Kakushigoto – 06 – Pride and Privilege

Someone keeps giving Hime expensive backpacks every year, despite the fact her dad already bought her one. Because she’s a kind and gentle soul, Hime tries to wear both at once, inspiring Kakushi. But to him, giving a kid a backpack is a privilege that must be earned and appreciated, not an obligation to be fulfilled.

When this philosophy is applied to the manga industry, Kakushi imagines a kind new world where everything is a privilege to be grateful for, whether it’s the artists being grateful for the privilege of having their art published, or the readers being grateful for the privilege of that art. But when taken too far, Kakushi ends up overextending himself, having accepted the privilege of too much extra work. Rasuna thinks he sounds like a corporate slave, but as he’s self-employed he’s more of a “man-slave”. 

We eventually learn that the mysterious serial backpack provider is Kakushi’s father-in-law, who judging from the Toyota Century is some kind of big shot. Kakushi still seems to hold a grudge for the man’s reluctance to allow his daughter to marry a gag manga. But now that Kakushi has been a father for ten years, he would feel the same way if Hime brought someone like him home. As Kakushi says, he’s “a freakin’ paradox.”

One of the extra tasks Kakushi took on to realize his Kind World was an autograph session, which is booked the same time as his day-date with Hime at the very popular and sought-after Kidzanira, where kids get to try out a bunch of adult jobs in a controlled environment. Fortunately, the bookstore where he’ll be signing autographs and the Kidzanira are in the same mall. But that also means a risk of Hime finding out his job, so his assistants take turns keeping an eye on her.

During the morning session Kakushi is convinced everyone in line is either someone he knows (Ichiko), a friend of someone he knows, or people paid by his editor to stand in line. The way he phrases his questions to the latter group furthers his misinterpretation of events. It’s not until after spotting a poster for a famous painter that he realizes that those in the line are there because they are legitimate fans who love and respect his work. Even a father and young son are united in their love of Balls of Fury.

Just as his confidence returns and he yells “I’m a manga artist, damnit!”, his exuberance accidentally knocks down a partition, revealing Hime in a cloud of smoke. For a moment it looks like the gig’s up, but Ichiko swoops in with a tremendously creative save, telling Hime she and Kakushi are at the “Kidzanira for adults” trying out different jobs. Even so, Hime doesn’t even recognize her dad in his manga uniform, so he didn’t have to worry. What he may have to worry about? Hime wanting to work in a bookstore!

Fast forward to the future, where the older Hime opens the “17” box to reveal envelopes full of manuscripts. At first she seems unmoved by the manga, which is about a father, mother, and daughter. It’s all so boring and ordinary…which is why as she continues to read the tears start welling up. There may not be swords or magic on those pages, but there is a bunch of real life; a life very familiar to Hime.

This closing scene is one more emotional “bomb” that had been intricately constructed in the “past” sequences that preceded it. All those mundane moments of her and Kakushi just living life together given gain deeper resonance in the future where he’s suddenly absent.

Despite Kakushi’s reservations—not to mention his father-in-laws about him—Hime may well fall for someone like him. Not because that person will be a gag mangaka, but because they’ll be kind and loving, and consider loving and caring for her to be an honor and a privilege…because that’s exactly what it is.

Saekano 2 – 03

Tomoya and Eriri find themselves suddenly confronted by the Hashima siblings, whose Rouge en Rouge game company put out a demo of a game very similar to their own.

While Megumi does her best to keep things diplomatic, it isn’t long until Eriri and Izumi are coming to blows.

Sure, they’re low-impact blows, and each seems to want to empower the other to do their utmost to beat each other (at art, not physically), but then there’s the fact that, at the moment, I don’t much care particularly how well Blessing’s game does relative to Rouge’s.

Isn’t it enough that the team works hard and puts out a game they can be proud of, into which they put their blood, sweat, tears, and passion?

In between acting like she and Tomoya have been married for years, irking certain male classmates, Megumi is preoccupied and fired up by Utaha’s surprise story revision.

But the only way they’ll know whether it works or not, and which script to choose for the game, is by implementing it. That means a lot of work just to catch up to the Rouge demo, with no guarantee their output will surpass their rival’s.

When one all-nighter involving Tomoya and Megumi only nets 20% of the work, other measures need to be taken. When Michiru suddenly arrives, appalled that Megumi spent the night, Tomoya sees an opening, and asks his cousin to recruit her Icy Tail bandmates into doing the gruntwork necessary to plug Utaha’s new story into the game.

They pull a second all-nighter, and considering how late I’m writing this on a Thursday night, I can’t say I don’t relate to their exhausted state when they’ve completed their task.

