Attack on Titan – 53 – The Ones Who Will Remember

It’s pretty impressive that after 54 episodes—probably about double the number required to tell a complete and satisfying tale—Titan is still bringing it. Armin freezes up after his hunch about Hoover turns out to be wrong, and so defers command to Jean, at least to decide their next course of action.

The thing is, while Jean probably wanted command, he tells Armin striaght up that it won’t be enough to get them out of this. When the rubber meets the road they’ll be relying on Armin’s strategic know-how, even if he’s finding it hard to focus, he’ll have to. Outside the wall, Erwin loses three whole squads in quick gory succession to the Beast Titan’s new tactic of hurling fastballs of rock at his forces.

Jean decides everyone will climb aboard Eren and attempt to distract the Colossal Titan, but screaming at him accomplishes nothing; he keeps heading towards the wall. Eren has to bum rush one of his legs and attempt to knock him down, but the Colossal simply kicks him off, sending him flying to the top of the wall.

Jean, Mikasa, Armin, Sasha and Connie all launch off off Eren before the rush, but instead find themselves confronted with a very alive and very pissed-off-looking Armored Titan. Looks like Hoover’s distraction bought Braun enough time to heal up.

Irwin and Levi spot Eren atop the wall, and Levi suggests his commander take the horses and survivors and withdraw with as many people as he can. Only the new recruits have survived, and the constant rock bombardment is starting to make some of them crack, including one who gives a lengthy monologue about their entire cause being hopeless and pointless, and no one really piping up to argue with him.

Erwin and Levi have an extended (and very moving) talk in which Erwin laments he won’t ever get to see the basement he longed to see his entire life. He also looks around and sees his fallen comrades all around him, watching him, wondering if they were sacrificed in vain. He asks Levi if it was all a sad delusion.

Levi is respectful, thanking Erwin for getting them this far, but it’s time to give up on the dream, lead the recruits into hell, and die. If he does, Levi will have that much better a shot at taking down the Beast Titan.

Still, Levi wonders how he can even reach the Beast when he’s on on a wide open field. In this, the Beast’s vanity and desire to present a show of devastating force leads to him making a critical tactical error: all of the large Titans spread out on either side of him provide the perfect ODM path for Levi.

That leaves Erwin to fire up his shaky, demoralized recruit squad, and shows why he was born to lead with a rousing motivational speech for the ages, which he starts up when one of the recruits asks why it matters whether they die fighting or cowering in a corner:

No matter what dreams or hopes you had, no matter how blessed a life you’ve lived, it’s all the same if you’re shredded by rocks. Everyone will die someday. Does that mean life is meaningless? Was there even any meaning in our being born? Would you say that of our fallen comrades? Their lives…were they meaningless? No, they weren’t! It’s we who give meaning to our comrades’ lives! The brave fallen! The anguished fallen! The ones who will remember them are us, the living! We die trusting the living who follow to find meaning in our lives! That is the sole method by which we can rebel against this cruel world! My soldiers, rage! My soldiers, scream! My soldiers, fight!

Hell, I was ready to charge into battle after that. By splitting into three groups and launching smoke flares simultaneously, Erwin hopes to affect the Beast’s accuracy enough to draw out the charge as long as they can, giving Levi the time he needs to reach his target. Unfortunately, Erwin is pierced through the torso in the first moments of the charge, which likely means his time is finally up.

So, did Erwin believe what he told the recruits to motivate them? Is he confident he gave his fallen comrades’ lives meaning, and does he trust those who outlive him to give his life meaning as well? We’ll see. But whatever happens to him, the Scouts, and the mission, let it be said that through his actions Erwin Smith rebelled against the cruel world until his final breath.

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3-gatsu no Lion – 28

Hina is the focus again this week, and the show is all the better for it; it’s good to see that while he still has plenty of doubts, in this situation Rei is the one who isn’t emotionally at sea, and even has a concrete path he’s following for the sake of the girl who saved her. Hina has been all but a co-protagonist this season, giving Hanazawa Kana some really good material to work with and simply letting her do her thing.

In case her middle school life can never return to its former normalcy (and even that was a bit of a charade), Rei continues to familiarize Hina with shogi, which served Rei well in the past as an escape from unfavorable conditions, and is now the game that pays his bills. Rather hilariously, Rei proves as bad at going easy on Hina (even though he’s trying) as he is good at competing professionally.

Sitting alone with Hina in her room (for the first time), Rei feels it’s a suitable time to ask Hina to tell him, in small bits, in her own time, what’s going on at school. Hina describes, among other things, an oppressively awkward and hostile atmosphere and “an invisible hierarchy” in which “your ranking decides how loud you can laugh or how much freedom you’re allowed.” In other words, every damn middle school classroom, ever.

Of course, not all classrooms are like that, but by no means an uncommon atmosphere, and both Hina and Chiho are partly victims of bad luck, and partly victims of their own selfless personalities. While changing that atmosphere may be nigh impossible, it’s much easier to bypass it.

Takahashi asks for Hina by name and invites her to play catch with him during lunch. He tells her Rei came by his house to play shogi with his dad and granddad—a granddad usually bedridden, but a spring chicken before Rei and a shogi board.

In any case, Takahashi understands the situation, and tells Hina if the classroom is ever too much, they can simply play catch. Hina is overjoyed.

The joy—and the prudence of Rei involving Takahashi—is short-lived, and the bullies escalate by scrawling slurs on Hina’s desk (albeit in chalk; these girls aren’t yet to the point where they’re gouging the wood).

Their leader also calls Hina a bitch under her breath, but Takahashi seems to hear it, or at least can read the room, then invites the three hellions to join him and Hina in their game of catch.

Before I could ponder whether Takahashi was trying to quell the conflict through inclusion, he unleashes some game-level heat at the fawning bullies, sending them running off.

