Made in Abyss – 13 (Fin)

Always cold and hungry yet full of longing to see the wonders of the Abyss, the still-human Nanachi was lured, along with a good deal of other disadvantaged children, to their doom by the dastardly White Whistle Bondrewd the Novel.

On the way down to the unreassuringly-named Sea of Corpses, Nanachi meets the ebullient Mitty. Weary at first, they hit it off almost immediately, buoyed by the exciting, life-changing adventure they’re about to undertake.

Did I say exciting and life-changing? I meant nightmarish and life-ruining/ending. One by one Bondrewd comes for the children until Nanachi and Mitty are the only ones left.

Neither has any idea what’s happening to the others until Bondrewd comes for Mitty, but not Nanachi, in the night. But Nanachi, now all alone, follows them, and sees and hears things she shouldn’t.

Bondrewd takes Nanachi’s disobedience as an auspicious event, and places them in a tube right beside a frightened, already-trapped Mitty, and calmly explains how the “experiment” is going to go down. The two descend to the Sixth Layer, where a horde of formerly-human things gather around their tubes.

Then the ascent begins, and all of the Curse is transferred to Mitty in a graphic, gruesome, and thoroughly upsetting sequence. Nanachi can only watch in the other tube, absolutely powerless to help. Mitty was Nanachi’s one and only true “treasure”, more important than any relic they might have found in the Abyss.

But, as we know, Mitty isn’t gone. Well, not totally. To Bondrewd’s delight, the double-dose of Sixth-Layer Curse not only took Mitty’s human form, but made it impossible for her to die. She is constantly disintegrating, regenerating…and suffering.

Nanachi flees Bondrewd’s clutches with Mitty (though it’s highly likely he lets them go) and eventually finds a place to live. But there is nothing Nanachi can do for Mitty. It’s not that they can’t put Mitty out of her misery due to emotional considerations…it simply isn’t possible.

Not until Reg and Riko came around. With his Incinerator, which Nanachi calls “Sparagmos”, or the “light that returns to the cardinal point”, Nanachi believes she can finally free Mitty’s long-suffering soul from what’s left of her body.

Reg asks for time to think it over, and worries that if he kills Mitty, Nanachi will feel they have no more reason to live, and might take their own life. Nanachi promises they won’t, and convinces Reg of the only right and proper course of action when they tell him that when they one day do die, Mitty will be left alone, suffering for all eternity.

After preparing a tasteful site for “sending off” Mitty, Nanachi only halts Reg from firing Incinerator for one last goodbye to her treasure, then tells him to do it. The ensuing inferno consumes every bit of Mitty until there’s nothing left. Just like that, she’s gone.

It’s ruinously sad, but I’ll admit, a HUGE relief her suffering is at an end. After all, her last words as a human to Nanachi in that tube were “kill me.” Hers was the kind of pure lasting suffering that’s hard to imagine or even comprehend, but I can grasp the catharsis, even if the hurt remains in the hearts of those who sent her off.

Things thankfully take a lighter turn when Reg awakens to find Riko is also awake, and starting her rehabilitation. Riko takes an instant liking to the cute and fuzzy Nanachi, and both Nanachi and Reg appreciate Riko’s far superior culinary skills.

After going through that emotional, visceral ringer, It’s awfully nice to see Riko back to normal. Then she asks if there wasn’t someone else there besides the three of them, and recalls a dream that made her think that.

The creepy dream we saw part of last week is put into context thanks to Riko. She is consumed by a kind of skin (representing her deep illness) and can only cry and panic, but when she sees that terrified, crying eye—Mitty’s eye in the waking world—she calms down, stares back, and tries to comfort her.

Then, after Reg sends Mitty off, Riko perceives it as Mitty (or rather, her soul) being restored to its human form before passing on. Then Riko realizes she needs to “get going”, and follows the light back to consciousness and out of her wounded stupor.

Upon hearing this “dream”, which was likely something more significant, Nanachi looks grateful that someone saw their treasure in the moment she finally achieved her freedom.

Nanachi takes Riko and Reg to a kind of healing hot spring, and enjoys watching Reg squirm as Riko proceeds to have no qualms whatsoever about bathing with him naked, all while quietly asking Mitty to wait “a little longer,” which could either be interpreted as Nanachi planning to take her life and join Mitty soon, or not until after she’s lived a life that now includes two new potential “treasures” in Reg and Riko.

