Shoujo Shuumatsu Ryokou – 06

The girls are in a spot: a gear has snapped clean in two, stopping the Kettenkrad, and their “last tour” in its tracks. If they can’t get it going, their chances of survival plummet. Chito can’t get it going, and Yuuri won’t help (probably aware there’s little she can do). She just cheerfully sings a little song with one lyric: “hopeless, hopeless.”

Then Yuuri spots an airplane flying in the sky, and Chito spots a woman in a white coat running after it. Hope has arrived, in the person of Ishii, who has taken up residence in an old underground aircraft hangar.

Ishii is a quietly kind yet no-nonsense person. She knows she can’t live in the base forever, so she’s using the plans she’s found to design and build an airplane to fly to the next city (the plane seen in they sky was a prototype).

More than a base, the hangar appears to be some kind of repository of aeronautical history, and just as Chito and Yuuri may be the last two people operating a Kettenkrad, Ishii is possibly the last aeronautical engineer and aviator left.

The girls help Ishii compete construction of her plane, and in exchange, she provides them with food, shelter, a bath (aaaaahhhh) and the part and repairs needed to get their ‘Krad going again, thus probably saving both their lives.

The day of the flight comes, and there’s a sense of finality and longing for the status quo that’s about to be blown to bits by the winds of progress. It won’t stay warm and calm for long; Ishii has to launch now. And she’s glad she has human witnesses for what could be the last manned flight.

After all, it’s only history if someone besides the one making it saw and documented the event. The takeoff sequence is appropriately epic in its portrayal, as is the awe in the girls’ eyes as they watch Ishii achieve flight.

For a few magnificent moments, the plane soars majestically over one of the widest and clearest views of the city we’ve yet seen; loaded with enough fuel to fly 2,000km, more than enough to reach the nearest city, just visible from Ishii’s giant telescope.

But a few moments is all the plane gets; it breaks up in midair, the pieces pathetically plummeting to the ground far, far below. Chito collapses in reaction, but Yuuri spots Ishii in a parachute, slowly descending. She’s okay, but she failed.

Still, Ishii feels a great sense of relief, to the fact she even smiles, which Yuuri interprets as her finally “embracing the hopelessness” all humans in this wrecked world must embrace in order to keep going. She falls and falls and falls, perhaps to the lowest level, but there’s every reason to believe she’ll survive.

As for Chito and Yuuri, they load up on as many ration potatoes they can find and set off in their repaired Kettenkrad, bound for still higher levels of the city. They, like Ishii and Kanazawa, are also a part of history…likely the tail end of it. When they, and whatever other scattering of remaining humans, have passed on, there will be nobody and nothing left but the ruins.

Or maybe, just maybe, there’s hope somewhere out there, waiting to be found. And maybe Yuuri wants to be proved wrong.

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Tsurezure Children – 11

There’s a lovely momentum to this week’s quartet of stories, befitting what may be the second-to-last episode (though I wouldn’t mind a second cour) – things seem right on the cusp of coming together for some of the more stubborn pairs, thanks in part to third parties.

Take Chizuru, who learns through Ayaka’s now active and thriving relationship, what it actually means and how it feels to be in love. There are too many coincidences for her to merely shrug this off, and too many who have heard the rumor Sugawara likes her.

As for what I consider the most emotionally close (if physically furthest away) relationship, Kana ignores Chiaki after the first kiss incident, and he thinks he’s been dumped. Kana’s friend tells her breaking up is a bit much for a muffed first kiss, and she knows that. It gets to the point where she thinks she’s ignored him enough, and starts to worry that he might hate her.

The two are so in sync, Chiaki decides to send one last message just as Kana decides to accept one last message, if he apologizes. Everything’s looking good…until she drops her phone in the tub! I’m not too too worried, though; if these two really love each other, they’re not going to let technological snafus keep them apart.

Still reeling from their technological snafu, Takase and Kanda are both still interested, but weary of making the first move, even to the point of asking for/offering pencil leads for final exams. Enter Minagawa, the third party, to tell Kanda to get them from Takase as a means to get closer.

She chickens out, but Takase, who has the easier job here, thankfully doesn’t. When Kanda runs out of lead, he tosses her more, and after the exams they’re on friendly speaking terms again; which is what they both want.

The third party in Ryouko’s case is the entire rest of her class. As she crams for the exam after so many months of slacking off like a yankee should, she gets super-self-conscious about how that class sees her, worried they’re all better than her because they studied more or something.

