Summertime Render – 25 (Fin) – Good Karma

After all the trials, blood, death, loss and increasingly complicated “rules” of the Shadows that Shinpei has endured, it all culminates in a hard reset to the beginning, with him on that boat with Hizuru. From her perspective, they’ve never met, but she’s clearly intrigued (and a little disturbed) that he somehow knows her pen name.

When Shinpei arrives on the pier, he feels a sense of deja vu. When Mio comes streaming towards him on her bike, he instinctively prepares to catch her…but her brakes work fine. Mio’s fine, as are Tokiko and Sou. Shinpei knows he felt worried about them, but doesn’t quite know why; they’re understandably confused and a little hurt by him saying this!

And then there’s Ushio, who remains very much alive, because a Shadow never copied and replaced her. In this timeline there are no Shadows, and never were. He was brought back to the island by a voicemail from Ushio, which he somehow could sense had the same sense of uncanny worry he himself was experiencing.

He stops by the Kobayakawa konbini, which Shiori is minding (and yelling at the other kids to shut the dang ice cream chest). It’s just good to see her not as an instrument of dismemberment and death, ya know? She also says Ushio has been talking about him for a while now, insisting he was coming this year. The kids also note that the upcoming festival is lining up with “Haine’s” birthday.

After visiting the shrine, where an elderly (and not unnaturally youthful or evil) Karakiri is passing the role of fire-lighter to his son Yamato, Shinpei heads to the beach, where Ushio happens to be standing in a long white dress, looking lonely. When she spots him, Shinpei promptly apologizes for how he suddenly left the island.

Ushio admits that she too didn’t handle things right, and that the voicemail she sent was sent because she was suddenly desperately worried about him. Their making-up session is capped off by Shinpei fortuitously spotting her lost shell pendant in the sand. Ushio lets him tenderly tie it around her neck. All is well with the two now; water under the bridge.

At the Kofunes’ café, which is not Shinpei’s home and never was, since his parents are still alive, he discusses his “dream” with Hizuru, who is the only one on the island weird enough to think there might be something to it, like a shared memory of the island or memories from parallel worlds (in truth, it’s a little of both).

It’s here where we meet Haine, who is a grown Ryuunosuke’s daughter and friends with Shiori. Mio comes down in her yukata and Ushio in her portable shrine garb, and the whole gang poses for a photo. Many among the group throw up peace signs, but they could also be victory signs.

That night at the festival, Hizuru is typing up a storm while laughing creepily and stuffing rice into her maw; Shinpei’s regaling of his “dreams” have cleared her writer’s block; we see her writing a novel called Summertime Render. Sou works up the nerve to confess to Mio—again—while Toki watches from the shadows. This time, Mio doesn’t automatically say no?

Shinpei meets Ushio on the beach with the takoyaki she ordered him to bring. When she sees he only brought two trays for the two of them, she recalls a promise he made when they were trying to “get through the little gap in the hospital”—something that might not have even happened in this world. They recite the promise in unison, that he’d “buy her 10 or even 100 pieces”, and a galaxy of fireworks erupt around them.

Whether in that moment they suddenly remember everything they went through to get to this time and place, or they’re simply glad they’re together again after two years in this timeline, they lean into one another in elation and relief. After lifting a three hundred year curse, they goshdarn earned a happy ending as a reward. They deserve it, and I couldn’t be happier that they got it.

My Stepmom’s Daughter Is My Ex – 11 – A Mess Under the Hood

Ahhh, is there anything nicer than a scene of two lovebirds talking on the phone just to hear each other’s voices? That’s how the episode starts, and it’s like being wrapped in a warm, fluffy blanket. So serene…but also so bittersweet. After the credits the Iridous have arrived at their relatives’ country house, and Yume meets Mizuto’s second cousin, who happens to be an absolute babe—a megane babe, at that!

When the fam hits the river for a barbecue, Madoka again compliments Yume’s figure and swimsuit, while also noting she’s “watched over” Mizuto since kindergarten. Mizuto is off in the shade reading and being antisocial, as always, but Yume learns that when his mom died, he and his dad must have endured a good bit of hardship, making her that much more determined to protect their new family by rejecting her feelings.

Later that night Yume enters the study of Mizuto’s late great-grandad’s study to tell him the bath’s ready, and finds him reading an old book entitled The Siberian Dancing Girl. Mizuto notes that it is his great-grandad’s autobiography of when he was interned in Siberia. It was the first book he ever read start to finish, and reads it every year he comes to his relatives.

