Vinland Saga – 17 – Not Everyone’s Afraid to Die

The normally cautious Askeladd lashes out at his mutineers, throwing them off balance and allowing Bjorn to escape on the sled with Thorfinn, Prince Canute, and the Priest. But as he contemplates what could be the last moments of his life, he remembers a moment from his childhood when his dying mother told him about King Arthur, who is not only still alive and recovering in the mythical land of Avalon, but will return someday. When he does, she told Askeladd to serve him.

Mutineers manage to catch up to the sled, and realize that there’s no bargaining with Bjorn; if they want the Prince, they’ll have to kill him. Thus, they take the less sporting route by killing his horses, sending the sled and its occupants flying. Finn kills one of the pursuers and mounts his horse, abandoning the prince because killing Askeladd is more important. If Askeladd should die by someone else’s hands, I doubt Finn would ever forgive himself.

Askeladd fights of many of his men, who fall back and shoot him with several arrows, none of which immediately threaten his life (though infection could set in if his wounds aren’t tended soon). Then his life is saved…by Thorkell of all people, who has arrived, and orders his men to kill everyone but Askeladd. The mutineers reluctantly pick up their weapons and die as something resembling warriors, but Thorkell pushes Torgrim too far, and Torgrim simply…goes bye-bye.

That’s when Thorfinn rides in, plowing through mutineers and English alike with his horse and charging towards Thorkell, who without hesitation charges up and uppercuts the goddamn horse like it was nothing. I’ve harped in the past about some of the more supernatural feats of Thorkell and others, but in this case the silliness is a good complement to the seriousness of the situation. Finn tells Thorkell that he’ll kill him if he doesn’t give him Askeladd, and Thorkell is all to eager to let Finn try. Here’s hoping for Finn’s sake this isn’t like London.

Vinland Saga – 16 – End of His Rope

Askeladd’s luck ran out the moment Anne was found by Thorkell’s men. The weight of his army steadily bearing down on Askeladd’s comparatively paltry band fills this episode with increasing tension. While there are warriors like Bjorn and Thorfinn who will never betray him, those two aren’t nearly enough to counter the precipitous drop in morale, and thus loyalty, among the majority of his men.

When I think of how much fun Askeladd and his men once had earlier in the series when his luck was riding high, it only puts his current predicament into greater focus. By episode’s end he can count on one hand the number of men he can truly count on, with fingers to spare. When an English captain simply won’t talk no matter how many fingers Askeladd snips off, it’s almost the final nail in the coffin for him; a sign that he’s lost his power.

When your men are all either worshipers of older gods or of no god at all, they put their trust in a leader with luck and strength, and Askeladd’s is almost totally out. His side plan to force Prince Canute to toughen up pretty much takes a back seat to the far more pressing matters of how long it will be before Askeladd’s men turn against him, and when Thorkell will finally catch up to them.

Thorkell’s name invokes far more fear than Askeladd’s at this point, which means Askeladd’s time is almost out. However, it’s not yet certain whether his longer-term plan to “reform” Canute will fail. All we see is that after he leaves Ragnar behind without any kind of funeral and slaps Canute across the face, Canute starts adopting a far more Thorfinnian visage.

Askeladd is nothing if not perceptive, and has no illusions about how things will go down once the men who are done with him gather enough allies within their ranks to pull something off. That’s why when Thorkell finally appears on that horizon—the glinting from the tips of his mens’ spears portending dread, while his own thrown spear impales three men and beheads a fourth—Askeladd has the best possible defensive position he can have.

Bjorn is at the reins of the lead sled with Thorfinn, Canute, the priest, and two horses when the rest of the men surround Askeladd, calling for an end to his leadership. It is without doubt the most precarious position he’s ever been in, but one should never underestimate Thorfinn’s desire to have at least one more duel with Askeladd—which means keeping him alive…maybe.

Vinland Saga – 09 – London Bridge is NOT Falling Down

Turns out that huge warrior leading the defence of London from its famous bridge is not even an Englishman, but a Norse giant named Thorkell. King Sweyn’s armies will make little progress until he’s out of the picture, so Askeladd sends Thorfinn to work out some of his frustration. Thorfinn makes him promise for yet another duel in exchange for Thorkell’s head.

