Kakushigoto – 05 – Bathrobe Party!

Tomaruin has signed Kakushi up as a judge for a manga competition. Despite his gag manga specialty, he actually proves quite astute at judging his assistant Keshi’s manga (which is far too verbose), impressing the other assistants. He’s initially against being a judge, but convinced by Hime that he should do his duty, or “society will crumble.”

Tomaruin makes a big mess of things, first by almost burying Hime in boxes of submissions (though only one submission per box, Amazon package-style), then adding “(LOL)” to the end of every one of Kakushi’s published assessments, leading to internet ire about him not taking the duty seriously.

Speaking of duty, we see Kakei delivering manuscripts to the hilltop house Hime visits in the future, since it’s Kakei’s turn for that particular duty. The sight of a chore wheel confirms that Kakushi, his wife, and Hime lived together there once.

When the editorial board demands the last eight pages of a manuscript be redrawn, Tomaruin seals Kakushi up in a fancy hotel room, where he’s to stay until the work’s done. He’s worried about Hime being lonely (and unattended), so asks Nadila to stay past her usual time. When she can’t, Tomaruin volunteers to watch her. But for him, “her” is Nadila, on whom he has a crush, not Hime.

Kakushi is surprised when Sumita exits the shower of his hotel room, but she came to help him with his work. Because he can’t work in a suit, he changes into a bathrobe, and Sumita follows suit. As other assistants arrive to help throughout the night it gradually becomes a bathrobe party.

Meanwhile, Nadila arrives to watch Hime (her other client canceled) but Naru is already there, having run away from a fight with her parents. She and Nadila have a fun sleepover with Hime.

Tomaruin continues stalking Nadila until he’s caught by Ichiko (seemingly always on predator patrol), and Nadila, Hime, and Naru all identify him as someone different based on their past dealings with him.

While this sequence is fun, and it’s good Hime wasn’t lonely, Kakushi should probably be a bit more on top of, ya know, who comes and goes in his house, and who watches his daughter!

Another night while watching an athletic medal ceremony, Hime presents her dad with a gold medal she made. Kakushi knows that it’s likely that one day Hime will fall in love with someone and Kakushi will be relegated to “silver medal” status, but he writes the date on the medal so that when that time comes—hopefully years from then—he’ll be able to bear it.

Fast-forward to the future, when older Hime recalls when her dad wrote on the back of the medal she gave him. She realizes these newer boxes weren’t prepared by her mom, but by her dad. Tearing up, she pulls out the “17” box and hugs it, as if she were hugging a part of her dad…who it seems stills holds the “gold” for now.

Because really, she is. That eliminates any lingering doubt that she’s now an orphan. I wonder if we’ll ever learn what happened to Kakushi and more about what future Hime will do. Perhaps in the future timeline some combination of Ichiko, Naru, Nadila, and the assistants continue to figure into her equation.

Saenai Heroine no Sodatekata – 06

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An ongoing theme in Tomoya and Utaha’s friendship has been mutual inspiration. In their first encounter (they’re classmates, but hadn’t interacted before) Tomoya expresses how much Utaha’s work inspires him the moment he steps up to her table at her book signing. His remarks leave an instant and lasting impression. Fast forward to that “fateful” snowy day when Tomoya declines to read her latest manuscript.

Utaha, you see, never come out and told Tomoya inspires her as he did with her. Offering him the manuscript is her way of showing it. But he rejects that approach, and even though it’s for perfectly understandable reasons—he’s a fan, and doesn’t want to influence her creative process any more than he wants a sneak peak at an unfinished work—it still feels to Utaha that he’s rejecting her, which wounds her deeply.

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Utaha had never quite forgiven him for that…until this week, which is another showcase of Saekano’s knack for placing its characters in relatively confined, intimate places. Even Tomoya’s date with Kato at the mall felt like it, since the crush of people made them have to stick that much closer together, and the mutual fun they were having made that crush blur and fade into the background, until it was just them.

The confined space here is more concrete: a hotel room, where Utaha was going to spend the night, but invites Tomoya in when he drenches himself in the rain in the act of what she deemed as chasing after her. It’s an assertion he can’t and won’t deny, though he wasn’t expecting to end up on a bed with Utaha, both of them in bathrobes and nothing underneath. The optics are a constant source of nervous titillation, but I frankly like how it puts the two on the spot.

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Bathrobes concealing nakedness and nervous joking aside, Tomoya cut his date with Kato short because he now knows what doesn’t sit right with him about her first scenario draft. He didn’t like how they left things in the club room, but at the same time, were it not for his date with Kato, he wouldn’t have been able to express his reservations anyway, which ironically reflect the positions Kato and Utaha occupy with regards to Tomoya’s life.

Utaha’s plot is much like her plot with Tomoya thus far: seemingly bound by fate, or from a past life; something sprawling and dramatic and epic, like spending the night in a hotel room (but this is all-ages, so…) And Tomoya likes that, but he’s found he also likes what Kato brings to the table: a steadfast decency wrapped in utter normality; the beauty of the mundane; the way a flat character can draw a reader when suddenly big suddenly happens. Kato isn’t bland; she’s universally relatable.

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God, the timing, framing, and sound effects of this little sequence were so deliciously awesome. Utaha types away in this new direction, but she’s clearly upset by it; it’s as if the romantic ideal she represents has been suddenly usurped by Kato. Reality and the fiction being discussed and created is inextricably linked in this show. But she and Tomoya do work all night, and the fact that she was able to summon this much passion and belt out something both of them can be proud of is a testament to the mutual inspiration I mentioned earlier.

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When Utaha gets dressed and prepares to set out for her busy day, she doesn’t hesitate to make a joke about post-evening afterglow, not to mention the fact she wickedly took a picture of her in bed with Tomoya while he was asleep and made it his background.

But while there wasn’t any of that kind of action last night, it was still a night Utaha will cherish, because it showed her, just as it showed us, that Tomoya is not only her muse, but has the makings of a great creator in his own right. She leaves that hotel room feeling a lot better about the two of them, but not just because of the progress they made with the plot, but in the battle for Tomoya himself.

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Rewinding to yesterday, Eriri “bumps into” Kato at the mall and sketches her, which is clearly her way of commiserating over the fact that Utaha is off somewhere with her Tomoya. Misery loves company, so it gives her great solace to see that when properly stimulated, she’s able to pull back Kato’s stoic mask just that little bit. Like Utaha’s “coup” this week, this not only makes Eriri optimistic about developing a good heroine from Kato, but also that she’s still in the running for Tomoya. Kato is adorable, but she’s not invincible.

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