Then Takahashi tells Hina why he did what he did: Chiho once gave him half of her lunch when his bento box fell in the dirt. He knew then, as he knows now, that anyone who shares their food with you is a good person, and he doesn’t think Hina should be afraid to show she has allies in this war.

It’s sweet, sweet revenge and a wonderful sentiment, but I knew its effects would be temporary, and perhaps even cause further escalation. That night, while playing shogi with Hina, Rei apologizes for introducing another element into her problem so recklessly.

But Hina is grateful for everything Rei has done, and is happy he is always asking her what she wants. She’s just frustrated that she doesn’t know…or that she does know, but knows there’ll be no turning back if she does that, because two wrongs don’t make a right and such, right?

Rei has always felt that Hina is stronger than him, and he’ll never surpass her in that regard. The bullies may be having their fun drawing awful stuff on the chalkboard, but they’re not just causing Hina pain…they’re making her madand toughening her. Rei realizes that his pacifist nature may not apply to Hina, and that simply becoming invisible, shuffling off to stare at bushes or play shogi may not be the best options for her.

So when the teacher asks Hina for an explanation, she stands tall, proud, and tearless, and tells the truth: she doesn’t know; she didn’t write that; it was written there before she came to class. The teacher seems to remember the Chiho situation she handled so badly (Chiho is now in psychological rehab, unable to even respond to Hina’s letters). One can hope she’ll handle things a little better this time.

Just Because! – 06

Morikawa’s Sunday request to Souma for a chat goes unanswered into Wednesday. Why? Souma is weary of breaking the “stalemate,” unaware of what someone who outright rejected him could possibly want to talk about.

While that’s festering, Komiya continues her campaign to become Izumi’s friend, believing it will net her the benefit of him giving permission to use the photo. Rather than absense, she’s hoping her constant presence will make his heart grow stronger.

They have lunch in the depressing office where Izumi studies alone, and Souma catches him being fed by Komiya. “It’s not what it looks like!” Izumi protests. Maybe not, but things seem to be moving in that direction!

Souma and Izumi have a talk about Morikawa’s text, and Izumi suggests they settle it with baseball…again. If he hits a homer off Izumi, Souma must respond. If Izumi strikes him out, he’ll “be clear” with someone whose name he’d rather not say (though I’m assuming it’s Natsume; isn’t that why he’s studying; to get into a college near hers?)

Once more, Souma and Izumi’s two-man, one-out game becomes the focal point on which all others are focused, from Komiya (literally focused with her camera) and Natsume (who can tell Izumi’s doing his best) to Morikawa, who almost, almost breaks out her trumpet, remembering Souma liking it, even though she thinks she sucks.

The next day, Komiya gets some reasonable advice to back off from Izumi since getting closer isn’t working, but it becomes immediately clear Komiya isn’t capable of backing off in a realistic manner, and even if she did, it would have no effect on Izumi.

Natsume, inspired by both Izumi and Souma, gives Souma an eraser as thanks for him lending her one years ago. Souma is understandably confused, and unfortunately Natsume leaves it there without any further information, forcing Souma to, as Izumi says “figure it out for himself.”

Later, one of Natsume’s friends (one of three all rooting for her and Souma) asks straight-up if Natsume even likes Souma. Natsume doesn’t know anymore. She’s torn between the elation of that eraser lend in the past, and the presence of Morikawa in the present, and of course, the tests that will determine her future.

Souma, meanwhile, finally gets back to Morikawa, only for her to procrastinate over responding to him. These damn kids, I tellya! Fortunately, Inui kinda forces the issue by telling Souma where to find Morikawa, who is practicing trumpet by the river. She plays for him, and it only makes him repeat how much he likes her. Her playing! But her too.

Then Souma gets a victory (well, he’d call it that) he never saw coming: Morikawa wants more time to give him a final answer; he’s not rejected. His raw elation upon hearing this was palpable. They come to a detente; planning a celebration when Natsume’s tests are done. But they dare not hang out one-on-one…why, I don’t know.

Meanwhile, Izumi is jogging when he comes upon Komiya, who has been busted by the cops for taking photos of someone without permission. The sequence is chopped up a bit, but it’s apparent he came to her aid, and he offered to ride her home on her moped.

Natsume just happens to spot the two, looking every bit like a couple to the untrained eye, before they motor off. Could Izumi actually be warming to the more accessible girl? Or is he just being the good friend Komiya wanted him to be? Whatever the case, it’s pretty likely Natsume will see what anyone else would see: Izumi and Komiya looking very close.

Just Because! – 05

It’s a new year and a new semester; the last for all of our main characters (save Komiya). So why is everyone so bent out of shape (save Komiya)? Well, the events of last weeK—Natsume and Izumi having a fight and leaving on bad terms, and Morikawa shooting Souma down—had lasting repercussions.

Neither Izumi nor Souma want to go to school, and who can blame them? But now that Izumi and Natsume had time to cool down, both realize the error of their ways and wish to apologize to one another, because they really do care about each other. If anything, the fight demonstrated to both of them that they cared more than they knew.

Unfortunately, the reconciliation isn’t prompt; Natsume finally finds Izumi (who studies by himself in his own room…?), but Komiya is already there, monopolizing him, so Natsume bails with Morikawa and Noriko, and she ends up telling them what transpired with Izumi, and how she wants to fix it.

Morikawa also wants to fix things with Souma. Even if her rejection would ultimately stand (nothing’s 100% certain), in hindsight she believes she brought the hammer down too hard; it was her first confession, and one could say she panicked. It’s not that she dislikes Souma, she just doesn’t think she knows him well enough to start dating.