Akagi wants to offer support while she’s studying in class, but won’t (and orders the Prince kid to hit him if he does), since Ryouko will be alone for the actual exam, after all. We’ve seen precious little of Akagi without Ryouko around, and it’s nice to see his hands shaking in anxiety because he’s worried about his girlfriend.

Ryouko doesn’t have what you’d call a fun time during exams, but who does? When she drops her eraser, she’s even too self-conscious to raise her hand. Her classmate Patricia Shibasaki picks it up for her, and adds that she’s rooting for her. Her nerve restored, Ryouko can continue.

Tsugumomo – 01 (First Impressions)

The Gist: One day, Kagami Kazuya’s sakura-patterned obi, given to him by his late mother, takes the form of a blue-haired girl named Kiriha revealing she is a tsukumogami.

After saving him from an attacking amasogi, Kiriha assigns Kazuya as her “servant” and shares his living space, remaining as inseparable as they were when she was a mere inanimate obi.

Roll Credits…

Even with a rather poor translation, I don’t think I missed much nuance here. Kazuya is defined by his utter lack of distinguishing features or personality traits—other than carrying around an obi and smelling it all the time, which would be kinda sweet, I guess, if it wasn’t also a bit weird.

Along with his one-note “class-rep” character, and his one-note big sister/guardian, there isn’t much depth to be found here, only reminders of shows past (and half-hours wasted on said shows).

We end up seeing many sides of Kiriha, and to her credit, between her superior, imperious attitude, propensity for making messes, and love of pudding, she also has Kazuya’s back (both out in the world and in the bath) and seems to mean well as a companion/protector.

But rather than working in her favor, these myriad sides only served to paint a muddled picture of who and what she is, beyond an once-inanimate object given (pretty) human form. Also, if you’re going to have blue hair and red eyes, you best come correct.

Throw in bland-as-paste Kazuya and a not particularly great-looking production (aside from one okay action scene) and there’s not quite enough here to encourage me to continue.

KonoSuba 2 – 02

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The expressions on the faces of Kazuma on Aqua kinda match up with my feelings about this episode, which was, in a word, listless. They still have the mansion (for now), but all their other earthly goods are gone. Megumin brings in a cat, so now the party has a mascot. The three worry about what might be happening to Darkness.

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Then Sena observes as the party strikes out into the snow to do what it does best: nothing right. Granted, this is a show all about the ineptitude of the party, so it’s not like I expect competence. It’s just that the slimy giant toads were already done last season, and despite casting Megumin’s rival Yunyun and Sena into the slimy fray, it all comes off as a bit stale.

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In other news, Kazuma and Megumin’s stubborn pride leads them to share a bath together, when neither wants to lose face by backing down from threats of…bathing together. To be fair, it’s a huge bath, so I don’t really see the problem as long as they’re covering up, which is the case here. Nevertheless, this is another retread from last season, with Megumin instead of Darkness.

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I’m not sure what would have improved this episode, but less (or no) Yunyun might’ve done the trick. The projections of her and Megumin’s most embarrassing moments were good for a chuckle, but otherwise she was half-baked and didn’t bring enough new out of Megumin to make her worth having around. This episode just felt like it lacked energy, and wasn’t up to the standard KonoSuba programmed me to expect through its much better efforts.

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KonoSuba – 09

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KonoSuba has made it a point to never play any fantasy/adventure convention straight, but that doesn’t mean it always results in ridiculous farce. Sometimes, when it turns a quality or trope of its genre on its head, it ends up more like real life than fantasy, which actually makes the world of KonoSuba more relatable than some of the shows it lampoons.

Take the boy-girl dynamic in KonoSuba. It’s a party of one guy and three girls, but the show has always successfully resisted the urge to pit them against each other with Kazuma as the prize only one of them can claim.

This isn’t a group of love rivals, it’s a group of comrades and friends, where gender isn’t an issue so much as the strange brew of personalities, be it Aqua’s haughtiness, Megumin’s megalomania, Darkness’ eccentricity, and…all of Kazuma’s myriad issues.

Often in fantasy adventure shows, party members of the opposite sex will start off not liking each other, and end up in sexily compromising positions that nonetheless end up bringing them together in some way. Naturally, KonoSuba aims to take that convention and put its own personal twist on it, and again succeeds.