After removing the mushrooms from her arm (another highly painful, unpleasant ordeal), Riko eventually regains the ability to lift her arm and even move her thumb. Reg blames his crappy amputation attempt for the state of her arm, but Riko doesn’t blame him; she asked him to do it, after all. She also heared from Nanachi how tearfully and desperately Reg tried to save her, and thanks him for that, regarding her nasty scar as “precious proof” he protected her.

Riko, like Reg before her, asks Nanachi if they’ll join them as they continue their journey further down the Abyss, and Nanachi agrees. The credits then roll over a lovely montage: Riko ties her backpack to a balloon and releases it, and they prepare for their journey as it makes its harrowing ascent past all the layers they’d passed, even requiring Marulk to free it from a branch and repair it.

It eventually reaches Nat, who looks shocked and elated to finally possess evidence of Riko and Reg’s progress. Having completed their preparations (and the construction of a big, sturdy new backpack), the new party of Riko, Reg, and Nanachi leave Nanachi’s cozy house behind, in search of trying to satisfy that most unstoppable longing for the unknown.

Meanwhile, in Bondrewd the Novel’s lab, he notices one of dozens of lights has gone out; a light signifying Mitty’s life. He is proud of and grateful to Nanachi for having finally gotten it done, as if letting them escape was yet another experiment. And he’s eager to meet her again. Ouzen was right; she’s kind and pleasant compared to this evil bastard.

And there we are; that’s a wrap! At least until a second season comes along. While I can assure you there are very few shows I’d want to jump into the second season of immediately, and this is one of them, I think a good long rest is in order, to recover from the emotional wounds it left in this final, epic, horrendously devastating yet still somehow hopeful, and achingly beautiful finale. I want to believe Riko’s mom is waiting for her. I have to.

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Kiznaiver – 08

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The Kiznaivers have never been closer, even if they still tend to snipe at each other, they also all show up when Nico invites them to the mall to hang out take booth photos together (which is what regular friends do) even during a typhoon warning.

Back at Kizuna HQ, Yamada and Urushi are licking their chops at the opportunity to move the experiments to the next level, and the conditions are perfect, so they use the Gomorins to bring the team in.

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Before they do, the sight of an outdoor playcenter reminds Kacchon vividly of the time he was test subjects with Noriko. When Yamada nonchalantly explains more about the Kizuna Project and how they even went so far as to experiment on researchers’ and sponsors’ own children, it’s pretty clear what’s coming: some kind of epiphany between the currently frustrated Noriko and a Kacchon who is “disappointed” in her.

I must say, I’m not a big fan at all of Yamada or Urushi, who are way too laid back about the fact they essentially tortured children who had no say in the matter, not to mention all the adults who suffered from early experimentation. Morally speaking, the ends don’t usually justify the means…and they don’t even have any ends yet.

All they have are seven youths who have already demonstrated that they not only share each other’s physical pain, but also strong emotions, be they negative or positive. And Yamada and Urushi want to delve deeper into the positive by pairing everyone off. Again, it’s a bit icky, but they’re committed, as is Noriko, to ensuring the experiment is completed – regardless of how the subjects feel.

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The chart of Kiznaivers relationships reminded me of the character charts Zane used to spend way too much time making, but once they were complete really gave a concise picture of who liked whom (One instance that was at times a closed circle of one-sided relationships was Nagi no Asukara).

Here, Urushi lays out the obvious: Yuta likes Honoka; Honoka still likes Ruru; Nico likes Tenga; Tenga likes Chidori; Chidori likes Agata, and Hisomu likes pain. Noriko can figure out the last one for herself, to the surprise of the adults: Agata likes her.

She’s known for a while that he had strong emotions, but didn’t know they were romantic. Now, all of a sudden, the pieces are falling into place for her, and she heads to where the others are to “kickstart” the experiment.

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As Noriko purposefully makes her way, time runs out for Chidori to properly confess to Kacchon, despite the two being all alone for an extended period of time. Kacchon’s attention is turned elsewhere, quite suddenly, by a stronger sensation, and either the symbolic visualization or straight-up hallucination of his younger self and hi fellow test subjects leading him to where he needs to be.

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That precise time and place turns out to be crucial, as Kacchon arrives at the place just in time to save Noriko from being crushed by a falling statue just as she emerges from an abandoned metro station. Just like that, Noriko’s experiment has taken a huge step forward.