Floki and the Jomsvikings beseech Thorkell to abandon his contract with the English and re-join the Danish army, and he’ll be paid double. But like Askeladd’s right hand man Bjorn, it’s not about themoney. Unlike Bjorn, who likes easy wins, Thorkell doesn’t want to fight the English; they’re too weak. He’d much rather fight the tougher Vikings.

As the Vikings continue their siege of the Thames, Thorkell makes any ship or soldier who comes too close regret it, sending a hail of arrows from his archers, or just heaving a massive boulder or tree trunk into the Viking ships, sinking them. He’s a bit superhuman, but heck, so are a lot of Vikings, chief(tan) among them the late Thors and his giant oar.

When Thorfinn leaps onto the bridge to face Thorkell, it’s immediately apparent the latter has a huge advantage in size and strength, and isn’t that much slower. One wonders if it would have been better for Askeladd to send Bjorn instead—preferably on his berserker mushrooms. Then again, I’m sure Askeladd values Bjorn far more than Thorfinn.

Thorfinn hangs in there about as long as you’d expect, considering the moment Thorkell gets a grip on any one of his arms or legs, it’s basically game over. Thorkell blocks Thorfinn’s dagger with his hand, then slams him back and forth against the bridge like a ragdoll.

To Thorkell’s surprise and delight, Thorfinn hasn’t lost any of his will to fight, and when Kell’s guard is down Finn claims two of the fingers from his stabbed hand before plunging into the Thames. Thorkell lets him go, hoping for another fun fight in the future.

It is clear King Sweyn bit off more than he could chew, and isn’t going to get the quick victory he wanted, so he redirects the bulk of his armies to Wessex in the west, where they’ll hopefully have more luck. He leaves the continued siege of London, and just 4,000 men, to his son Prince Canute, despite protests from Ragnar, whom the king blames for making the lad “faint of heart.”

Whether Canute succeeds in London will probably determine whether he succeeds to the throne, but as we haven’t heard a word from him, who knows how that’ll go. Perhaps at some point he’ll get some lines and we can see what kind of person and warrior he is beyond what others say about him.

As for Thorfinn, he’s washed down the river westward and meets back up with Askeladd’s crew, now headed to Wessex. After popping his dislocated shoulder back in, he joins the march, remembering the words of the “madman” Thorkell talking about how fun fighting is. But it’s not fun for Thorfinn. It never was, and probably never will be.

The Promised Neverland – 12 (Fin) – A Nameless Song

As the kids begin their ascent up the wall, Emma informs Ray of a change in her plans: rather than rescue everyone tonight, she’s leaving all the little ones four and under behind, and is committed to coming back for them, and everyone else in the other plants, before their various shipping dates arrive. It’s a tough choice, but one that had to be made to ensure that the group of fifteen older kids survive the escape.

That’s why little Phil is with Mama as the house burns: turns out Phil is in on it, and even though he’s only four, he now understands what it means that Norman, Connie and the others were “harvested.” Emma leaves him in charge of training the next “wave”, his fellow younger kids, and getting him ready for when she returns.

But first things first, getting across that great yawning cliff. There’s another wrinkle in the plan for which Ray was kept in the dark, which meant Mama was kept in the dark: they don’t use the very obvious bridge to cross the cliff. Instead, Don heaves a stone across a narrower portion of the cliff, and the rope wraps successfully across a tree. He ziplines across, secures the other end of the rope, and secures the second and third ropes two of the kids use water rockets to launch across.

It’s a wonderful use of ingenuity and intense training, and the kids pull it off with aplomb. Phil also succeeds in distracting Mama just long enough so when she sounds the alarm the monsters go to the bridge, and when she realizes they’re not at the bridge, she doesn’t get to their location until Emma is the last person who hasn’t made the crossing. Emma flashes one last defiant look at her former Mama, and says goodbye before ziplining across. The lines are cut; Mama is beaten.