Natsume, putting Morikawa’s feelings ahead of her own in this matter, encourages her to talk it out with Souma; he’ll probably be happy for increased dialogue, and come to understand Morikawa’s position as more nuanced than “you’re trash.”

It’s not just Morikawa’s rejection that has Souma down in the dumps. This is his last semester, then it’s off to the factory, where he thinks he won’t be able to have fun anymore. A senpai invites him to a factory baseball game, and he’s shocked to see how into it the old fogies are.

Thanks to Izumi being in the right place at the right time, he’s able to produce the glove Souma tossed in the dumpster (the incorrect dumpster, mind you!), and Souma immediately makes an impact on the game that endears him to his future comrades.

On his way home, Souma runs into his mom, also on her way home. We see that Souma has been looked after by his grandparents, as his mom is really frikkin’ busy at work. But in a really sweet scene between the two, she tells him it’s worth it.

In a day’s time, Souma is feeling much better about himself, life, and the future…and that’s before Morikawa reaches out to him so they can talk more.

Having given Morikawa advice that talking things out properly is best, Natsume can’t very well not practice what she preaches! In a particularly romcom-ish coincidence, she and Izumi encounter each other at the monorail stop, and have the whole train to themselves.

Natsume tries to break the ice by joking about what book he bought (he says it’s manga, but it’s really a college prep book), but it backfires, so she says sorry, and then says she’s sorry about the other night as well. Izumi, in turn, apologizes back.

And while she says it’s not because of him or anything, she’s going to make a concerted effort to make her feelings clear to Souma, and face whatever’s to come after that. However, they part ways before it’s clear to Natsume why Izumi said what he said, nor is it clear to Izumi if Natsume realized how he actually felt about her.

There’s still lots of work to do…but everyone’s either talking again or about to talk again, so there’s hope that more will become clear in time.

Just Because! – 01 (First Impressions)

With a rookie director, two rookie seiyuus in the lead roles and a super-vague synopsis, I had no idea what to expect from Just Because! —all I had to work with was a script by the guy who wrote seven scripts for Gundam IBO. What I did know was that Just Because! is a pretty nifty title.

We begin with an extended introduction to the neck-of-the-woods where we’ll presumably be spending time, and the show seemingly blows its entire suspended monorail budget in those first few minutes. Still, it’s a nice slow, but not flashy, establishment of this world.

The slow unflashiness continues at school, where there seems to be a dreary atmosphere; a malaise waiting to be snuffed out. Like the transfer student we eventually meet, we’re thrust into this school without knowing quite who to follow or what to do. That lack of bearing is essential to putting us in the mindspace of the protagonist, before he’s even anywhere near the center of the frame.

I’ll admit, I was dubious when terms like “transfer student” and “disbanding tiny club” came up; I consider myself just about clubbed out (both dance clubs and tiny school clubs in anime) and combined with the leisurely pace, I was starting to get a bit bored and depressed with this place. Especially when there’s no one or two people in focus for most of the episode. Even the camera feels afraid of showing us the players in this story.

Then Izumi Eita and Souma Haruto unexpectedly reunite on a baseball field after not contacting each other for the better part of four years (after Izumi moved away). He’s back for one semester, and while he and Haruto are initially a bit cool to each other, they manage to reconnect via baseball, with Izumi pitching and Haruto eager to hit a home run (I speak literally here, not in sexual euphemisms, BTW).

As their pitch-and-hit session heats up (hehe), it gradually garners the attention of the three other protagonists: the girl who is angry the photo club could be disbanded (the fiery Komiya Ena), the girl who plays the trumpet (Morikawa Hatsuki, providing the incidental score to the final act), and the former student council president who seems both jealous and part okay with the fact her friends went off to have fun without her (Natsume Mio).

Izumi and Souma are the magnets that draw the others together, though their individual vantage points keep them from realizing they’re all watching the same thing. This drawing together of disparate gazes also brings the show into focus. Finally, at the very end, we see people having fun, smiling, and laughing, after three quarters of an episode of somberness and ennui approaching existential dread.

Having hit a home run like he intended (but never thought he’d actually do), Souma goes off to ask Morikawa out, but he and Izumi exchange texts, and Izumi learns that Natsume, whom he also knows from the past, is also attending this school. Neither Izumi nor Natsume seem particularly happy at the start of this episode, but perhaps that will change when they reunite.

Kizumonogatari III: Reiketsu-hen

Araragi Koyomi has beaten Dramaturgy, Episode, and Guillotinecutter with relative ease, and secured his master Kiss-Shot’s four extremities.
This third movie isn’t about that mission; that’s over now. It’s about everything that comes after, and how we get to Kiss-Shot being at full power to the greatly diminished state in which we were introduced to her in 2009’s Bakemonogatari.

Kiss-Shot promised Koyomi she’d make him a human if he got her arms and legs back, and while Oshino was meant to be Koyomi’s fourth opponent—he in possession of Kiss-Shot’s heart—he is satisfied that the balance has been restored. He not only surrenders the heart, but forgives Koyomi’s 5 million in debt before taking off.

So, will Kiss-Shot keep up her end of the bargain she struck with Koyomi? She’s certainly happy to be in her 26-year-old form; giddy, even. They meet on the roof of the cram school and talk simply like two old chums.

Kiss-Shot tells Koyomi about her first servant, whom she lost to suicide (she tells him more about this during Onimonogatari), and pulls Kokoro-watari, a memento from that time, out of her body.

After watching Kiss-Shot frolick on the roof, Koyomi realizes he’s a bit hungry, so volunteers to pick up some snacks at the local 7-Eleven while Kiss-Shot ‘prepares’ to restore his humanity.

Upon his return, he discovers the nature of that preparation: Kiss-Shot graphically devouring Guillotinecutter, then wondering where Koyomi’s “mobile snack”, i.e. Hanekawa is.