He invites her to read it, and she takes him up on the offer, reading it through in one sitting. By the end, she’s in tears, and notices an old dried tear right next to her fresh one. She can’t help but feel closer to Mizuto, having now read the book that shaped him, which no one else but the two of them have ever read.

The next day, Madoka has laid out yukatas for the fireworks festival, and notices Yume sighing profusely. She quickly diagnoses it as Yume being in love with Mizuto and…Yume can’t necessarily refute that! Instead, she opens up a little to Madoka, who proves surprisingly deft at analyzing Yume’s whole deal, invalidating her feelings and trying to find excuses not to be with Mizuto

Madoka also figures the only thing for it is some direct action. To that end, she finagles things so Yume ends up alone in a relatively small, dark room with Mizuto for at least a half-hour. She figures that should be enough time for Yume to build up the courage to say what she wants to say and then say it.

At first, all Yume can do is look forlorn and say “Mizuto”, but in her head the words are streaming like the river she sat beside. She recalls the weight off her shoulders when they broke up, but she’s full of regret over things she never did that she should have, like call him over the summer, or sharing Christmas and Valentines with him.

It turns out, Mizuto doesn’t have to hear Yume say any of these things. It’s all in her face, and in the tears that start to fall. So he calls her as Ayai—which was just her old last name but sounds so much more intimate when he says it—and says that just this once, they can go back in time. So they embrace, and just hold one another until it’s dark out. They’re not pretending, they’re just being two people, not collections of ideals.

When Yume tells him how she figured Madoka was his first love, he immediately shoots that down; he never had feelings for her. He then tosses a jab at her—something about having so much good for her “on paper” but being a “mess under the hood.” He then says her nose is running, and she reacts, only for him to be kidding. That makes her laugh, which allows him to tell her who his actual first love was without saying it. He just says she loved to laugh. She still does!

I’m officially convinced that this show suffers from a terrible title, especially the English translation. All it does is tell you the surface scenario: step mom, daughter, ex. This is about that, but it’s also about so much more, about everything that came before that, and has managed to make something so wacky on paper incredibly moving and compelling under the hood.

GODDAMN TEARJERKER™ CERTIFIED

Vanitas no Carte – 19 – Quelqu’un avec qui se Blottir

The prison Chloé has found herself in for centuries was never entirely of her own making. Its bars were forged in part by her love of her father, and his lifelong devotion to returning her to human form. As much as she loved her father, the human Chloé d’Apchier he loved was gone and could never come back. Because of this, the vampire Chloé always felt alone, even before her father and the rest of the d’Apchiers died.

Astolfo is also in a prison, albeit one that doesn’t also hold everyone else: his anger over being betrayed and grief over the slaughter of his sister and family set him on a laser-stright “Kill All Vampires” path. Noé may have suffered equal or greater torment, but has Vanitas by his side to tell him not to lose himself in that rage, even if he can’t back down.

…But back to Chloé, who only got more and more sympathetic and compelling as her arc progressed. Within the prison built in part by the loneliness of a father who couldn’t accept or love what she’d become, she chose to stay there, but now that it’s crumbling around he she has a choice: stay within its bars and vanish into oblivion, or take the hands of the two people who do love her for who she is—Jean-Jacques and Jeanne—and let them pull her to freedom. Chloé wisely chooses the latter.

As J-J and Jeanne pull her from the black cage, Vanitas uses the book—and begs for Luna’s strength—to obliterate that cage and the false world of endless winter around it, as well as reveal Chloé’s true name: Canorus, “she who makes music with snow flowers.” As the cursed world vanishes to reveal blue skies and patches of astérique flowers, Astolfo finds some relief in the arms of his senpai, Roland.

Chloé finds herself in one of these astérique patches, and her first action is one of anger, slapping and then uppercutting J-J for letting himself get so brusied and bloodied. But once that passes, her eyes fill with tears of relief and joy. The flowers remind her of when she looked up at the sky with lil’ Jeanne, thinking if she could die, it would be on that day. But now she wants to live, and J-J is there to love, accept, and be there for her, warts and all.