In her moment of defeat, we learn more about who Mama—who Isabella—was, thanks to a supremely affecting flashback that really humanizes her despite the monstrous things she’s done for her superiors. Isabella had a “Norman” of her own in Leslie, who played a beautiful lute and wrote a nameless song she loved. But Leslie’s shipping date came, and he said goodbye, and Isabella was devastated.

She used her ingenuity and athleticism to climb the wall, only to find the cliff and despair as Norman must have done when he first saw it. Her Mama comes to bring her back home, and eventually Isabella is given the same offer she’d later give Emma.

Only while Emma refused, Isabella accepted. She was trained to be a Sister, then a Mama, and even gave birth…to Ray. A younger Ray hums the same nameless song Leslie used to play, because Isabella hummed it when he was in the womb. Ray realizes Mama is his birth mother, asks why she gave birth to him (survival, plain and simple), and their “collaboration” continued from there.

If Leslie’s song were to ever have a title, one possibility could be “The Path Not Traveled,” as it’s the song Isabella held close and never forgot from her time as one of the same kind of kids Ray, Norman and Emma turned out to be, but it’s a song that reminds her that she chose to survive by joining the system rather than rebelling. In the end, Mama seems more proud than anything else that her beloved children outwitted her. Now that they’re beyond the wall and cliff, she wishes them good fortune.

Another title could be “The First Morning”, such as the one Emma and Ray encounter. The sun rises out of the horizon for the first time since they gained their hard-earned freedom. Seeing them silhouetted against the dawn’s light is one hell of a beautiful parting shot.

While I’m terribly worried for what might come next, or what dangers await them in the wilderness beyond, there simply wasn’t time to explore that in twelve episodes. But just the fact they managed to get out of the farm that was going to ship them off to be demon food is more than enough.

To Aru Majutsu no Index III – 07 – The Bodyguard

Like a jargon-heavy book that keeps making you flip to the glossary in the back, the Academy City Underworld arc was so laden with groups, individuals, motives and goals that I had to refer to the Index wiki on more than one occasion just to find out who the hell some of the people were. As a result, it was hard to sit back and just enjoy the action.

So thank goodness this week is a far simpler Index episode (even though it takes a number of turns), featuring a straightforward plot and familiar, beloved  characters. It certainly starts out where Kamijou Touma would prefer to be, at school, where the most fraught action is being chased by a burly teacher when he and Tsuchimikado are the only two able to escape school to get to the convenience store for the lunch they want.

For all the misfortune swirling around him, Touma does catch a break every once in a while. In this case, a very lovely break in the person of Itsuwa, who mistakes Saigo for a hostile and takes him out for Touma. She’s come to A.C. to serve as Touma’s bodyguard due to stirrings that the powerful Saint Acqua of the Back (or Rear) is going to target him.

The rest of Amakusa is there to back Itsuwa up, as well as to try to get her to pull the trigger on Touma, whom she apparently likes. In this venture it’s Itsuwa who is more unfortunate, since she must contend with the jealousy of Biribiri, who makes a welcome return to the show. Misaka was actually concerned that Touma had amnesia, only to catch him deep in Itsuwa’s bust. Thankfully, Touma manages to keep Itsuwa from mistaking her for a hostile…even though she kinda is!

This also marks the rare Index III episode that actually has sizable portions of Index in it, as she watches with concern as Itsuwa enters her and Touma’s home, buys the loyalty of Sphinx with some high-quality bonito, and starts making dinner.

Like living a simple high school life with occasionally exciting lunch runs, just seeing a girl in his kitchen making dinner gives him no end of joy. The fact that Itsuwa is acting like a proper house guest and helping out exposes how comparatively little his other guest Index does.

Of course, the reason Index doesn’t help out is that her help often only causes more work, such as when she pours an entire bottle of drain cleaner down the shower and almost causes a fire.

Itsuwa cuts off their ensuing dust-up, rents a motorcycle and sidecar, and takes Touma and Index to a splendid public bathhouse in the 22nd School District, which is entirely underground yet has a giant screen in its “sky” projecting the real sky. It’s a really beautiful motorcycle ride that shows yet another side of the sprawling city.