It’s a devastating revelation to Koyomi that yeah, when Kiss-Shot is talking about food she’s talking about humans. She feeds on humans, and he not only saved her life, but restored her to full power. As he rages in the gym equipment room, blaming himself for Guillotinecutter’s death, Hanekawa pays him a visit.

As far as Koyomi’s concerned, he doesn’t deserve to get his humanity back after everything he’s done. He doesn’t even deserve to live, and certainly doesn’t want to live to the point where he sees Tsubasa as food. He’s already disgusted with the fact that the three hunters he defeated were on the side of justice.

Tsubasa, not surprisingly, has his back when he doesn’t have his own. She’s made her selfishness known to Koyomi, and she wants to see him next term, so he can’t die. Besides, throwing away all he’s accomplished thus far would just be running away. Even if he eats her, she’s fine with it, because she wouldn’t call someone a friend unless she’s willing to die for them, no matter the reason.

No, pointing the blame on and killing himself isn’t the right path for Koyomi. Not when he’s the only one who has a chance against a Full Power Kiss-Shot. Knowing he has to go up against her, Koyomi asks, for the first time ever, if he can touch Tsubasa’s boobs, in order to “build up his tolerance” for Kiss-Shot’s own substantial bust.

That attempt goes bust, however, when Tsubasa is more than willing to let him fondle her boobs and even take her maidenhood if he likes, but he chickens out and instead gives her a weak shoulder massage.

Hitagi may end up being Koyomi’s beloved, but there can be no doubt who his best friend is after watching these movies. Because all this takes place before he even meets Hitagi, Tsubasa is free to be the one and only girl, and thus one hell of a best one.

Alright, no more fooling around, it’s time to fight his master Kiss-Shot, who makes one hell of a fiery, explosive entrance in the stadium, the venue of their duel. Kiss-Shot know realizes she was insensitive in being so casual about how she took her meal. With that in mind, she asks him to return to her side, but of course he can’t, because she ate someone.

Koyomi saved her life, and won back her limbs, because she was weak. Once she was no longer weak, and Koyomi saw what she was capable of, he essentially woke up from the spell he had been under. At an impasse, they begin to go at it.

Because they’re both immortal, quick-healing vampires, it’s an absolutely bonkers fight, with heads and limbs flying all over the place, oftentimes sprouting back up before the old parts faded away. But as bloody and brutal as it is, the fight is a stalemate, with neither party able to inflict lasting damage on the other.

Once again unable to stay away when her friend is in need, Tsubasa tells Koyomi something isn’t right, and it’s something everyone but Koyomi would have realize by now: Kiss-Shot wants to be killed; it’s the only way for Koyomi to get his humanity back.

When Kiss-Shot tries to lash out at the interfering Tsubasa, Koyomi (or rather, his head and some neckbones) latch on to Kiss-Shot’s neck, and he starts sucking her blood, a lot of it, until fully half of it is gone, leaving her shriveled and powerless.

But he doesn’t want Kiss-Shot to die.

Instead, he wants everyone to get what they want; everyone to be satisfied. So he calls out to Oshino, whom he knows is watching, and hires him (for five million) to come up with a solution. Unfortunately, no amount of money will change the fact that it’s impossible for everyone to be satisfied.

So instead, Oshino, true to his nature of attaining balance everywhere he can, proposes a way for everyone to be dissatisfied in equal measure. Kiss-Shot can live on as pseudo-vampire mimicking a human, robbed of all her power and dependent on Koyomi to survive.

Koyomi, meanwhile, will become a pseudo-human mimicking a vampire; and both will continue to live, and the risk to humanity will be greatly reduced, but not completely eliminated. Koyomi won’t let Kiss-Shot die, so he takes the deal.

Fast-forward to August and the beginning of a new term for Koyomi and Tsubasa. He still heals quickly for a human, but not nearly as quickly as he was. He also views the world differently now that he can walk in the sun again, something Tsubasa thinks is very positive.

Koyomi pays a visit to Oshino at the cram school to give what’s left of Kiss-Shot some of his blood. On the roof, Oshino characterizes the situation thusly:

What you remember of a vampire eating someone…is like the disillusionment of watching a cute cat devour a live mouse.

And here you are, having chosen to keep your own little vampire like a pet.

You’ve dulled its fangs, pulled out its claws, crushed its throat and neutered it, right?

You, who was once treated as a pet, are getting back at your former master by treating her as one…not a moving tale, is it?

Well, it was, and is, most definitely a moving tale, but I prefer Koyomi’s more poetic way of characterizing it:

We, who hurt each other so terribly, will sit here licking each others wounds. We damaged goods will seek the other out in comfort.

If you are to die tomorrow, I’m fine with my life ending then as well.

But if you want to live for me for one more day, I’ll go on living with you today as well.

And thus begins a tale of kindred bound by their scars.

Soaked in red and written in black, a story of blood.

One of which I’ll never speak.

Our very own, precious as it is, story of scars.

And I have no intention of reciting it to anyone.

It’s not just a beautiful way to end this fantastically epic prequel trilogy, but an artfully powerfully-stated mission statement for all of the stories in the Monogatari Series that follow chronologically. It’s inspired me to re-watch Nekomonogatari (Kuro) and then Bakemonogatari from the beginning, with a new appreciation for where Koyomi has been, andthanks to the recently completed Owarimonogatari—where he’s going.

Finally, major kudos to Kamiya Hiroshi, Horie Yui, and Sakamoto Maaya; all three elevated these movies that much more with their layered, engaging performances.

Kizumonogatari II: Nekketsu-hen

Just because Araragi Koyomi is a vampire doesn’t mean he has the slightest idea what he’s doing, so in preparation for his fight with Dramaturgy—a fellow vampire, and vampire hunter—he bones up on both Aikido and baseball.