Seeing Chloé and J-J embrace, Jeanne’s thoughts turn to Vanitas, and when she finds him, she can’t hold back her relief, gratitude, or joy. Their relationship may have started out fraught, but all Vanitas has done since then is what he said he’d do. She thought Chloé was beyond saving, but he showed her there was another way. He also saved her from the regret of not having saved Chloé befoe. Jeanne celebrates by lustily drinking Vanitas’ blood, and then planting a pure yet passionate kiss on his cheek.

Nobody may yet live happily ever after. There’s the looming threat of Ruthven’s control over Noé to kill Vanitas, Vanita’s spreading affliction, and the consequences for Chloé, Jeanne, and others by the powers that be. But right now, none of that matters. Jeanne’s radiant smile says it all—Everyone can relax, at least for a little while, with the clear blue sky above them the pale blue flowers below, and the ones they love beside them.

When Vanitas and Misha were little, Luna told them that everyone, be they human or vampire, is alone, and most of them go their entire lives never understanding themselves. That’s why they reach out for someone to snuggle with and keep them warm in a cold world; who will accept and love them for who they are, and thus no longer feel as lonely. Chloé and Jean-Jeaques have each other, while Vanitas now has two such someones in Jeanne and Noé.

Vanitas no Carte – 18 – Souhaiter de L’aide

Things start out strong this week, as Vanitas professes his love for Jeanne as he breaks her out of her prison of despair and asks her what she wishes for. The sight of her parents’ heads on stakes instilled in her a self-imposed ban on hopes, dreams, and prayers, but it’s not too late for her, or Chloé. All she has to do is tell Vanitas what she wants…and she wants help.

From there, we’re taken back in time yet again to cover the backstory of—Astolpho Granatum? Is that his name again?—who once had a kind heart and, encouraged by his little sister, even helped a wounded vampire in the woods. His mother told him that his kind streak was a strength and not a weakness, and the fact he and his sister become friends with the young vamp lad seem to bear that out…

…Until the vamp lad and his friends murder and eat Astolpho’s whole family. Ahh, so that’s why he hates vampires so much he’ll try to kill them even if he has no context about who they are or what they’re trying to do…like Noé in the present situation. I appreciate the attempt to make Astolpho’s position more understandable, but I’d be lying if I said an Astolpho backstory was a priority in this arc.

As for Chloé, she seems to be enjoying her new existence outside of her corporeal body, merging with the closed world she created. If everyone in that closed world ever wants to get out, they have to reverse it somehow. That task falls to Vanitas, the only one who can apparently figure out her organ-like Alteration Engine, while Dante and Johann track down his book, which he’ll need to close the deal.

Vanitas’ gambit succeeds, as he manages to play the same tune Chloé used to turn Naenia tangible, thus returning Chloé to the physical world. Jean-Jacques seals the deal by embracing Chloé, telling her all she’s doing to make the world safe for him is for naught if she’s not there to share it with him. Just as Vanitas loves Jeanne, J-J loves Chloé, an won’t allow her to sacrifice herself for his or any other greater good.

Speaking of Jeanne, she comes crashing through the walls of the already shattered library just in time for Vanitas to catch his titular tome and begin the process of saving someone who can still be saved. Whether the drugged-up Astolfo will try to interfere remains to be seen, but I for one hope Chloé isn’t cured of her curse just to be slain by his hand.

To Your Eternity – 18 – Paradise Bound

Tonari, who has become somewhat fond of Fushi beyond his utility as a tool for advancing her interests, wasn’t about to leave him to the tender ministrations of the “hag” Hayase. So she rows back to the island to save him, only to discover he already freed himself from the pit, which wasn’t half as deep as Pioran’s prison wall was high. Faced with having to explain why she’s there, Tonari tries out her best tsundere act.

The seas aren’t suitable for heading back out by boat, so Tonari and Fushi spend the night in a cave beside a campfire. Tonari asks about what exactly the man in black is. Is he a thoughtful god, trying to stave off the world’s destruction by creating Fushi? Or is he a demon, and the Nokkers are the servants of the real God(s) tasked with stopping him?

She also owns up to her father having been a murderer, and how she came to see him no differently than any other lowlife on the island: deserving of death. But she doesn’t see herself any differently, as in her mind she kills anyone she doesn’t like. She believes the island has poisoned her heart.

Fushi tries to cheer her up by saying that even if both their “parents” are or were demons, the two of them still do what they want to do. Being in that cave is proof of it: Tonari wasn’t about to let herself be saved at the cost of Fushi, while Fushi wasn’t about to let himself live out his existence as Hayase’s toy.