Naturally, Misaka ends up in the same bath as Index and Itsuwa, and as Itsuwa clumsily tries to explain how Touma came to end up in her breasts she then becomes the target of Index’s ire, while Biribiri stews until she overheats and a medical team with a stretcher has to be called.

I presume Misaka had to be temporarily taken out of comission in order to lend more peril to the final act of the episode. Touma and Itsuwa go on what could be construed as a romantic evening constitutional, but once they reach the bridge (Touma and bridges don’t mix!), Acqua suddenly appears, and wastes no time mopping the floor with the both of them.

Itsuwa is a strong and honorable bodyguard, but she simply has no chance against a Saint, and her restoration spells have limited effect on Touma due to his right arm. About that arm: Acqua will let him live if he cuts it off and gives it to him. He couldn’t care less about Kamijou Touma, he wants Imagine Breaker taken out of the equation of church and global affairs.

In his surpassing charity, Acqua doesn’t simply take what he wants, even though he’s certainly capable of doing so (unless Imagine Breaker somehow prevents the arm from being separated from Touma’s body). He gives Touma one day to decide whether he’ll give it up willingly, or die. And since Itsuwa is his sworn bodyguard, she and the rest of Amakusa will certainly die defending him before he does.

So yeah, a Saint with the Right Hand of God either wants Touma’s arm or his life, and Itsuwa alone won’t be enough to stop him. Like I said, straightforward! I imagine one needs a Saint to fight a Saint, so we’ll see if Kanzaki enters the fray…not to mention Misaka once she recovers from overheating in the bath.

Chio-chan no Tsuugakuro – 06 – Game Over IRL

Kabbadi Club captain Kushitori Madoka is missing, but it doesn’t take Chio and Manana long to find her. While she acts as if she’s training “in the mountains”, she’s really just been camping in a city park, and her “master” is just a old creep who used to be successful but gave it all up thanks to his obsession with high school girls’ infectious “energy.” Yikes!

Needless to say, this is a situation in which neither Chio nor Manana want to get involved…so Chio launches Manana into the situation while she continues to hide.

Madoka wanted to rid herself of her “wicked thoughts” but after hearing the creepy dude’s life story she abandons that venture and pursues the “you do you” philosophy instead…which involves groping the butts of Chio (who Manana sells out as revenge) and later Yuki.

With all the groping out of the way, the next segment deals with Chio being influenced by an American combat game she played by treating every blind corner as a potential hazard (a passing mother seems to pity Chio, but the mother’s little boy things she’s hella cool).

When Chio spots Manana on a bridge that looks very much like a part of the game, she decides to try to ambush her from below, utilizing her surprising athleticism. However, things do not go as easily or as well for Chio IRL as they did in the game.

She ends up having to abandon the ambush and call out for help. Manana knows Chio too well, and knows she was trying to pull a prank. Her hesitation to help causes Chio to find untapped well of strength, which she uses not to raise herself up but to pull Manana down.

A lot of awkward positioning ensues, until both girls are so tangled up and exhausted they need a Good Samaritan to assist them. When he asks the students their names (he knows which academy they attend) the two friends give each others names.

Chio and Manana may seem intent on destroying each other most of the time, yet at the end of the day remain the good friends they’ve always been, and no one, be it a gropy upperclassman, uptight disciplinary officer, or former bike gang leader, can come between them.

Shoujo Shuumatsu Ryokou – 03

This week on Girl’s Last Trip, something amazing happens; something perhaps more amazing than finding all the elements one needs to build a makeshift hot tub: Chito and Yuuri meet another survivor, a young man named Kanazawa.

The lit cigarette portended something potentially perilous, but Kanazawa is harmless. He has no gun and no vehicle, and has been making maps, but that’s about all we and the girls ever learn about him. Where he came from and how he survived are left a mystery.