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Of course, before we get to that inversion, we’re faced with another one: Kazuma follows his horny male friends into a den of succubi, where men sign contracts to be given dreams that provide “necessary release.” In exchange, the succubi get to take a small amount of the client’s vitality, though not enough to interfere with their day-to-day function.

In another show, this would be a clear racket and/or trap our horny protagonist gets tangled up in due to his inability to control his raging hormones; a predicament his female comrades would rescue him from, even as they hold their noses at the protag’s perversity.

But…this isn’t a racket, or a trap. As usual with this show, Kazuma is in no physical danger whatsoever. The succubi are simply running a business, performing mutually beneficial transactions with consenting customers. Nor is Kazuma patronizing a den of inequity where women are objectified or exploited – they’re succubi. Seducing men is what they do.

That being said, they still resemble women—shapely, sensual women—wearing next to nothing. As such, after purchasing a dream from them, Kazuma can’t help but start looking at his female comrades in a different light after all that, er, stimulation.

Kazuma starts to see Aqua, Megumin, and Darkness as the temptresses whose wiles he must withstand, since he was warned not to drink too much the night he’s to have his dream, and the girls are trying to ply him with choice crab, sake, and hot sake with crab guts. Just when his thoughts seem about to lead him to cutting loose, he calls it a night, and everyone, particularly Darkness, is disappointed.

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That brings us to Kazuma’s erotic dream involving Darkness in the bath, which it’s pretty obvious from the start…isn’t a dream. Still, Kazuma is convinced this is what he ordered from the succubus, and even when Darkness acts in ways different than what he specified, he kinda just goes along with it, simply happy to be having the “dream” (while also chalking it up to mild clerical errors).

Poor Darkness is of the disposition that no matter how raunchily Kazuma acts, she still feels compelled to do what she says. The sceneis obviously played for comedy, and it works, yet I was also intrigued by how Darkness is not made the butt of the joke. In fact, as the one person in this situation who knows this is not a fantasy, we’re more on her side. Furthermore, she doesn’t just turn into a puddle of masochistic goo at Kazuma barking orders.

Rather, she expresses a wide range of understandable emotions: mostly embarrassment and bewilderment. Sure, she may talk about having things done to her, but for it to actually happen, and for Kazuma to do it? It all but switches her Masochism Chip off and snaps her into emotional coherence. Basically, ‘this is not okay’. ‘Please, Kazuma, realize this isn’t a dream before you do irreversible damage!’

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Kazuma is bailed out not by sudden awareness, but by an intruder alert; Aqua and Megumin have captured a young, inexperienced succubus; the very one sent by her guild to give Kazuma his dream.

Obviously, the girls don’t know that, and as a goddess, Aqua is compelled to exorcise the succubus. But more than duty, it’s Aqua and Megumin’s loyalty to Kazuma that drive their actions. They know she’s here to drain their male friend, and they won’t let her.

The thing is, they’re operating under several understandable—but in particular case, inaccurate—assumptions: that succubi in this world are a lethal threat (they’re just running a business); that Kazuma’s a victim (he arranged for this); and that Kazuma is presently in this succubus’ thrall (when she never actually got to him).

The latter assumption is courtesy of Darkness, who just had an experience with a Kazuma that couldn’t possibly have been in his right mind. And yet, for all their good intentions, and the fact they give Kazuma the benefit of the doubt (and he knows they do), Kazuma believes his comrades are in the wrong, and won’t let them kill the succubus who was only doing her job and screwed up because she’s new.

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Again, the girls see this as the succubus using Kazuma himself as her shield, and “grudingly” beat the shit out of him to try to get to her, but Kazuma stands his ground. Whatever misunderstandings the girls harbor, he’s not going to let someone get caught up in it, even if it means sacrificing himself. It all makes for a wonderfully complex and funny confrontation, that’s far more entertaining than simply making it all a dream, or having the girls rescue Kazuma.

It’s also more satisfying, because Kazuma now has to deal with the consequences of totally freaking out Darkness. In this, Kazuma exercises self-preservation by lying about not remembering any of it because of the succubus’ power, and in doing so reinforcing their original misunderstanding while avoiding undue awkwardness with Darkness.

But then he gives away details of the bath, proving to Darkness he actually did remember what he said and did last night, so the awkwardness endures. For her part, Darkness said she didn’t necessarily dislike any of it, staying true to who she is, but with a clear intention to maintain certain boundaries in their relationship.