That night, Tonari dreams a familiar dream of a happy home with a living mother and father proud of her for the books she writes. Upon waking up, Tonari decides she’ll need to come up with a new dream, a new story less grounded in the past. She envisions herself, her crew, Fushi, and Pioran all relaxing and loving life on the beach.

It’s a lovely, idyllic image, and also the last upbeat image to appear in the episode; it’s all downhill from there. That morning when about to cast off, the Creator notifies Fushi that the Nokkers are attacking the town. Despite everyone worth saving on the island already off of it, Fushi heads towards danger, turning his back on an exasperated Tonari.

To his credit, Fushi isn’t doing this because the Creator is goading him to do it—it was Fushi who asked him to warn him when the Nokkers returned. It’s just that Fushi always has and probably always will blame his existence for the death of all the people who’ve died around him. If he can lesson that even a little, he must try.

The thing is, Fushi is cursed to be just too goshdarn likable to be left alone by those who enter his orbit. When he arrives at a hellish scene of corpses being reanimated into zombies by the Nokkers and wreaking havoc, it isn’t long before Tonari comes to help, and the rest of her crew also show up to help the both of them.

It strains credulity just a bit that they not only returned to the island so soon, but knew exactly where Fushi and Tonari were. What should be a devastating emotional climax is once again undermined by the fact barely any of it is animated, as with two episodes left the show is blatantly running on fumes.

Finally, the fact we’ve seen Mia, Oopa, and Uroy as Nokker zombies every week leading up to this episode, so we knew exactly what would become of them. Thile their souls may have passed to a paradise similar to the one in Tonari’s new dream, their bodies remain on Jananda; shambling nightmares Fushi isn’t strong enough to put down.

Wandering Witch: The Journey of Elaina – 12 (Fin) – The Multitudes of Me

Elaina’s final trip takes her to the suspiciously foggy “Country That Makes Your Wishes Come True”. Elaina enters the country wishing to become rich, and is utterly mystified when she happens upon a landscape comprised of all of the places from her travels thus far.

Things get even stranger when she enters Mirarosé’s palace to find no less than fifteen alternate versions of herself. Some of them represent individual personality traits she possesses, while others are just random like the gel and ghoul versions.

Hondo Kaede has a blast voicing all these different one-note versions of Elaina, but I have to admit…it’s all a bit much. The intros were fun, but the gimmick wore quickly. This wasn’t one of those dreaded Recap finales, but it did borrow elements from the previous episodes, without adding much new or compelling, which gave it the sheen of a recap.

Deemed “Protagonist Me” by her intellectual version, Elaina sits down on the throne and orders the others to go out and investigate, but all of a sudden the “Violent Me” everyone else had been avoiding bursts into the palace.

Violent Me’s hair is still short from being cut by the ripper, as apparently she never emotionally recovered from the events at the town with the clock tower. All the other versions kind of hang around while the Protagonist and Violent Elainas fight to a draw (as expected).

Only when both are completely exhausted of magic and can no longer fight does Elaina try to calmly discuss things with her violent self. While we heard Elaina wish to become “rich” back in the beginning, it seems the country interpreted that as becoming rich with different “experiences”.

As such, all of the versions Elaina has now encountered represent different paths and possibilities available to her on her journeys. She also believes her other selves wished for the same thing, which brought them all together to pool their stories into a single book: Wandering Witch.

Elaina then wakes up in a meadow; the whole ordeal with her versions was just an elaborate dream. She hops back on her broom and continues her travels, cognizant of and excited for all of the possibilities and choices those travels will present.

In an epilogue that seems to preview a second cour of Elaina I’m not sure it earned, Elaina (in plain clothes) bumps into someone with similarly ashen hair but green eyes. They’re both holding red books, and when they bump into each other, those books get switched. This person’s name is apparently “Amnesia.” Um…alright then!

It’s a curious yet also fitting way to end a show that was never quite sure what it wanted to be: episodic or serialized; lighthearted and comedic or dark and dramatic. It started strongly and had a couple of powerful episodes, but that lack of decisiveness and focus in the stories it wished to tell ultimately dulled its impact.

Read Crow’s episode 12 review here!