While he doesn’t have a gun, he does have dynamite, which he uses to knock a building over so they can use it as a bridge across a gorge. His maps help lead them to a fueling station, and then they finally reach their destination: one of the mammoth towers that must lead to a higher level, where maybe there will be more people…or at least more food.

SSR excels at portraying just how tiny humans are before all this gargantuan infrastructure; Kanazawa offers some insight regarding the fact more contemporary civilizations couldn’t fully figure out the more ancient, yet in some cases, more advanced structures. At any rate, they’re very big and impressive.

Anyone who doesn’t like heights—like Chito—might just feel a bit of vertigo or tingling in the back as the elevator, which has no chain link fence, slowly rises higher and higher. Just as Chito is worried about what would happen if the elevator tilted, the elevator tilts, and Kanazawa’s sachel of maps slips off.

He nearly slips off as well trying to catch it, but he can’t. His maps are gone; scattered hundreds of feet above a level they may never return to. As he had earlier declared the maps were his life (i.e. the only thing keeping him going), he wants the girls to let him fall. They do not let him fall—Yuuri may be a book-burning glutton but she’s not evil.

They manage to fix the elevator and reach the top, and their seeming reward is the activation of all the streetlights around them, and a great light in the distance that is the girls’ next destination.

After Yuuri uncharacteristically shares her rations with Kanazawa (and Chito rewards her by giving her half of hers), Kanazawa heads North on his own. Looks like he was only ever going to be a temporary party member. Now on to that great light…whatever it is.

Sagrada Reset – 10

We are made to hear the Witch’s parting words to Kei one last time so we can see his reaction later on: tears of joy. In the last two years, the one thing that has driven Kei is the hope that some day, in a city full of what would be considered miracles in the outside world, he would find the means to bring Souma Sumire back to life.

The Witch essentially confirms that this was the right and proper course all along, because he is destined to meet Souma again, and Souma runs a test to see if he can bring something from a photo world into the real world without that thing vanishing.

The test is a success; a cherry petal from the photo remains even after ten minutes—ironic, considering the nature of sakura. They are something both joyful (because of their stirring beauty) and morose (because they are ephemeral).


But before we get that confirmation the test worked, we’re taken back to the past once more; this time, to when Kei was in the sixth grade and a relative newbie to Sakurada. Even as a little kid he’s a smart cookie, determining before the Bureau rep has to say it that his memory retention ability would work even outside of Sakurada.

Because of this, the Bureau offers him a comfortable life and livelihood in Sakurada…but he can never leave. In effect, Asai Kei is the one ability-user (aside from those who could copy or steal his ability) who could most threaten the city’s very existence by exposing it to the outside world, breaking its Shrödinger’s Cat-like status.

Kei loves this city, so he quickly agrees—discarding his past in the process. Then he experiences a Reset for the first time, and if anything, he’s more excited than ever to be in such a place and such a position. He’s won the lottery, basically.

As Kei sets up the Save Point in the same place where Souma appears in the photo, Haruki resigns herself to the fact Kei will make her and the others forget everything henceforth. As she’s dedicated herself to following his lead, she’s fine with everything, but does wonder if, like Mari, the Souma they save will be the “real” one.

It doesn’t really matter to Kei, but he knows that whoever he revives may not enjoy a “peaceful” life due to her ability. Even so, he must bring her back; follow the script Souma laid out for everyone. He sees the MacGuffin as proof of this: the one who holds it (i.e. Kei, now) will have “all the abilities in Sakurada.”

It was the object whose power was created through rumor and never was anything other than an ordinary stone, and yet it drove Kei to become the protagonist of this story by gathering the ability-users he needed to bring Souma back from the dead.

When the time comes to actually do that, the tension is palpable, and all the tiny hairs on the back of my neck stood up, as the feeling that something momentous was about to take place washed over me. (The show grossly underestimates how hard it is to tear a Polaroid, but no matter.)

Once in the photo, everything happens with a quiet but purposeful haste. Kei doesn’t even run over to Souma, but waits for Sakagami and Murase to do their stuff, then tells Haruki to reset. He’s that sure this will work, even though I wasn’t.