This was a surprisngly rich, deep episode that breathed new life in the “compromising position” trope (with accompanying titillating fanservice) by making it a meaningful exploration of Kazuma’s relationships, now that they’re all living together in a huge fancy mansion with private areas where misunderstandings are inevitable, succubi or no.

Just to add one more layer to this onion, the show doesn’t make it explicit that the succubi are running a legitimate (or harmless) business, and it’s definitely within the realm of personality that Kazuma and the other males who gave them their business actually were being unfairly influenced. Caveat emptor, and all that.

Kazuma said in the beginning (while Aqua was trying to commandeer the fireside couch): they’d satisfied the essential need for shelter and protection from the bitter cold of Winter. It’s only natural other…needs be addressed in turn. And they were, just not the way Kazuma or anyone else expected.

But never mind that shitDESTROYER ALERT!!!

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Boku dake ga Inai Machi – 08

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Hwelp, I’m an idiot. I was pretty darn sure the end of last week was the beginning of the end of Kayo–again–but I was mercifully mistaken: it was only a very, very close call. That’s not to lessen the seething tension of the episode’s first moments when Kayo isn’t sure what’s going to happen, but a lot of that weight I talked about (not all, but a lot) was lifted. Who the shit cares if I read the scene wrong, or the show “tricked” me by deviating from its usual pattern? Kayo’s still free and breathing!

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This means Satoru gets to see Kayo again, and is able to provide her with lunch thanks to his mom, who was up even earlier than he was preparing meals. One for him, another for “lunch”, but really for Kayo, as the note in the bento box confirms. At this point, Kayo’s mom has a pretty good idea what her son is up to, and is letting him keep his secret for now, having faith he’s doing the right thing and silently supporting him.

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At school, Kayo’s consecutive absences draw the attention and conjecture of the whole class, and Satoru asks the Yashiro of this timeline to act once more. Turns out he already has contacted social services, and accompanies them to Kayo’s home.

Kayo’s mom managed to sneak out just as they arrived, meaning it’s not yet time to rest easy, but at least the proper authorities are aware of the situation and intend to get Kayo away from her mother as soon as they can.

Satoru, Kenya and Hiromi keep Kayo company that night, giving her the opportunity to present Satoru with his belated birthday present: a pair of mittens she knit for him. Considering what became of the mittens back when Satoru failed to save her, I’m not surprised Satoru can’t help but tear up with joy and relief at the sight of them.

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The previous night’s intrusion didn’t result in Kayo’s demise, but it did spell the demise of the bus as a viable hideout, especially when they discover the contents of the backpack the man left behind, which Satoru instantly recognizes as the tools of the serial murderer, including that damnable spray bottle used to accelerate hypothermia.

I don’t think he noticed future first victim in Nakanishi Aya as he walked past her that morning, but with Hiromi as the second victim, it’s abundantly clear the bus and its environs are the nexus of the tragedy he hopes to avoid. They all have to get the hell out of there. But where will he stash Kayo? Why, at his house, of course.

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Such is Satoru’s knowledge of and faith in his loving mother, he knows bringing her there is the right move, and a move she’ll gladly accept. She’s seen Kayo and knows the miserable, loveless life she’s been forced to lead until meeting her son.

Nowhere is it clearer how raw her wounds from that life still are when Kayo instinctively recoils at the sight of Satoru’s mom’s approaching arm. Were it her own mom’s arm, it would have meant a strike; instead, her head is gently patted.

After feeding everyone and sending Kenya and Hiromi home, Sachiko calls Yashiro to inform him of what he expected – Kayo is safe and sound with Satoru. When she asks if Kayo really has to go away, I thought about the possibility of Sachiko adopting her, so she could have some constancy in her life.

Sachiko then goes out of her way to make sure Kayo feels as loved as possible on this night. The hot dinner with friends, a hot bath, having her hair washed, being given new, fresh pajamas, drying her hair properly, and sharing a warm futon with Satoru and his mom (lying strategically between the two) – everything is a new and wonderful experience for Kayo.

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That morning, Sachiko cooks her a hot multi-course breakfast, so far removed from the lazy, thoughtless breakfasts of cup ramen, bread, or spare change her “mom” provided, and Kayo can’t hold it in anymore.

She starts bawling at this attention and care and love she’s never gotten before. The 11-year-old Satoru might’ve taken this kind of treatment from his mom for granted, but the 29-year-old knows better, and understands Kayo’s tears as well as his own good fortune.

