Sing “Yesterday” for Me – 12 (Fin) – Life Goes On

Rou is his usual puerile self upon discovering Shinako with Rikuo (though you can’t really blame him!) and runs off in a tizzy, Shinako chases him down and tries to explain. She valued their relationship and was afraid of ruining it.

To his credit, Rou takes the high road, telling Shinako all that mattered was her happiness, and he was a “chump” for not noticing her feelings for Rikuo. Despite telling her “it will take time” for him to comes to terms with it but that he gets it now, Shinako assumes she’s just ruined everything with Rou forever.

The next time Shinako and Rikuo meet, its at a park bench, and as they analyze what they are to each other and how things went with Rou and Haru, the meeting gradually morphs into a more-or-less mutual breakup.

It’s only natural; things haven’t quite felt right because Rikuo hasn’t been able to properly tell her he loves her, but when he asks her simply “me or Rou”, she can’t help but summon much more emotion for Rou, who is family.

Rikuo owns up to becoming terrified of the happiness that suddenly rained down upon him when he found himself in a relationship with Shinako, but perhaps the reason it never felt 100% real for him is that…it wasn’t. He and Shinako had a natural distance from their long friendship that could not be closed, no matter what either party tried.

At the same time, Rikuo assures Shinako that Rou, who is still mostly a kid after all, will eventually come back around to talking with her. He just needs time to cool off, and as we saw, he already exhibited the self-consciousness to admit the mistakes he made. The two cordially shake hands, committing to maintaining what they know works: their friendship, and just like that, Shinako x Rikuo is dead.

Despite this breakup occurring in the last episode, there’s nothing rushed about it. After all, these three had been milling around for three months without the slightest romantic progression, which all confirmed that they’re not meant to be in that kind of relationship, however logical it might’ve seemed.

Meanwhile, Haru notes how little has actually changed in the world since what she felt was a categorical rejection by Rikuo, but still can’t help but wear a gloomy face as she fries vegetables, much to her mom’s dismay. It turns out she’s only taken some time off from Kyouko’s cafe and moved back in with her mom and stepdad. She spends the time away contemplating what love and happiness are to her, not

Rikuo ends up securing Haru’s address and bus route from Kyouko, and sets off to meet with and talk with her about what’s happened, if she’ll have her. During his long journey we get all of his naysaying inner thoughts in real time, negative and dismissive sentiments he must force his way through in order to take action.

He doesn’t like how things ended with Haru, and despite not knowing how she’ll react to seeing him again (or even if she’ll agree to do so), he’ll never forgive himself for not making he attempt, even if it makes him look selfish and foolish.

When he finally crosses paths with her (kudos to Kansuke for keeping her off the bus he just got off!) she’d been remembering when she met him and fell for him in middle school, assumes he’s just another vision, and proceeds to punch him. But when she realizes he’s real, she regrets the assault…but not too much.

All of Rikuo’s inner dialogue was a fight with himself over whether he should even be attempting to reconnect with Haru, which means when Haru is finally there in front of him, he has almost no plan for how to describe his feelings. He initially comes off as having only come to her because Shinako dumped him, but when he elaborates on the details Haru can sense it was more nuanced than that.

Rikuo comes out and says what we all know: he likes it when a woman is nice to him, and for a long time, he thought that was love…until he took the next step with Shinako and it didn’t work out. Then an “incomprehensible, bothersome chick” came along, and Rikuo didn’t realize until recently that love was staring at him all along from the opposite end of the konbini counter.

He thinks everything he thought about love and feelings up to now had been mistaken, but he knows one thing for sure: he thought Haru was cute, and that all of the time she was suddenly away from him, and all hemming and hawing on his way to seeing her, mean that he’s in love with her. It’s something he can come out and relatively easily say to her, while he could never say it about Shinako.

Seeing the shock, embarrassment, joy, and relief wash over Haru’s face is a season standout, as is her instinct to immediately embrace Rikuo and give him a kiss before he knows what hit him. Then she allots only 35 points to his confession and orders him to give another one. After three futile months and so much overthinking, I was astounded and delighted by how comparatively easily the distance between these two was closed!