One thing Koyomi knows for sure is that the battle, and indeed his presence in general, is no place for a human, in particular the lovely Hanekawa Tsubasa, who shows up at the place where he’s to fight.

Koyomi decides to get rid of her—for her own sake—in the most expeditious way possible: by cruelly deleting her contact on his phone, demanding she stop following him, and basically telling her to piss off.

Dramaturgy is a kick-ass name for a vampire hunter, and Dramaturgy himself is terrifying to behold in his sheer size, speed, and purposefulness. Koyomi tries an Aikido approach, and loses his left arm in the first blow. Ovetaken by pain and horror, he runs away screaming.

But he forgets himself, quite literally: as the subordinate of Heart-Under-Blade, he can instantly regenerate his limbs, and so does so, then switches to a baseball approach until he beans Dramaturgy straight in the eye with some cheese.

To Koyomi’s shock, this is enough to get Drama to concede their duel and surrender Kiss-Shot’s leg. After all, he’s just a regular vampire, not of her lineage; he can’t regenerate nearly as quickly as she, and by extension Koyomi. The moment Koyomi figured that out, he’d lost.

In the immediate aftermath of his fist victory, Tsubasa emerges from her hiding spot; she’d watched the entire battle and wants to know what the hell just happened. Koyomi starts off with his ‘none of your business’ business, continuing to say mean things he doesn’t mean, even telling Tsubasa he only cared about her body, and asking her to show him her panties again.

But Tsubasa does show him her panties, because it’s what she wants to do, and knows that the Koyomi she knows wouldn’t have said such hurtful things unless he was trying to protect her. He sees right through his mean guy act, and the real Koyomi emerges, contrite and appreciative of her friendship.

Back at the cram school, Kiss-Shot is presented with her leg, and devours it, much to Koyomi’s shock. While she digests, Koyomi and Oshino give her some privacy, during which time Oshino explains how by methodically taking her limbs, her three (now two) hunters also managed to take her vampirism and all the abilities it entails.

Koyomi isn’t 100% trusting that Kiss-Shot will fulfill her end of the bargain by making him human again, and Oshino rightfully calls him an ingrate for it. If you can’t trust the person you saved your life, who can you trust?

When he goes back inside, he finds that Kiss-Shot has morphed from a young girl to a teenager. Somewhat creeped out by his reactions, she hides behind the lectern and sticks out her tongue at him.

Koyomi’s next opponent is Episode, a half-vampire filled with hate for his vampire side because it keeps him from truly fitting into either the vampire or human worlds. But before that, Koyomi introduces Tsubasa to (a soundly dozing) Kiss-Shot, thus sating her curiosity.

Tsubasa blames herself for somehow summoning vampires by simply bringing them up in conversation, and laments she can’t do more to help her friend, but Koyomi assures her that bringing him fresh clothes and moral support is more than enough.

Tsubasa also gets a measure of revenge by caressing Koyomi’s shirtless, suddenly much-more-built (as a result of his vampirism) body, which turns her on enough to make her a little uncomfortable when he gets too close to thank her. Still, before departing, she promises she’ll continue to support him in any way she can.

As with Dramaturgy, Koyomi’s battle with Episode doesn’t start out so well for him, as Episode is able to teleport from place to place in a blink of an eye, making him hard to target, not to mention his massive cross which he heaves at Koyomi like a projectile.

Tsubasa appears to help Koyomi out with a vital tip—Episode is turning himself into fog—but gets caught in the cross-er-cross, and she gets a nasty disembowling wound to her side, a most gutwrenching and upsetting sight to behold, for both me and Koyomi.

Seeing her urge Koyomi to keep fighting even as she bleeds out motivates him to stop going easy on Episode, and he flies to a nearby stadium to kick up a tremendous amount of dust in order to scatter the fog, which is only water, after all.

Once he has Episode in his clutches, he recalls flashes of holding the dying Tsubasa in his hands, and those hands tighten around Episode’s throat. He’d have killed him if not for Oshino stepping in to stop him, warning that he’ll “lose his humanity” if he carried out the execution.

Oshino also extracts an extra fee of three million yen in exchange for the key to saving Tsubasa, which Koyomi could have figured out for himself but for the fact he’s panicking—he cuts himself open and pours his vampire blood all over her, and she is immediately healed and wakes up.

Koyomi is so happy to see her alive and okay, he foregoes bashfulness regarding her torn uniform and cuddles with her a little longer. Kiss-Shot gets her other leg back, and upon re-absorbing it, morphs into a young adult, having very nearly recovered her immortality, but still unable to use any vampire abilities.

Last up, Guillotinecutter: neither a vampire nor a half-vampire, he’s merely a human, if a particularly well-built human. Rather than professionalism or hatred, he fights for faith, and his ability to exorcise vampires means Koyomi will have to be both extra-careful and extra-ruthless. In fact, Kiss-Shot suggests the only way to beat him is for Koyomi to abandon the humanity to which he’s been trying so hard to cling.

Before this third and final fight, Koyomi meets with Tsubasa once more, this time in the wheat(?) fields that surround the cram school. She provides sandwiches, (which he doesn’t eat since he’s a vampire) Coca-Cola (with a refreshing taste even vampires can’t refuse), and more moral suppport.

Koyomi tells her once more to stay away from him for her own safety, especially now. When she got hurt, he thinks it hurt him more than if it were him getting hurt. He’s recoving Kiss-Shot’s limbs so she’ll restore him to being a human, but he won’t sacrifice Tsubasa for that goal, and thinks Tsubasa is being too selfless, too bright for the likes of him.

Tsubasa reiterates that she’s not doing what’s good or right, but what she wants to do, no more, no less. Indeed, she sees herself as being selfish, self-centered, deceitful and stubborn, but she won’t apologize for any of it. But if there’s nothing more she can do for him regarding his current mission, she’s willing to step back.