Cardcaptor Sakura – 55 – Alice in HOEEE-nderland

From the opening scene in which Sakura narrates a beautiful sequence of illustrations, it’s immediately clear what’s going to go down this week, even if you didn’t watch the preview. Sakura’s totally getting trapped inside Alice in Wonderland by Eriol. Meanwhile Tomoyo proves adept at shit-stirring by noting how nice Sakura and Eriol look together in earshot of Syaoran, forcing another staredown that Sakura notices for the first time.

While everyone is reading at the library, the enchanted leaf Eriol gave Sakura as a bookmark activates, and sure enough, she’s sucked in. It’s interesting to note that while Alice typically wears blue, Sakura is dressed in a pink dress with a heart suit theme. Eriol appears as the Cheshire Cat, but like said cat is more cryptic and mischievous than helpful.

Sakura encounters Yukito the White Rabbit, who transforms into Yue, scoops her up, and drops her in the middle of her brother the Mad Hatter’s tea party. She drinks the tea he makes and finds it delicious, but is too late to realize it’s a potion to make her tiny, an experience she did not enjoy last time it happened.

Once she’s small enough to fit on a flower, she’s confronted by twin Syaorans as Tweedledee and Tweedledum, who curiously enough quiz her on whether and who Syaoran likes. Sakura still thinks Syaoran likes Yukito, but his feelings have since shifted in her direction, hence her being wrong about the one he likes being taller than him.

Ultimately,. Sakura converts Big to grow bigger than Little to shrink back to normal size, and finds herself on a chessboard where Tomoyo AKA Humpty Dumpty is playing against Queen Kerberus. Sakura takes flight, and once she remembers the big leaf in the sky is the portal through which she entered, flies into it and emerges back in the library.

Tomoyo and Syoaran do their best to keep the others in the dark about all the magic stuff going on at their table, and Sakura ends up getting sleepy from creating two more Sakura Cards and falling into Syaoran’s arms. CCS delivers exactly what it said it would—Sakura in Wonderland—and does so with style and with some fun character moments. That said, I wonder if Sakura will remember that the one Syaoran likes isn’t taller than him…

Oresuki – 09 – Not Just a Background Character

Joro has gotten the hang of his new gig at Tsubaki’s family’s restaurant, and even Sasanqua comes by to have the guy in which she suddenly has interest server her and her gal friends. But when Tsubaki’s praise of his performance starts to sound like too much, Joro reveals his inferiority complex: he feels he’s just doing what he can as a background character while his more impressive friends accomplish greater things.

Since Joro’s job eats into his library time with Pansy, lunches are tense, especially with Himawari not there to lighten the mood (she’s prepping for a tennis tournament). Then, one night, Joro messes up at work, gets yelled at by an angry customer, and has to be bailed out by Tsubaki.

Pansy is already on record in her opposition of him working solely to repay his debt to her, since it’s nothing more than saving face. When she meets him after work, she says as much, and tries to assure him he’s okay and he’s already a good person. This isn’t a good time for him to hear this, so he snaps at her, something he immediately regrets.

This naturally makes things even more awkward in the library, but a chance meeting with a young lad named Hazuki Yasuo raises his spirits by reinforcing what Sun-chan tried to tell him. Basically, he can’t be afraid of “swinging and missing” or getting hurt, but has to “go all out” his own way.

The next day Joro apologizes to Pansy, but also tells her he’s going to keep working—not to repay a perceived debt to her, but because he simply wants to buy her a new book, something she not only accepts, but supports. But when he finally gets enough money, the book has already been sold—to Himawari.

All this time, she’s been putting off practice and saving up to buy him a book. What we have here is basically a “penance triangle”, with Himawari working to pay back Joro, who was working to pay back Pansy. At first, Joro is angry at her for risking everything, but as Himawari tells him, he matters to her as much if not more than tennis.

Himawari ends up winning her tournament anyway, reinforcing how awesome she is. Before her first match, she shocks Joro, Pansy, Cosmos and Tsubaki by stealing a kiss from him, not-so-cryptically telling him there’s “someone she likes” now, complicating matters for the others.

Tsubaki also manages to subvert expectations by not having any dark ulterior motive to getting Joro to work at her restaurant. Turns out she wanted the job to help him build confidence in himself as someone other than “second banana”, but the main character which some truly awesome and amazing friends.