A little time passes, and Rikuo and Haru prepare to go on their first official date together. Haru, always one to wear her heart on her sleeve, is clearly on cloud nine as she glides around the cafe where she returned to work. Meanwhile as Rou’s classmates celebrate him moving in to his own place, Shinako pays him a surprise visit.

This isn’t exactly how I thought things would end up between these four, but I can’t say I’m not satisfied. The events of this last episode, in hindsight, didn’t even feel at all like sudden twists, but a logical, necessary, and welcome corrective to the awkward confusion of previous alignments. It made me immediately giddy and excited for a Haru x Rikuo future. Not a bad trick for a show based on a 23-year-old manga!

For those asking “Wait, weren’t there going to be eighteen episodes, not just twelve?” Alas, that was an unfortunate miscommunication. Turns out the final six episodes are streaming-only shorts, so this is the final episode, with an anime-original ending. That’s obviously extremely disappointing as I was watching this show unfold as if it had six more eps to work with, but oh well…at least it ended on an upbeat note!

Chuubyou Gekihatsu Boy – 04 – A Tough Egg to Crack

As of this week, Mizuki is no longer the “new kid” nor the latest member of the Hero Club, thanks to the arrival of another transfer student, Mikuriya Futaba. She witnesses Yamato immediately assign a Power Ranger color to Futaba—green—and attempt to recruit him, but the aloof English word-spouting Futaba dismisses Noda’s blathering as “ridiculous.”

Futaba proves extremely popular to the girls, what with his guitar, his “avant-garde” drawing “skills”, and as demonstrated in cooking class, his culinary flair. When the class has thirty minutes to prepare an egg dish, the hero club members decide to make it a competition, which is ruined when Yamato’s weird ostrich egg cake goes flying into Futaba’s hot oil. Futaba and Rei put the resulting flame out the same way, and reveal that they are cousins.

Mizuki and Tomoki insist Yamato apologize, and Rei suggests he buy him his favorite pudding at a very specific sweets shop. This requires getting in line at the crack of dawn, but Yamato does that every morning to train, while Rei has to get up to make lunches for his many siblings. We later learn Tomoki timed his arrival at the bus stop for the specific bus wearing a vinyl wrap of his beloved Sora-chan.

The gambit works, as Futaba accepts the rare dessert and membership into the Hero Club, much to Mizuki’s bemusement. But it’s not so strange that Futaba would join, as he possesses his own personal variation on chuuni monologueing that sprang up every so often in the episode, as well as his insistance on being seen as a renaissance man.

As for Mizuki, it seems whether she originally wanted to be in the club or not, there’s no denying that she’s in it now. She’s no longer being nudged into situations, she’s right in the middle of things, even getting up at dawn for the jello run. The stigma of hanging around a bunch of weirdos is gradually wearing off.

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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Boku dake ga Inai Machi – 07

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As expected, shortly after Satoru is arrested he’s able to activate another revival (there wasn’t much he could have done in a jail cell), but despite knowing it was going to happen an infectious wave of relief still washed over me, just as it washed over Satoru upon realizing he was back in the museum with a very alive Kayo. This time he thinks out loud and means it, and starts responding to Kayo’s “Are you stupids” with “Yeah!”

This time Satoru is doing away with all pretense and restraint. If he’s suddenly acting strangely for a kid of his age to people around him, so be it. No matter what the consequences are for him, he won’t let Kayo die again…and he’s operating under the assumption this is his last revival, having already been given an unheard-of third chance.

As such, the relief soon washes away, replaced with the weight and suspense of everything he must accomplish in the next couple of days; a weight that never lets up.

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For a moment at school, I thought he was in trouble again, because I still can’t bring myself to fully trust Kenya, but again I was all but proven wrong for suspecting him of anything but the noblest of intentions. He’s simply a good enough friend to know when Satoru has completely changed.

When he asks Satoru “Who are you?”, Satoru gets to think out loud on purpose again: “A superhero.” He hopes to become one, anyway, but as far as Kenya’s concerned, he already is one, even if he doesn’t have the results yet.

I loved how Satoru’s plight is filtered through the prism of two kids talking about friends and heroes. It doesn’t feel like material that should be over the kids’ heads because we know Kenya isn’t your typical 10/11-year old, and Satoru is an adult.