Later, Kayo knocks on her own apartment door, and her furious mother, who was in the process of trashing Kayo’s room, answers, winds up for a vicious slap, but stops in her tracks when she notices Kayo isn’t alone. Kayo and Sachiko flank her like bodyguards. Hopefully Kayo will never have to be alone with her pathetic coward of a mother ever again.

This was a generous episode not just because it didn’t kill Kayo in the beginning, but because it ends not on a note of uncertainty or imminent disaster, but on a note of potential triumph. Certainly, a lot of setbacks can occur in the four remaining episodes, but for now those possible troubles feel far away.

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Nagato Yuki-chan no Shoushitsu – 09

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Even though it starts with an innocuous late night game of cards, it feels like a lot more happens in this episode than last week’s, thanks both to Ryouko’s vivid imagination and Tsuruya’s stargazing suggestion. It’s also a better episode...IF we forgive its deeply disconcerting final moments.

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At first Yuki loses, and as a penalty she has to get food and drinks for eveyrone. Naturally, Kyon comes along, for chivalrous purposes (it’s dark out and Yuki’s a klutz). Indeed. she trips and ends up in Kyon’s arms, and from Ryouko (and everyone else’s) POV they seem to even lean in to kiss.

But then, quite unexpectedly, it all turns out to have been a fantasy Ryouko made up in her head. In fact, the lovebirds never went out; she’s the one who ends up with the Old Maid.

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Thankfully, Yuki and Kyon do go out together when Ryouko and Haruhi conk out and Tsuruya suggests they go to a perfect spot for stargazing, which is quite a hike away. Kyon offers to hold Yuki’s hand, but she can’t quite do it, settling for his sleeve. They end up in a whimsical park full of huge dinosaur models.

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Turns out they’re being tailed by Ryouko and Haruhi here as well, and it’s here where Ryouko confesses to Haruhi she’s not worried about Yuki and Kyon alone together, she’s jealous, and lonely. But the ever-chipper Haruhi assures Ryouko her relationship with Yuki won’t change for fall by the wayside, whatever happens between Yuki and Kyon. They’re words Ryouko needed to hear and wants to believe.

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Everyone ends up reuniting at the stargazing spot, which is as awesome as advertised. When Yuki ends up off on her own, reaching out to starts that look close enough for her to touch, but can’t be, it’s Kyon who touches her hand, and takes it into his.

As their love theme—Debussy’s Clair de Lune—plays, Kyon leads Yuki back to the others, hand-in-hand. Yuki, who had been momentarily preoccupied by her insignificance in the vast universe above, is brought back down to earth, a place where she’s valued and loved not just by Kyon, but Ryouko as well.

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They get to sit next to each other on the train ride home, and just like that, the long, sprawling, eventful “training camp” is over, and Yuki is a little closer to reaching her goal. Cut to the rains that precede Summer, a time when Ryouko remarks Yuki will have to come up with excuses to see Kyon, and after they part ways, Yuki walks out into the street with the Walk sign, and it sure looks like she gets hit by a fucking car.

This…was upsetting. Not because I think it will be the death of Yuki—she appears alive and well in the preview—but because it’s so damned random. So far all of her nice romantic moments with Kyon have just kind of worked out, and now it’s as if the show wants Yuki to pay the piper or something for all of the good luck she’s had. It’s cruel.

Then again, the universe only needs one fraction of a second to everything away from you, and Yuki isn’t immune to that possibility. Also, disappearance is part of the title; I just sorely hope it isn’t her memory and love of Kyon that disappears. That would suck, frankly. I just want Yuki to be happy in her spin-off. Is that so much to ask?

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Nagato Yuki-chan no Shoushitsu – 08

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Nagato Yuki-chan took it easy this week. Like, really easy. Like, it just hung out in an onsen as the lit club simply relaxed. This was a very relaxed episode. Whether it was relaxing depends on your patience. I suppose it makes sense, though, as this rest marks the halfway point of the show’s rather unusual 16-episode run.

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One of the curiosities of this particular onsen is that its open-air bath is an omiai or matchmaking bath, with a small door that offers views between the men’s and women’s sides of the bath—that only the women can open (which is the way it should be!) This is different from the usual “guys try to sneak a look at the girls” angle.

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That being said, if you were itching to see Haruhi, Yuki, Asahina, Tsuruya and Mikuru in various states of tastefully covered-up nudity, you were in luck this week. From the tight closeups of the girls disrobing to Haruhi’s general (and very true-to-character) lack of modesty, the onsen fanservice was present and accounted for.