And so it does: by utilizing the abilities of the others, Kei wielded the MacGuffin, rose to become the protagonist of the story, and brought Souma back to life, just as she was sure he would—she shows no surprise in seeing him. Kei hides his delight at having succeeded, in part because he’s a reserved guy and in part because he doesn’t know how the future will progress past this point.

For now, it’s enough that Souma is back. She comments on how he’s grown, both in stature, ability, and in his friendship with Haruki. He also reports how much Haruki has grown, and that he’s come to want her to keep making progress on the road to finding a sense of self, even if it breaks the “pure goodness” he may have fell for earlier.

Souma even set things up with Tomoki so that if she was really Souma and not some kind of copy, she’d receive a voice message meant for her two years in the future. She receives that message, then asks Kei which Souma he’d like to meet, confident he’ll make the correct choice. He is the protagonist, after all. She made him so.

Sagrada Reset – 09


Sakurada Reset pulled off quite a lot last week, and got particularly exciting when things started coming together, but there’s still something unsatisfying about following it up with another flashback. Momentum had been built up, but this episode killed it, by valuing context-through-lengthy explanation over progress.

Mind you, I’m not mad about learning more about what happened just after Souma Sumire died—the two-year jump was pretty dang abrupt! It’s more a matter of timing, and the fact that I’d grown accustomed to being in the “present” of two years later.

With that said, this is an opportunity to see Kei and Haruki before they figured out how to be a well-oiled reset/recall machine. After Souma dies, both of them suspect the reset ability: Haruki, the ability itself, and Kei, the fact he used it so “thoughtlessly”—and in doing so sealing Souma’s fate.

While Haruki tries in vain over and over to reset on her own, Kei visits the spot where Souma fell, and meets a young Kit-Kat-loving woman named Ukawa Sasane (Koshimizu Ami) who thinks he’s Souma’s boyfriend thinking of offing himself.

She’s wrong about him being a boyfriend, or being suicidal, but Ukawa’s assumption is couched in her desire to save others from dangerous places like the bridge, be it with a Kit-Kat (an invitation to “take a break” and chill out) or with her “fence-making” ability.

A call to the Bureau for answers (and a request to save Souma) goes nowhere, and Kei eventually decides his choice to reset wasn’t what killed Souma, while Haruki realizes she can’t reset on her own because a part of her is scared of being hated by Kei.

Ultimately, the two come together and agree that the people they can help with their combined abilities outweighs the possible suffering resetting might cause. Kei tells Haruki to reset, it works, and they complete their actual first job in the Service Club.

Kei, however, isn’t done trying to find a way to bring Souma back. Her death and his inability to prevent it clearly still haunt him, and he believes if there’s a place where someone can be brought back from the dead, it’s Sakurada.

It would seem that he’ll eventually be proven right, since two years later the “Witch” considers Souma her successor, and assures Asai he’ll see her again. One can’t succeed anyone unless they’re alive, after all.

But this week, at least, is just more fuel for the fire of the show’s detractors. It lent more context to later events and positions, and introduced a new character, but even by Sagrada standards it was a dull trudge, not helped by the fact it took place entirely in a tension-sapping flashback.

Watashi ga Motete Dousunda – 09

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It’s a beach episode, folks, with a lot of familiar elements from that subgenre, including vertical pan up to unveil the ladies’ swimsuits. Shiny! It’s also a rare Shinomiya-centered episode, in which most of the inner dialogue comes from him as he struggles to impress Kae, and makes mess after mess of trying.

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From accidentally launching himself into her boobs on the beach to having to hide behind his bigger friends as they scare off some creeps, Shino’s feeling particularly inadequate this week. When he knocks her down trying to save her from a snake, causing her to drop all her kebabs on the ground, it’s the last straw, and he runs off in tears.

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Concerned for Shinomiya’s well-being, the gang chases after him, but he manages to get way far ahead of them for some reason, while Shina seems oddly un-knowledgeable about the environs of her family’s beach manse. The gag with the bridge that breaks but the gang (sans Kae) only “plummets” a little is funny enough, until you wonder how that fall (which is at least ten feet) didn’t hurt anyone. They can’t blame mushrooms this week!