That brings us to the situation at episode’s end, in which Joro is back on that damnable bench, being asked by Himawari Tampopo to hook Pansy up with Sun-chan…here we go again…

Cardcaptor Sakura: Clear Card – 13 – Meiling It In

After cheerleading practice, Sakura gets a surprising phone call from Meiling announcing that she has arrived in Japan. Since this is my first foray into CCS such an arrival means less to me than those who’ve watched the franchise in its entirety, but despite not knowing much about her or her past exploits with the other characters, she’s still a welcome and refreshing (re-)addition to Sakura’s circle of friends.

Rather than stay with her cousin Syaoran, Meiling decides to stay at Sakura’s permission for which she receives from Sakura’s dad over the phone, using such polite and formal language she shocks her old friend.

While Sakura’s brother stays at Yukito’s, avoiding answering questions about whether his powers are returning, Meiling and Sakura make delectable homemade gyoza, while Meiling and Kero square off multiple times, requiring Sakura to play peacemaker.

After helping Sakura dry her hair (resulting in a slightly different, more refined look), Meiling gets Sakura (a “natural airhead”) to open up about Syaoran. Sakura knows that Syaoran is hiding something, but also trusts him enough to believe if it were something he should and could tell her, he would, or will when he’s ready. I hope her trust isn’t misplaced.

As for Akiho, she continues to read from the tome of stories, one of which depicts a girl who grew cat ears and a tail—which is precisely what Sakura sees Meiling growing at various moments before they go to bed. She and Meiling chalk it up to Sakura simply being half-asleep and seeing things, but it’s clear the ears and tail are not only real, but something being instigated by Akiho, seemingly at the behest of her watch-wearing butler.

Sora yori mo Tooi Basho – 01 (First Impressions)

Tamaki Mari (voiced by a nicely toned-down Minase Inori) is restless. It’s her second year of high school and she hasn’t done anything to celebrate her youth. She sleeps in too late and keeps a messy room. One day, she decides no more—she’ll skip school, change out of her uni at the train station, go on a trip without a plan.

But the same thing befalls her that always befalls her when attempting to undertake bold endeavors: she chickens out at the last second, blaming the rain for squashing her Tokyo trip, along with the possibility of planes crashing or trains exploding.

In reality, the culprit was a simple and understandable fear of facing the unknown alone; fear of leaving one’s comfort zone and not being able to return. Her classmate and friend Megumi (Kanemoto Hisako) doesn’t think it’s necessarily a bad trait to have, but Mari hates that part of herself. She feels it’s stifling her youth.

Then something strange and auspicious and wonderful is set into motion when Mari sees a beautiful raven-haired girl wearing her school uniform running past her on the train platform. In her haste, the girl drops something: an envelope containing ONE MILLION YEN (about $8800).

The next day, Mari tells Megumi about the giant wad of cash and enlists her aid in locating the raven-haired maiden with the memorable conditioner. Mari spots her entering the bathroom, stuffing herself into a stall, bashing its walls, and quietly sobbing “one million…one million.”

When the girl (voiced by Hanazawa Kana) opens the stall door, Mari presents her with the cash, and after momentary suspicion, the girl has a paroxysm of relief and gratitude, embracing Mari like an old friend. Finding the cash was chance.

Returning every last Fukuzawa to their rightful owner was a choice, and it was the right one, for this strange, expressive girl, who Mari learns is named Kobuchizawa Shirase, is using the cash to do what Mari longs to do: go on a journey.

Shirase’s destination? Antarctica, to find her mother who went missing there after an expedition. Every single peer and adult to hears of her plans all believe the same thing: she’s off her rocker. She spends all non-school time working part-time and saving money instead of having fun with friends.

You could say Shirase is deferring her youth to a later time and a more incredible place (i.e. Antarctica). But girls at school call her “Antarctica”, and some even try to bully her into lending them some of her hard-earned savings.

Enter Mari, who saves Shirase from the bullies and offers her encouragement and excitement over the journey she’s about to undertake, and wants to help in any way she can. Shirase comes right out with it, asking Mari if she’d like to come along.

Mari very much wants to, and prepares to meet up with her at the station, where a train will take them to the icebreaker that will eventually take them to Antarctica, the titular “place further than the universe”, 14,000 km from Japan and the universe Mari knows.

This time, Mari doesn’t chicken out at the last second, and Shirase’s look of elation tells you everything you need to know about how many who claimed to support her backed out at the last second, as Mari was once wont to do. But Mari is committed, inspired as she is by the sheer audacity and dedication Shirase has exhibited. Very soon, they’ll be off, and from the look of the OP, they’ll be joined by two others.