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Post-bath, pre-dinner activites? It had those too, from a table tennis tournament totally rigged by Haruhi, to a karaoke tournament she flakes out of when she suddenly gets bored, which happens the moment Kyon is about to sing. What’s mildly funny is that he’s so into it he doesn’t notice his friends have left him and he’s singing to some random woman cleaning the bath.

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Like previous episodes, this one was also not afraid to take long pauses of calm silence. Kyon successfully repels Haruhi and Koizumi and enjoys a good twenty seconds before deciding to go back to the baths, at the exact same time Yuki decides to do the same thing. Then Yuki opens the matchmaking window on a whim to find Kyon right there on the other side, perfectly framed in the heart-shaped hole in the frosted glass.

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She apologizes, he tells her she doesn’t have to, and invites her to open it again—it’s for conversation, not peeping, after all—but the sound of the others spooks her. Nevertheless, the two have a good relaxed laugh on their respective sides, and the requisite Yuki x Kyon Moment is achieved, though Yuki once again fails to confess her feelings.

If nothing else, this episode made me want to take a long, hot, possibly herb-infused bath, followed by a brief spell in the sauna, a cold fruit milk, and a multi-course Japanese meal. Sounds heavenly.

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Koufuku Graffiti – 06

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After having a blast compressing a Summer’s worth of activities into one day at Shiina’s estate, this week finds the girls mired in acute Summer Fatigue, a state that would have had more impact if I were watching this in the actual Summer, rather than in the dead of winter with sub-zero winds howling outside my window.

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After snapping a rare picture of Kirin with no appetite, Ryou decides that broiled eel is the answer: a tasty meal that will give them the stamina to stand up to Summer. Personally, I’m a huge fan of eel (I usually acquire it in the form of unagi maki rolls) and this dish looked as delectable as ever.

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But even after the eel, Kirin still feels like her “body is asking for something” she hasn’t yet eaten. Then the A/C goes out, and they retreat to the bath to wash off their sweat. Kirin then gets the idea to eat ice cream in the bath, which is, as she says, a very luxurious thing to do, like doing anything in the bathtub that isn’t bathing (watching TV, for instance, is pretty fun. Just keep the cord away from the water!)

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Yet even that doesn’t hit the spot bothering Kirin. Once out of the bath, she spots a can of sweet beans and Ryou makes her a quick Azuki bean soup with mochi, which turns out to be what her body was asking for. Ryou acts against her better judgement and tries some soup too, and pays for it with a stomachache. There’s no way eel, ice cream, beans and mochi will go well together in any stomach (other than Kirin’s, which seems to be perfectly fine.)

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This episode was more about the tastes and textures of food, but the whole sensory experience of cooling off in the Summer, which consists of a variety of specific sights and sounds. The color of the sky, the smell of a mosquito coil, the sound of a wind chime, the waving of a fan; all these little things contribute to the cooling sensation that made non-A/C Summer days and nights not only tolerable, but pleasing.

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Ai Tenchi Muyo! – 25

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For some reason, Tenchi’s duties as Dorm Supervisor include cleaning the girls’ bath dangerously close to bath time. Why can the girls keep their own bath clean? Like LostAi Tenchi Muyo! isn’t interested in answering questions, only posing new ones, like ‘Why doesn’t Tenchi simply stay out in the open and explain his innocent presence there?’

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How about ‘Why is Hana massaging Momo’s boobs when Momo’s boobs aren’t really that small at all?’ It’s not all that surprising the innocent Momo isn’t upset to find Tenchi in there at all, but it is rather odd that the other three student council members don’t notice the fully-clothed guy lurking behind her, especially when he and Momo talk. It’s as if just because those characters are out of that particular shot, they cannot see or hear anything going on three feet away from them!

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Anyway, enough with cataloging the illogic; somehow, Momo gets Tenchi out of there without him being detected (or drowning). And while he’s in there, Tenchi gains another piece of the school’s puzzle: the student council and science clubs are locked in a struggle for some kind of “treasure”, treasure he may or may not also be looking for. This may be another case of being in the dark because this is my first exposure to the franchise and I have no idea what Tenchi is really up to, but unlike Hatoko, I’m content to stay in the dark and see what happens.