To that, Koyomi tells her there is one more thing she can do: Wait for him. Wait until after Spring Break when they’re back in school, and be someone he can have fun talking with again. Koyomi says this romantically enough to literally make Tsubasa surrender her panties, with the implied promise that he’ll give them back when next they meet.

Koyomi, being pervy, isn’t super-committal about that last part, but he does want to see her again, so he’ll likely give them up when the time comes. With that, they part ways.

Unfortunately, when he faces Guillotinecutter, the priest immediately takes Tsubasa hostage and threatens to kill her if Koyomi challenges him. Tsubasa, of course, urges Koyomi to carry out his mission and not to worry about her, but there’s no way he can’t.

But as Kiss-Shot said, the only way Koyomi can defeat Guillotinecutter without killing Tsubasa is by going further than he went in his battles with Episode and Dramaturgy; beyond the point where Oshino stopped him. He has to be utterly inhuman in his strength, speed, and ability.

And so he does: Transforming his arms into vine-like tree limbs, he plucks Tsubasa from Guillotinecutter and crucifies him. Tsubasa is safe in those tree-like arms, and Kiss-Shot’s arms would seem to be free…but can Araragi Koyomi, Human recover from what he had to do? It’s left to the third and final film to decide.

3-gatsu no Lion – 04

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Hina’s longtime crush, a baseball ace, has a Big Game coming up, and she wants to be there cheering him on, with a big, fancy bento in hand for when he’s done. She becomes so consumed with what to make she doesn’t realize she has no cash.

Rei buys her the food, but despite waking up early, Hina has problems with the tricky dishes she’s making for the first time, forgets to pick out what to wear, and is ultimately late.

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The previous night, and at the Big Game, Rei sees a side of Hina he’s never seen before: a side that seems to be in love. “Love” seems to be a triggering word for Rei, because he suddenly gets a black-and-white flashback to a very unsettling scene where a woman—his mom?—removes his glasses and gets on top of him. Clearly Rei’s concept of “love” is distorted in some way, but there are no details beyond this glimpse.

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As for Hina, as happy as she looks during the game, when it comes time to deliver her bento, the object of her affection is surrounded by teammates and other girls, and they all go off to eat dinner. He doesn’t even notice Hina’s there.

I’m not sure if Rei has just been hanging out watching Hina this whole time, but when she tries to throw out the bento, he stops her, and suggests they go home and eat it together. Once there, Akari, who Hina believes doesn’t know what she’s going through because she’s so beautiful and good at cooking.

But the truth is, the very same thing happened to Akari once, which is why she gave advice to cook something simple. It’s the same advice their mom gave her. Basically, fellas: after a ball game, make sure to look around for girls with handmade bentos, and accept them before letting yourself get whisked away to other things.

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Part Two of this week’s episode dispenses with any other hints as to what that black-and-white flashback was all about (aside form what I saw it as, which was some kind of abuse), and takes a much lighter tone as Nikaido  and Rei run into the sisters while in town grabbing lunch.

Nikaido proves to be a popular guy with Momo and Akari. Momo likens him to Boboro, a popular children’s character who is big, fat, soft, and intelligent; a comparison Nikaido gratefully accepts. Rei also laments that Momo seems happier with Nikaido than she ever did with him :(

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As for Akari, we learn that she harbors an unreasonable adoration for “soft fluffy things” as much as Working!!’s Takanashi loves small cute things. It’s the reason she brings in animals, and Reis, who are skin and bones, and fills them up until they’re her preferred soft and fluffy.

Nikaido is the pre-done deal, and when he asks for a less salty, fattening menu, she takes it upon herself to pull out all the stops for his sake, ignoring Rei, the cats, and Rina (the only Kawamoto not enchanted by Nikaido’s presence).

This episode makes Nikaido more likable, as it shows he’s a decent, kind lad who knows how to go with the flow. Sure, he can be a little pushy with Rei, but his insistence that he and Rei are best friends is in no way insincere or mocking. He’s a nice guy. A nice guy under constant surveillance from his butler!

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Sousei no Onmyouji – 25

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I was hoping for some kind of movement of the Sae mystery—will she turn out to be the Big Bad, Kuranashi?—here at the halfway point of the show (assuming it only goes 50 episodes). Instead, we got another relatively generic dragon spot-of-the-week, this time a big one that opens in the middle of a domed baseball stadium in Aichi. Chief among the hordes of kegare that emerge is our Basara-of-the-week, Yamato, who creates a giant kegare suit to stomp around and fight in.

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Joining the Basara-of-the-week are the Twelve Guardians-of-the-week, Ioroi Nasumi and Kasukami Cordelia, who like Yamato are painted in the broadest of strokes due to the time constraints. Ioroi can’t help but laught heartily before saying anything, while Cordelia speaks with electronic voice in single English words she spells out first. Okay, sure, why not?

The guardians meet with Roku and Benio, then go off to fight Yamato’s giant kegare suit with Cordelia’s giant celestial suit; a tactic we haven’t seen from exorcists before.

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They don’t fare too well though, and before long Roku and Benio realize that “what they need to do” is what they, like the former ace pitcher, and only they can do: close the spot.

They do so, getting a small (microscopic) assist from the old pitcher in the process, and in doing so, gain the respect of two more Guardians, who, like Yamato, wander off in the end, leaving Roku, Benio, and Sae free to tackle the next crisis-of-the week.

I’m putting myself on record as not being the greatet fan of this latest string of episodes; they tell small stories that aren’t really progressing the protagonists’ development in any meaningful way. Not to mention Sae continues to be head-scratcher the show is annoyingly in no hurry to resolve.