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Some odd choices about the journey to save Shino aside, I did enjoy how the two fujoshis embrace him for his “klutz appeal”, which ties into the themes of the show thus far. But it felt like someone jacked up Shino’s Klutziness and Anxiety Quotients to 11 for this and only this episode.

In trying to deepen the character, the show turned him into a outlandish caricature of himself. Of the episodes thus far that have centered on a single guy, Shino’s has been the worst. It wasn’t a bad episode, but I know Kiss Him Not Me can do better.

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Tales of Zestiria the X – 09

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This week’s Zestiria still shined in the technical and aesthetic sense, but it felt a bit mechanical, perfunctory, and inevitable, like very practically moving pieces on the board closer together. In this case, it was uniting Sorey/Lailah/Edna with Alisha, and then with Mikleo and his new mascot-like friend Atakk, a Normin Seraphim specializing in powering up other Seraphim like Mikleo.

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We learn of the cause of the storm that blew out the bridges (an Ouroboros) but that boss is soon usurped by a drake (or baby dragon) who is the cause of the malevolence that is sickening and killing the people of Marlind.

Alisha isn’t particularly useful this week, as her attempts to heal the townsfolk with medicine have no effect, to her frustration. However, sometimes it’s about who you know, not what you can personally do…and Alisha knows Sorey, who is happy to help.

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Edna and Lailah aren’t enough to help Sorey rid the city of the drake’s reign of terror; it takes the sudden arrival of Mikleo, whom Sorey can sense and knows everything will work out. Forming a quick sub bond with Sorey and Lailah, Mikleo’s power turns Super-Sorey blue, and they take out the drake with a purifying water-based arrow.

The drake is toast, and the clouds around the city part. It’s good to see everyone back together, and the episode looked and sounded great as usual…but it also felt very neat and tidy, and after last week’s scrap with Eizen, the enemies seemed like pushovers.

There’s also the looming certainty that if this series wraps in three weeks, a satisfying solution worthy of all the buildup won’t be forthcoming. I’m hoping, as with F/s n, the story will continue after a season or two off.

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Kiznaiver – 01 (First Impressions)

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Hmmm…now this is more like it: a bold, brash, imaginative, absorbing counterstrike to the comparatively staid, restrained Kuromukuro. Space Patrol Luluco isn’t all Trigger is up to this Spring; in fact, that’s just an appetizer for this, the main course…KIZNAIVER.

Rather than beating around the bush, Kiz gets right down to brass tacks: this is a story about youth, pain, and the ability or inability to fell and share in it, as part of a larger plan to eliminate interpersonal conflict in the world, which has been around since we were in caves.

Rather than a literal cave, Agata Katsuhira inhabits an figurative one that protects him from physical pain at the cost of not feeling any emotional pain either, to the consternation of his friend and classmate Takashiro Chidori.

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His insulation from the work and from true bonds with other humans makes him a ripe target for bullies, since he offers no resistance to their blows or demands for money.

One such instance of this happens immediately after Chidori storms off (disgusted by Kocchan’s passivity) but another classmate, the Kamina-esque Tenga Hajime, steps in to rescue him unsolicited with the kind of stylish action Trigger is known for.

It’s here where Tenga learns Agata literally can’t feel pain, and starts having fun successfully testing that claim…when a striking, silver-haired class prez type appears.

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Agata comes to on a roof with the girl, one Sonozaki Noriko, who asks him if he’s heard of the Seven Deadly Sins. He has, of course, but she believes those sins have evolved along with humanity since their inception in biblical times.

Rather than pride, greed, envy, wrath, gluttony, lust, and sloth, she names new-style sins such as “The Cunning Normal”, “High-and-Mighty”, “Goody-Two-Shoes”, “Eccentric Headcase”, “Musclehead Thug”, and “The Imbecile (g/udon)”.

These aren’t just “sins”, they’re the actual personalities of five other classmates: Yuta Tsughuhito, Maki Honoka, Chidori, Niiyama Niko, Tenga, and Agata himself. The show does not shy away from specific, elemental personality types because it is the uniting of those disparate types that is to be Kiznaiver’s core dynamic.