All that work makes it that much more harsh a slap in the face when Tomoya meets with Utaha and utters the line above. Apparently, after story, art, music, and programming have been combined, neither of Utaha’s stories cut the mustard; at least not now that Tomoya is convinced Iori has a better story up his sleeve.

He requests a complete rewrite—certainly his prerogative as game director—but I assume Utaha is dismayed by his blunt assessment, as I was. In an attempt to outdo Rouge, could Tomoya be overplaying his hand? By demanding perfection when perfection may be unattainable, will he only end up driving his partners away one by one?

Saekano 2 – 02

Utaha has finished her script, and to celebrate has Tomoya take her out for a day of shopping, dining, and watching films that aren’t poorly-received (i.e. ghosty, shelly) live-action anime adaptations.

It’s a date, no doubt about it, at least as far as Eriri is concerned, observing the couple’s interactions from afar like, well, a stalker, with Megumi forced to tag along for plausible deniability.

But Utaha doesn’t merely toy with Mr. Ethical: she makes it a point to bring up the fact that now that the script is complete, her job with Blessing Software is also done, and she’s looking to the future.

She asks Tomoya his opinion not only on where she should attend university (out in Kansai or fifteen minutes away) as well as to pick which script should be used: she wrote two. She’s basically telling the director to choose a direction; not unreasonable.

When Eriri and Megumi meet with Tomoya (thanks to Megumi having a key to his place!) they see the ending and see Tomoya’s dilemma. Eriri both acknowledges Utaha’s artistry, comparing it to the Metronome of Love series she claims to have never read, while complaining that it’s a lot more work.

Still, she doesn’t automatically reject this new ending, nor does Megumi: they, like Utaha, leave it up to Tomoya. Sorry dude, gotta make some hard choices, and not everyone is going to be happy. Especially with Izumi’s doujin game already out there in demo form, living in the same genre as their game.

Saekano excels when Tomoya is one-on-one, as he is with the lovely Utaha most of this episode. But I also liked how their interactions were shadowed by Eriri and Megumi (especially the difference in Utaha and Eriri’s reactions to the movie, which chose a “childhood friend-friendly”, and thus Eriri-friendly, ending).

I can’t say whether the script of Saekano is cliched per se; all I can say is that it is unafraid of commenting on the very genre and medium it exists in, or of being almost self-back-pattingly self-referential and irreverent of those institutions.

But the dialogue is expertly delivered by the actors, and the character design is strong, so even if this show’s ‘weakness’ is its script (which I’m not saying is the case), it’s more than capable of making up for it in other areas, which makes this show enjoyable to watch on any given week.

But I don’t think it needs a live-action adaptation.

Saekano 2 – 01

“Why are things so bad between them?” asks Mr. Awful Thick-Headed Deaf Protagonist, AKA Aki Tomoya, referring to the near constant bickering and fierce competition between Eriri and Utaha. Cue a flashback to a year ago when the two rivals first meet, and Eriri learns Utaha is not only the author of the “Metronome In Love” novels she enjoys with Tomoya, but that she’s trying to snatch her Tomoya away.

Eriri tries in vain to steer Utaha away from Tomoya, while Utaha is irritated to learn how well Tomoya knows his childhood friend Eriri. Utaha brings Eriri up to Tomoya because she’s “interested in knowing more about her”, meaning she’s eager to gather info on a foe.

For all the contempt Eriri and Utaha have spewed at one another throughout last season, they are nonetheless connected by a strong underlying mutual respect. They’re not just foes, but worthy foes. And however much they may differ in creative philosophy, neither can deny the other’s obvious talent, or even be a bit envious of it, considering they excel in different areas (Eriri art, Utaha words).

Utaha learns that Eriri’s motivated by revenge for all the frustration she’s suffered having to hide her talent away beneath a pristine social facade; while Eriri believes she has the haughty Utaha figured out as a cold, calculating ice queen who looks down upon and manipulates her fans with her technique. Neither is wrong!

So back in the present, while they’re still bickering as fiercely as when they first met (with Tomoya as the totem of their rivalry), they can still acknowledge one another’s skill and passion for their craft, and can agree with Tomoya when he says theirs could be a collaboration for the ages.

The praise and enthusiasm of the guy they both like makes it easier for them to look past their surface hate for one another, and the value in working together, even if it’s not always, or ever, smooth sailing.

When Tomoya requests an illustration by Eriri autographed by both her and Utaha as Kashiwagi Kazumi, Eriri, Utaha, and Megumi also requests autographed illustrations. The apparent mortal enemies proudly hang them in their homes, proving their respect and admiration for one another beyond any doubt, even if they’d never ever say it to each other’s faces.