Of the 25 episodes of SnO I’ve watched, only 12 have scored 8 or higher. If that trend continus, that means a minimum of 24 sub-recommended episodes when all’s said and done. That’s a lot of mediocrity to sift through, and I’m quietly starting wonder whether it’s worth it.

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Battery – 01 (First Impressions)

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The gist: Takumi Harada is a world class pitcher and his parents have just moved to the country side to live with his Grandfather. While his school team is not impressive, his Grandfather was also a quality pitcher, and Takumi stands to gain even if he doesn’t make the nationals.

While jogging, Takumi meets Gou Nagakura, a large boy who will be this years catcher. Gou’s mother also went to school with Takumi’s mother. So their lives quickly entwine.

Takumi also has a sickly little brother who wants to beat him at bases balls. Grandpa thinks this will happen but he’ll probably die late in the season for dramatic effect, just in time to turn Takumi around?

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I’m not a big sports anime fan and, unlike everyone else at RABUJOI, I actively dislike baseball. Obviously, this limits my potential enjoyment of the show, which is otherwise about a stubborn grim faced teen who doesn’t talk much.

Battery suffers from having underwhelming sound. Not only is the background music forgettable, I had to re-watch the episode to see if there was music at all. I also found some of the audio a little ‘tinny’ like the sound booth had not been setup correctly and Grandpa’s voice work came off surprisingly amateurish. These are not game-killing issues just not good for a first impression.

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The Verdict: this is the high school equivalent to Bud Lite. If you watch it in an air-conditioned room on a hot day, its average looks, sluggish story telling, and not especially interesting characters won’t bother you. It’s unclear what direction the show is going to take since this first episode’s focus on Ta & Go, saved technical exposition of baseball and school class building for later.

If it stays in the family drama realm, I’m not sure there’s much to hold anyone’s attention. However, if it focuses mostly on the baseball, it’s not an especially pretty show either. Lose x lose?

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Charlotte – 04

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I don’t dislike baseball, and while I probably wouldn’t watch an anime exclusively devoted to it, I do enjoy the occasional baseball episode (it was one of my favorite DS9 episodes, simply because it’s so fun and feel-good).

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This week’s Charlotte was one of those, and it turned out a lot like “Take Me Out to the Holosuite”, which featured a ragtag team of Sisko’s crew (many of whom never played baseball) against a superior team—or in the case of Charlotte, a team with an ace who uses telekinesis to pitch perfect games.

They’re not just playing for pride, either: Nao gets the pitcher to agree never to use his power again if they lose; warning him that to do so would invite unwanted attention and ultimately capture by evil scientists. She also points out that he’ll lose the power, and thus any change of getting to the Bigs, once he grows up, but he seems undeterred.

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The game that unfolds is a bit of a circus, what with new Hoshinoumi transfer student Yusarin transforming into Mika, who has above-average athleticism baseball “game sense”, but is limited by Yusa’s weaker, slower body. Joujirou is predictably an asset in getting to first in record speed, but Nao has to record his at-bat with a high-speed camera to prove to the ump via instant replay that he was indeed safe. And, of course, Yuu switches bodies with an opposing batter while manning first base, with his repeated fainting confusing the ump to no end.

Finally, Nao calls upon Yuu in the most important at-bat; one in which a base hit will give them the win. Unlike his usual M.O. of sneaking around and swapping bodies, Yuu must face something head-on. He goes down 0-2 quickly, but realizing the gravity of his position, he valiantly fouls off pitches until the pitcher tries a new angle that results in a passed ball, scoring the two runs they need to win the game and the bet.

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This week’s challenge for the Student Council turns out to be a little more interesting than the one-dimensional producer targeting Yusarin, because the pitcher wasn’t cheating for personal gain; he wanted to take his team as far as he could because he wanted his friend, the catcher, who has excellent natural ability without the use of powers, to be noticed by scouts. Nao respects the guy’s selfless motives, but tells him there are other ways to do that; ways that won’t get him locked up and experimented on.

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Perhaps Yuu also learned the benefits of facing problems head on, which would serve him well in the unending battle to get his sister to stop putting pizza sauce in his meals. This is getting pretty ridiculous: I know he doesn’t want to hurt her feelings, but if he really doesn’t want pizza sauce in everything, he needs to confront her directly and tell her to please stop. I’m sure he could figure out a way to do it tactfully. Or better yet, have Yusa tell her for him! But not Mika. She’d probably spit in the food. ;)

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Cross Ange: Tenshi to Ryuu no Rondo – 16

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Cross Ange is completely comfortable changing its tone, mood and focus each week and sometimes what it chooses to be can be interesting and other times… not as much. This week, it was an over-the-top comedy, followed by a dreadfully terrible conflict sequence.

If I wanted Cross Ange to be a comedy, I think I would have enjoyed this week a decent bit. Unfortunately, that’s not really what drew me to the show sixteen episodes ago and I was completely un-engaged from start to finish.

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To sum up, this week pitted Salamandinay against Ange at an arena, where we get to laugh at how seriously they take each recognizable earth sport, or how sports-anime-like their rivalry goes.

Then the girls become friends through their rivalry and a space time tornado shows up and destroys things until Ange takes command and gets Salamandinay to fire her world-destroying weapon in a way that saves the day and only unnamed side characters die mostly off camera so all ends well.

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Honestly, nothing worked at all in this episode, so I’m going to hop right into what didn’t and that starts with Ange herself. Ange’s spiteful, confrontational personality felt out of place last week and, while the show desperately tries to sell me on the idea that Ange knows Sala wants to use her as a tool, Ange misses every opportunity to use Sala back… or make any workable alternative plan of her own in the mean time.

Worse, after some sports the princesses become best friends, which makes Ange’s outbursts here and last week feel pointless and plot delaying.