This show was a pleasant surprise for me; I knew nothing but the one-sentence synopsis on MAL when checking it out…that and the fact it was a Madhouse show and that it’s absolutely stacked with voice talent.

Throughout the episode there’s the feeling of a great wave of adventure about to crest, or as Mari puts it, an isolated pool of seawater suddenly breaching and bursting forth, like her youth. As soon as we see the ship, things start to feel real.

Not only that, but both Mari and Shirase exhibit an infectious exuberance that really comes through in their diverse facial expressions and the always-welcome vocal chords of Hanazawa and Minase. I’m looking forward to watching their adventure unfold!

Shoujo Shuumatsu Ryokou – 11

In “CULTURE”, as Yuu feeds the “cut” bullets of increasing size, the girls roll into an armory, but Chito is far less interested in the tanks than a book lying on the ground. Titled “War and Human Civilization”, it’s written in English, which means even Chito can’t read it, calling them “letters from an old, far-off place.”

Considering the state of civilization in this show, that would seem to be something of an understatement. We build taller and taller buildings; Saudi Arabia is building one that will be 1km tall when finished. But we’re a long way from stacking cities on top of other cities like so many pizza boxes.

The book and its language, like the elaborate giant whirligig, are elements of human culture that should be preserved and understood if lessons are going to be learned by future generations.

It’s all well and good to feed an animal bullets, but to possess a book about how and why that animal can eat bullets—or detect where radio waves are originating—is even better.

Lessons of being mortally injured by falling objects or stray bullets led to the development of helmets, and in “DESTRUCTION” Chito gets and object lesson on why they still wear them even though there’s no one else around: their environment can be extremely hazardous at the drop of a hat…or bolt.

That bolt is the vanguard of a hail of shards of metal and machinery, as a gargantuan robot that could be a flesh-less warrior from the Seven Days of Fire plummets into a heap. The girls explore, and the cut shapes its body into a key of sorts to activate the robot. Yuu activates the first lever she sees, and a cruise missile is launched and detonates a few thousand feet away.

She presses another button, and the robot emits a laser beam that causes even greater destruction and widespread fires just off in the distance. Yuu starts laughing uncontrollably, saying it’s “fun”, but Chito gives her a closed-fist punch, telling her that nothing about this is funny. Yuu apologizes.

If they didn’t before, a first-hand demonstration of the destructive capabilities of civilization helps the girls to understand a little better why so much of the world is abandoned and in tatters. And yet there’s stuff all over the city and its environs that is still on, long after humans disappeared.

In “THE PAST”, Using their new pet as a guide, Chito and Yuri traverse a forest of windmills in, and come across a nuclear submarine. Again the animal creates a key out of its body, granting them access. The submarine may be beached, but it’s in working order, to the girls’ amazement.

It’s nuclear reactor seems to still be generating power (though I worry about radiation), while the girls traverse another forest within the sub on foot: a forest of what look like ICBMs.

Dantalian no Shoka 3

This episode was a double-feature, with two cases on either side of the halfway point. The first was a creepy and potentially very intriguing case of a teacher who gave their children access to the phantom Book of Wisdom to increase their intelligence. Problem is, it worked too well. Huey and Dalian are exposed to this case via Camillia, a blonde young aristocrat who’s always wearing the latest fashions from Paris or America.

Dalian takes an immediate dislike to the “spinster” and her “hysterical” get-up, to the point of rudeness. However, she’s somewhat appeased by Camillia’s offerings of tea, scones, chocolates, jam, and clotted cream. When it comes to sweets, Dalian is still a little kid. As for the case? The detective duo slinks into the school to find a bunch of very creepy kids who know everything about them. Rather than put up a fight, they promise not to start anything, as they’re “not dumb enough” to take over the world. Well, then. Slink away…

The second case, in which burglars storm Huey’s mansion, tie Huey and Dalian up, and scour the place for a book called “Queen of the Night.” Thing is, it isn’t a book at all, but an immense carnivorous plant in the conservatory that lures prey with book-like petals. It eats both of the half-witted interlopers, making this an episode where there’s lots of excellent Huey and Dalian banter, but they don’t actually do a whole lot. Rather, they kind of observe cases more or less solving themselves. Who says it always has to be hard every week?


Rating: 3.5

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