Why? Simply put, Kacchon has achieved a kind of “spidey-sense” vis-a-vis Noriko. Or rather, he’s always had it, and it has finally fully re-awakened. That explains the cryptic visions of the younger Noriko. It isn’t that her feelings reached him in time. She is a part of him and vice-versa.

To confirm, Noriko removes her choker to expose the Kizuna scar on her neck, glowing brighter and purer than any of the others’ wrist scars. That’s Kacchon in there, and that’s huge, as it not only progresses the experiment, ill-begotten as it was, but marks the loosening of a knot that had been festering in Kacchon’s heart for years. I for one am intrigued.

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PSYCHO-PASS 2 – 09

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So, while it looks like Mika was S.O.L. last week, it turns out the world’s worst mother-son pair isn’t done with her. Kasei (actually Mrs. Togane) tells her the whole truth about Sybil being composed of the criminally asymptomatic, and Mika responds with applause, whether out of genuine admiration and approval or straight up primal fear. 

To drive point home that the Toganes aren’t the most savory sort, we’re treated to a flashback in which Sakuya’s mother provides him with puppies to slaughter.

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I’m sure many of you were waiting patiently for the proof that Akane isn’t actually a boy, and this week the show gives us a rare glimpse at her bod. Not sure why, as the closest she’s ever come to being portrayed as anything resembling a sexual being was when Shion hugged her once, but I often find it easier to think things through after a nice shower, and Akane definitely has things to think through.

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As she does, Dr. Masuzaki is killed, by a Dominator, while in custody. Mika suspects Sakuya had something to do with it, but is being forced to bear many a secret, including the fact that she’s now in league with people who are working to turn Akane’s hue black. Not that there’s anything she can do about it; she was never one to put her life before others, and she fell into their clutches fair and square. Every day she’s not dead is a victory for her.

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This week was also a return to the Psycho-Pass tradition of digging up the most effed-up scum of the earth who have way too much time and money on their hands, and are involved in some kind of bizarre ring involving humans, holos, and zoo animals.

Kamui is at this dinner, along with his host Kuwashima Koichi, a former classmate who transferred just before the plane crash who was later saved from latent criminality by Kamui. The whole night is really just an elaborate way of taking out trash that is no longer needed for their plans.

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Once that’s done, and an entire hall in Chiyoda goes up in flames, the MWPSB arrives right on queue, led by Akane. Kuwashima meets her there, as willingly as Masuzaki did, but he has a gift for her: the ear of her grandmother, the one person I suspected could raise her coefficient. Again, Mika knows Sakuya has something to do with it.

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Just as Mika dug up too much on Sybil to be left alone, so too has Akane with regards to Kamui. Kamui personally doesn’t seem to care one way or another, and actually wants her to “witness the judgment” that’s about to come. But the grandma thing sure makes it look like Kuwashima and Sakuya are in cahoots to mess with Akane, and I daresay they succeeded. Then again, I may be underestimating Akane’s grit.

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Hitsugi no Chaika – 12 (Fin)

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The bad guys Ricky, Layla, and Grad have a pretty firm hold on the situation at the beginning of this episode, and have the benefit of the commander of the opposing flying fortress being an absolute clod (“Advance! Fire!…Keep Firing!” Really?), but as battles rage both within and without the fortresses, that hold grows more and more tenuous as the good guys regroup and persevere.

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But here’s the thing: at no point do the bad guys ever consider changing their course. They’ve chosen their purposes and paths in life, and they’re sticking with them, even if they lead death…which they ultimately do. This only represents the midpoint of Chaika’s journey, which I’m glad about, and not just because there’s a lot more remains to find, but because the Mad Trio worked far better as a midpoint villain than a final villain.

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But while this wasn’t the end of the show, it was the end of a great many things. It was the end of Chaika being the helpless damsel-in-distress, as she takes it upon herself to take out Layla and rescue Tooru all by herself. When he protests he’s only her tool and she shouldn’t be saving him, she’s as upfront as she’s ever been to that point with her real feelings for him. They even almost get a kiss in before Akari and the others show up (they kissed a few moments previously, but it was more about the delivery of precious oxygen than romance).

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It was also the end of the Mad Trio’s Big Scheme to plunge the world back into the chaos where they once thrived. They were undone by failing to realize that there are others just as determined, and even a little more capable than they are. Take Grad, who didn’t think the opposing commander would launch a suicide attack, even though that’s what Layla just suggested they do when they reach the city.