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Ai Tenchi Muyo! – 06

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After his long ordeal, Tenchi returns to his home, where Sasami and Aeka tend to him, serving tea and helping him unpack a “care package” from Washuu containing items he’d never believe necessary for the task at hand. Tenchi’s relaxing bath is interrupted by a cheeky Ryouko, and Sasami and Aeka come in and add to the unwelcome commotion.

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First of all, man, Tenchi’s got more girls than old men have hair in strange places. The latest two, Sasami and Aeka, are legacy characters from the original show, and there’s a lot written about them over at MAL, though I didn’t read it. Suffice it to say they’re a bit of a combination of doting housemates, sisters, and wives, and Tenchi doesn’t mind having them around…

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Unless they disturb his peaceful bath, that is. To be fair, the Masaki sisters were only responding to the noise Ryouko (another legacy character) was making while pestering Tenchi. But yeah, between all the anal-retentive signs on the walls (and the racket within them) and all the new girls at school he must contend with, there’s clearly not a lot of alone time for Tenchi…although that also means there’s nary a dull moment.

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Barakamon – 10

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Being the audience this week is tough, because only we know it’s Seishuu’s last day on the island. No one, not even Naru, sees it coming from the way he acts on that last day, and maybe that’s the point. After helping Naru’s grandpa build a wall, he attends the village festival with Naru and Hina, and seems committed to not spoiling the little time he has left with them.

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He does, in fact, try to tell everyone (everyone being Naru, Miwa, Tama, Naru, Hina, and Hiro), but it’s just when the awesome fireworks are about to begin. He can’t very well say it then, now can he? The reaction would be predictable, with Naru likely having a fit and running off, possibly into danger. All episode I was waiting for that kind of confrontation.

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But nothing of the kind came; in the end, Seishuu chose not to mar another happy, fun day with the villagers that just happens to be his last. Instead, he lives that day to the fullest, and doesn’t so much as betray a hint that he’s out of there the next day. He disappears from the island as quickly as he appeared, but his absence is sure to lead to despair.

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Part of me is afraid of the possibility that Seishuu always meant to leave suddenly ike this, like ripping a band-aid from a wound, and that his connection to the island was never as strong as it seemed; that he was merely here to figure out his calligraphy, and once he had, had no further reason to be there. For the record, I don’t think (or rather, don’t want to think) that’s true, but it’s hard not to think like that considering how suddenly he peaced out.

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Barakamon – 09

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Seishuu may have acclimated somewhat to his remote island village home, but that doesn’t change the fact that he’s a city boy, and there’s still a lot he has yet to experience. Case in point, when his gas-fueled bath heater packs it in, he must resort to foraging for twigs and building a fire in the old wood heater. The village chief makes the point that if Seishuu had a wife, she’d tend the fire for him.

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Seishuu has never bothered with romance, pouring everything he has into his art, reasonably certain he’ll die alone, but not necessarily happy about it. He emerges from the bath and is surprised to find Hiro in the kitchen making his food (his mom was busy). Hiro often seems more mature than Seishuu despite the fact the latter is older, and that’s exhibited when Seishuu tries to “out-prepare” a bowl of miso cucumber rice. Suffice it to say, Seishuu can’t cook…but he’s too proud to admit it.

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Next, Seishuu finds himself in the middle of deep-seeded island politics when Hina tells him Naru is being bullied by kids from the neighboring village. Seishuu and Hiro try their best to reason with, and later intimidate the little punks, but they’re at a distinct disadvantage in that said punks know the adults can’t really hit them, or they’ll be arrested. Turns out the punks are friends with Akki, who resolves the situation simply by passing by. If anything, this segment reminds me of the best strategy for dealing with combative kids: Don’t. Just avoid them if you can.

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Finally, with just over two weeks left until the Naruka Exhibition, Seishuu’s sparks of drawing inspiration in response to his new living situation have grown more infrequent, to the point where he questions the efficacy of simply waiting for inspiration to show up, even though that’s really the only way. After a day of playing Tarzan with the kids, he gets one in the form of a truly awesome sunset. He makes a move back for home, but slips and falls off a ledge.

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Reverting to full City Boy mode, being isolated, alone, and lost in the dark terrifies him, until he sees a glint in the grass and finds the key to his house Miwa had lost. Then he gets his second flash of inspiration of the day: a majestic star field. His resulting drawing, with white writing on a black background, is another fun, striking, inventive piece he never would’ve attempted before coming to the island. Which begs the question: what is said to him on the phone that makes him so quickly and easily agree to leave?

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