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“Everyone wants to carve their scares into someone else…connect with someone else,” says Sonozaki. Agata’s inability to do so to this is the reason he’s…the way he is, but that’s about to come to an end.

In Agata, Sonozaki has found the missing piece in her plan to make the union of personalities official. She does so by shoving Agata down a flight of steps, an act of violence he’ll likely feel, even with his formidable pain threshold.

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After the town mascot “Gomorins” wheel an injured Agata through a disco ball-festooned hospital, he awakes to find Sonozaki, along with all of the five “sinners” she “quickly and precisely secured” (i.e. kidnapped) and performed identical operations on, installing something called the “Kizuna System” into their bodies.

She goes on to inform the other six that Sugomori City has always been an experimental testbed for the system, but she is implimenting it for the first time here and now. Kizuna System allows separate people to share one another’s pain. She says Agata only survived his fall because the pain of the trauma was spread among the other five.

She hopes that if pain and wounds were divided evenly and everyone could feel the pain of others, it could lead to peace in a battle-ridden world. The six she’s assembled are the first step. Notably, it doesn’t seem like she’s a part of this union.

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The other five subjects take off, unwilling or unable to comprehend what Sonozaki has told them. But when Niko suggests she’s just having a weird dream, and Tenga threatens to grope her, she smacks him with all her might, and all six subjects feel the sting of her strike, including Niko herself. After a couple more tests, it’s clear: they are now sharing their pain. This is no dream. “All for one and one for all” is their new motto.

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Not only that, but Agata is feeling pain now, something a girl in the very red cold open told him would come to pass one day. That day has arrived, now that he and the other five have the Kizuna System within them, making them…KIZNAIVERS.

The combo of Trigger and Okada Mari is an auspicious one, it’s fun to hear Boom Boom Satellites score an OP again (their OP in Xam’d is still one of my favorites), and the cast is stacked with talent.

Brisk, funky,stylish, and full of beautiful lighting, settings, and animations, Kiznaiver is a top Spring pick out of the gate, and may well bump a couple shows off my list going forward.

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Ushio to Tora – 20

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Events get extraordinarily heavy in this week’s UtT, with Hakumen massacring men, women, and children indiscriminately, and Ushio rendered helpless before the monster’s fearful visage. Even Tora’s fire is little more than the inconsequential buzzing of a harmless bug in Hakumen’s ear. Thanks to Ushio, Jeimei and Kiryou are still alive, but both have been transformed by their traumatic experience and the loss of their mother and father.

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The way things shake out is even darker: Kiryou knows that human sacrifice is a way of forging a sword strong enough to fight Hakumen, but he dare not suggest it outright, because Jeimei is the only family he has left. Yet it’s Jeimei who offers herself to the flames of the forge, over the desperate protests of her brother and Ushio. Her rationale is that if her sacrifice can lead to Hakumen’s defeat, it’s all worth it.

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Despair eventually turns to hope, as Jeimei and Kiryou become the blade and shaft of what becomes the Beast Spear, imbued with the strength and power to oppose Hakumen no Mono. Jeimei returns to Ushio and Tora in spectral form to complete her saga: she reincarnated as Yuki, found that Hakumen had inserted himself between the pillars that held Japan up against the very sea, and the task of holding Hakumen in place fell from Yuki to Mikado, and finally, to Sumako, who was only freed of her task deep under the ocean for two years, during which time she gave birth to Ushio.

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By travelling back in time, Ushio experienced a kind of causal loop: the reason the Beast Spear chose him is because it contains the souls of Jeimei and Kiryou, who sacrificed themselves with the hope that “Tsung Yue” or Ushio would use the spear they became to one day rid the world of Hakumen no Mono.

His actions in the distant past led to his very conception. And he also learns his name refers to the unyielding, steadfast ocean that bends to no one where his mother dwelt and dwells still. Now Ushio heads home to think over how to go about fulfilling his destiny, which he himself set into motion.

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