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Layla too underestimated Chaika’s desire to escape and continue, in Layla’s words, being a tool of Gaz and his ilk. Layla cast away the purpose programmed into her and forged her own, and I can’t be entirely without sympathy considering the life she’s lived when it finally ends. As for the hellspawn Ricardo, whom she pledged the balance of her life? In the end he comes off as less a monster and more a sheltered, pitiable wretch.

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Something else ends: the life of Alberic Gilette. It’s a very quick, almost unremarkable death, but it’s a death that happens when he too is absolutely determined to stop war, even if he has to do it with his bare hands. The way the scene is shot, it almost looks like Leonardo and not Alberic is going to be the one hit by the laser. When Vivi hears he’s gone, she transforms into a Chaika. I wasn’t expecting that!

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That transformation holds a lot of promise come second season airs, because Vivi suddenly became something else. Frederica can change form and even molt into “Minifred”, but she stays Frederica. I’m not sure what the Vivi-Chaika will be like, but it looks like one more way in which Gaz and his followers set up a diverse array of tools. I also hope the budding romance between Chaika and Tooru is explored further (though I’m probably in the minority).

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Until then, we leave a tool who knows she’s a tool but is going to keep tooling around anyhow, along with her tools who know they’re tools but she’s told them they’re more than that, along with the dragoon who still needs to kill Tooru, a Vivi who’s lost her love and her…Vivi-ness, and half a Gaz body—including his head!—left to find. It’s a full plate; one I look forward to scarfing down this October.

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Final Cumulative Rating: 7.92
MAL Score: 7.62

Hitsugi no Chaika – 11

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Hitsugi no Chaika has chosen to close with an epic three-part finale, of which this is the middle part. Middle parts are tricky, as it’s hard to have two episodes in a row with no concrete resolutions (it just kind of…ended), while putting that much more pressure on the third part to deliver. Even so, I think this middle part performed admirably, providing a nice balance of action and fresh insights, some of which confirm/reinforce my ideas about the Chaikas.

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Our heroes remain at the mercy of their enemies, two of whom, Ricardo and Grad, we met last week and got a cursory idea about what makes them tick. The third girl, Layla, only revealed her duplicity at the very end, but when I saw her for the first time with her hood concealing her face, I was pretty darn sure she was another Chaika. Like our Chaika and the Red Chaika we met previously, she too is driven to collect Emperor Gaz’s remains. The difference is how they all go about it.

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Red Chaika is a warrior. Our Chaika is a damsel in distress. And Layla is, or rather, was, a seductress, using her body, wiles, and drugs to acquire remains. Once she learned she was only one of many tools with diverse talents created for the sole purpose of re-appropriating Gaz’s remains; that her heart and soul and emotions and memories were all essentially manufactured for that purpose, she quit being Chaika, joined forces with Ricardo and Grad, and now lives for her own purpose: to help them start a new war.

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War, you see, is when those two felt most content, and, more importantly, most useful. Ricardo’s bloodlust and Grad’s desire to dominate could find true and enduring expression. They’re really more over-the-top versions of Tooru and Akari, saboteurs who had nothing left to sabotage after the war. The atrocities this trio has committed condemns them to villainhood to be sure, but on one point we can feel for Layla: wanting revenge against those orchestrated this whole dastardly plot. Why should she let it continue?

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But our Chaika isn’t like her…at least, not yet. Not only is she still committed to gathering her “father’s” remains even after all Layla has said, but in doing so she’s given the Acuras a new purpose. With their flying fortress packed with magical fuel-giving corpses and drug-manipulated soldiers, Ricardo, Grad, and Layla aren’t going to be satisfied with a grand adventure. They want to set the world back on fire and dance in the flames. And by episode’s end, they’re very close to achieving that goal.

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It would seem that as tough-as-nails as Akari is, her older brother would seem to have a slight edge over her in combat ability. I say that because he manages to evade and withdraw from her attacks on numerous occasions while consciously trying not to kill her, while she’s most definitely trying to kill him. I’m also on board with Tooru teaming up with Zito and Vivi when they cross paths, saving each others’ lives in the process.

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Perhaps the best feint of the episode was the heroic arrival of Fredrica, who seemed poised to rescue Chaika when a creepy-ass human-like spider thing snuck up behind her and stabbed her in the brain. It continues the trend of the show using her sparingly; if she were always around to save the day, things would be pretty boring. It was also a promising sign that this mess won’t get wrapped up by a last-seond deus ex machina, but hard-earned with with blood, sweat, tears, and wits.

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