’s house for dinner, where he meets Akane and Rumi and sees photos and videos of his biological parents. The two then take a picture for their parents’ shrine.
51 episodes. Only a few series we’ve ever watched have stretched so far, and many of those ended right there at 51. This episode wan’t the end of Sket Dance, but it was the end of the “year”, and the end of an arc, specifically, the Brother Arc. Seeing Tsubaki in a whole different light, it dawns on us how much it was foreshadowed that they were separated at birth. Their physical differences are a result of Bossun taking after his father and Tsubaki his mother. Tsubaki’s even a lefty to Bossun’s righty. There’s a lot of differences between the two, but there’s still that underlying bond neither of them can ignore – one you only get with blood.
I imagine if it turned out two of my friends in high school found out they were related, it would be a pretty exciting time, even if it had next to nothing to do with me. Both clubs they belong to seem to feel this excitement too (Switch likens it to fatherly pride), as do Bossun’s mother and sister. So with this arc mostly resolved and the two brothers on more-or-less cordial terms, the next year of Sket Dance will introduce a new character – possibly a new Sket-dan member, who looks to possess every anime cliche in the book – intentionally, of course. We’ll be watching to see how that goes.
On his seventeenth birthday, during the school festival, Bossun is approached by the doctor who delivered him. He apologizes for letting his mother die, but also for something much bigger: Bossun has a twin brother. The doctor, whose wife could not concieve, took the other twin, as was Haru’s dying wish so Akane wouldn’t be overburdened by two sons; Akane never knew. When the doctor tells him it’s somebody he already knows, it’s clear to him that Tsubaki is his brother. When the festival ends they meet up and discuss it, but decide to proceed like nothing’s changed. Himeko, however, has different ideas…
Clearly Sket Dance wasn’t done with the heavy durama…although thankfully this week was bookended by the usual comedy. We’ve gotta feel for Bossun…learning his mother and sister aren’t related by blood; that both his parents died the day he was born, and now he has a twin who just happens to be Tsubaki, who was the nerdy little kid he protected a couple years ago – kid’s got a lot of stuff on his plate all of a sudden. But he takes it in a combination of shock and stride, because what else can you do?
Some nice details: Tsubaki learned he was adopted without asking his parents whe he discovered they had Type O blood, befitting a doctor’s son. Yet no bloodwork or words, for that matter, would change the fact he was their son. Bossun is the older of them, and the face he makes when he learns this is priceless and pure Bossun. Himeko seems absolutely enamored of the idea Tsubaki and Bossun are brothers, and Switchfinds it pretty amusing as well. And Renzou’s dad is even more hilariously intense than he is.
Yuusuke sleeps on a bench near the place where his father was killed. A trio of roughs beat him until another good-size guy breaks it up. His name is Taisuke, and he’s the boy who Kyousuke saved from being hit by a car. Taisuke still remembers what the dying Kyousuke told him, and he gives Yuusuke the bag meant for his deceased mother, containing a watch and letters for both her and his not-yet-born son. We also see the circumstances of his mother’s death, as Akane loses control and hits a doctor, who delivers Yuuske but can’t save Haru.
Like most of Sket Dance’s serious efforts, this episode flat out executes. There’s nothing fancy here, its a nice simple story of a kid coming to terms with the fact that certain information had been withheld from him his entire life. The shock of this info still raw in his mind, all he can do is run. He finds himself at the park where his father died fifteen years ago, and he lets punks whale on him almost as a messed-up therapy session. While he works out these issues in his head, everything else just seems peripheral. He’s not even outraged that the first passersby to witness his beating do nothing about it; they’d help, but they fear death.
Last week wasn’t all that clear about when exactly this took place in the Sket Dance chronology, but we learn that Yuusuke isn’t Bossun yet, and he hasn’t met Himeko or Switch and formed the Sket-dan yet, either. This is a Bossun we haven’t encountered yet; one who spent his time rifling through his mother’s possessions. Once he learns about his father’s selflessness and desire to help others, even at the cost of his life, and also realizes he’s not alone as his mother and sister are still just that, well, let’s just say this whole two-parter journey is what made Yuusuke into the Bossun we know and love listening to as he yells at things.