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Even without Ange’s personality draining my interest, the conflict that consumes the final third of the episode was just a drag. Yet again, we as viewers have to sit through a lengthy scene where characters say how terrible it all is but ARE SITTING THERE not doing anything except telling us how terrible it is.

There’s no sense of tension in the tornado scene. It’s there, doing… something… to the Dragon city but it doesn’t seem to be in a hurry. At least, not unless it’s threatening Vivian’s mommy. Otherwise, it’s just there waiting to be solved by our heroines.

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If I had to choose one thing I actually liked, it would be the unintentionally funny scene where we see Vivian’s mother’s family photo where she and Vivian are posed together. Sure, Vivian is younger and happy and we’re meant to accept that this proves that she really is Vivian’s mom.

Except she’s wearing the same clothes that’s she’s worn since she was introduced 2 episodes ago. Which would mean she hasn’t changed in the decade since Vivian went missing…

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Braverade’s Take:

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Cross Anko is a show in search of a higher score, but my conditions for bestowing one depended on whether we’d be past the crossroads Ange reached: would she decide what to do? Yet, for everything that happened this week, she’s not that far removed from her position at the end of last week. That’s not a lot of movement, so 7 it is. Don’t get me wrong, I consider a 7 a fair and respectable score for what we got.

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While Ange still isn’t clear what to do yet, it’s ultimately the desire to protect Vivian that motivates her to heroic action, requiring collaboration with “Salako.” Unfortunately, that teamwork occurs during a spacetime attack, apparently by Embryo, that was very confusing and free-wheeling. If he was capable of wreaking this level of destruction on the Dragon world, why is it even still here, let alone maintaining large sports centers?

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Along with the requisite AngexTusk “Rom-antics”, I actually quite enjoyed Ange and Salako going at it in tennis, baseball, ping-pong, auto racing, golf, etc. Heck, even Twister suggested these two were quickly running out of ways to ‘fight’ each other (and was half-surprised Tusk didn’t find a way to fall on top of them).

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The games improved Salako’s opinion of Ange, just as her cooperation improved it to the point Salako wants to be friends with her once the danger passes. I like the fact we have two princesses, one of whom is trying to get the other out of forced retirement. But is Vivian, dear as she is, really the only thing Ange cares about protecting?

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Assassination Classroom – 02

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Two episodes in, and I regret to report that AC just isn’t my cup of tea. This time, I followed Nagisa’s lead and took notes, listing the pros and cons as the show exhibited them. I came to the general conclusion that while show looks great and has its moments, too often it either feels tonally confused or overly sincere. It’s also too cloying, and a little too self-aware and proud of itself.

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It starts with an unironically cheesy OP that deflates world-and-pride-saving stakes that we’ve never been able to buy. As sensitive and detail-oriented as Koro-sensei is (and do love how he can travel to the ends of the earth on a whim), his desire to destroy the world makes no sense, and not of the ‘Haha, that’s so kooky!’ kind, but a willfully abstruce kind.

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The episode is peppered with silly situations and jokes, but many simply clank to the ground in failure, undermining the ones that hit. I personally don’t mind that Nagisa is a boy despite looking and sounding nothing like one in the traditional anime sense; it’s his tired narration and both his and the show’s tendency to repeat itself that grates. Yes, I understand, you’re killers whose target is a teacher. Except he’s a yellow monster and thus engenders zero sympathy.

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The class seems poised to go through a Wile E. Coyote-style process for attempting to assassinate Koro: try something once, and when it fails, never try again. But unlike Mr. Coyote’s target, Koro uses the attempt as an excuse to help the baseball kid adjust his mechanics to better suit his body type. This kid, like everyone in Class E, all have innate talents that Koro will likely help them identify and cultivate

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That brings us to the plight of Class E, the “End Class”, a relatively small group of students who are exiled to the dingy satellite campus and treated like dirt in order to make the majority of students work harder, as well as pump up their own collective sense of superiority. This is not that far off from the way this works in the real world; privileged kids are warned that if they don’t work hard and excel, they’ll end up in some crap school and get a crap job and live crap lives.

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This social commentary baked into this show is not entirely without promise, but in such an otherwise zany and irreverent setting and such a blatantly nonsensical premise, that serious stuff only contributes to the show’s confused tone and ‘kitchen sink’ approach to storytelling. Nagisa’s narrated analysis of Koro and some cheesy guitar music don’t change the fact that I can’t care about a silly yellow tentacle monster.

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There was once sequence I enjoyed despite these flaws, however: after failing to pile on top of Koro and stab him to death, Koro decides to be clever and replace all of their “anti-me” knives with tulips. Only problem is, those were tulips they all worked hard to plant and nuture.

Realizing his mistake, he blasts off at Mach 20 to procure more bulbs and proceeds to plant them, not at Mach 20, because he’s under the watchful gaze of the angered students. It’s a nice reversal of dominance.

But then I realize…what the hell does he care about planting tulips or telling the baseball kid to “train well and surpass his idol” when he’s going to destroy the world? A couple students jokingly point out this contradiction, but that doesn’t allay my frustration. Even if Koro had a proper human form, his actions and motivations are as muddled as the show’s tone.

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More than anything though, the periodic Nagisa narration, as well many of the students’ reactions to Koro, are simply trying too hard, constantly rubbing our noses in its somewhat-forced ‘craziness’, shouting “OMG, we have to kill our teacher, isn’t this so deliciously loony? Well, isn’t it?!”

Actually, no, it isn’t, at least not satisfyingly so. It’s a jumbled mess of tones and themes, over-stuffed with anonymous characters. It’s a show that wants so badly to be so many different things—and never lets you forget it—but its visual polish and genuine enthusiasm can’t mask its inherent gutlessness.

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