Another tense scene was with Satoru at Yuuki’s place, where he probes Yuuki in preparation to give him an alibi, so that whatever happens, his life won’t be ruined by the events to come. What’s striking, and highly disturbing in its ambiguity, is Yuuki’s initial reaction to hearing that Kayo is in Satoru’s group of friends now.

This was the first time since siding with Satoru on Yuuki that I thought both of us might be being overly naive, and that Yuuki’s odd interest in Kayo could have been something going on for a while now.

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Regardless, Satoru takes Yuuki’s secondary reaction – one of joy – to mean he’s still good, so he proceeds to duck out on his birthday party to toss a rock through Yuuki’s dad’s window so that the cops will come, securing Yuuki’s alibi.

After that, Satoru spots Kayo’s mom, and seriously considers pushing her down a flight of steps to her death, but he’s stopped by Kenya, who has been following him. Kenya agreed to help him out, and he realizes he may have to get his hands dirty, but killing Kayo’s mom will only create new problems, and Satoru was too close to the situation to see that.

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From there, Satoru starts walking Kayo to her house as before, but this time, in another magical little back-and-forth, he announces his intent to “abduct” her, and she consents to let him. Satoru takes her to an abandoned bus hideout with a heater and blankets.

I understand the plan: simply keep Kayo out of the equation altogether; away from those who might kill her. But unless someone is with Kayo the entire time, it also looks like the perfect place to kill her where no one would notice. What makes it a great hideout also makes it a great grave.

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The first time she’s left alone, however, that doesn’t happen, allowing me to lower my guard just a little. She’s knitting away when Satoru calls on her, and they have a hot meal and fall asleep huddled together (something they’re embarrassed about upon being woken up by Kenya in the morning…they are kids, after all.)

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It worked for a day…but so did Satoru’s first plan. And that crushing weight I was talking about didn’t go away just because Satoru brought not just Kenya but Hiromi into the hideout. Kayo makes a neat little adjustment Satoru hadn’t though of: that she was the one who instigated all of this, thus absolving everyone involved of blame whatever may happen.

Rather than pick Satoru’s Joker, she takes an Ace to match her last card. She wins here, but the foreboding at this point is almost unbearable. I couldn’t help but wonder why the guy smirking under the umbrella in the present was so emotionally invested in Satoru’s downfall, or Yuuki’s bizarre reaction, or the ominous scenes of Yashiro noticing Kayo gone in class, then making a phone call in the faculty lounge.

It’s also just the seventh of twelve episodes, so it’s clearly not all smooth sailing form here. Sure enough, when an adult with a backpack pays a visit to the bus, not knocking the way Satoru would or saying a word, but just entering, Kayo under her blanket already looks like a body under a shroud, and the bus a cold, dark tomb.

Once again, the show mercilessly cuts to credits just before confirming that Kayo has in fact been lost to us once more. That leaves us simmering with a tiny shard of irrational hope for another week, knowing we know that hope is irrational, but not being able to let it go.

In reality, all I can realistically hope is that Satoru can engage revival and try again. Because if I put my heart aside and use my head, this isn’t going to go well for Kayo.

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Ushio to Tora – 12

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No Gate or Food Wars for Hannah tonight, as every other Summer show seems to want to take a week off at some point in its run, but at least I’ve got Ushio to Tora, which after this week has just one final episode until its second cour. And while there was a pretty good amount of action and fighting this week, there was also a lot of standing around talking and infodumping, indicating this was an episode to pause, take stock, and bring Ushio and Tora up to speed as to the youkai situation.

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And here is that situation: the youkai are pissed. They know who Ushio is, and more importantly whose son he is, and while we still don’t know a whole lot about what his mother has done (or continues to do), it’s enough to unite a whole mess of low-to-mid-level youkai into a marauding confederacy of sorts. If they can’t hurt his mom, they’ll sure as hell try to hurt him. Thing is, it doesn’t seem like they really can. They have the numbers, but like Tora, none of them can stand up against the power of the Beast Spear, which acts on its own to save Ushio when he’s bum-rushed.

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He gets away from the crowd and comes upon a swamp where a helpful kappa (who doesn’t share the youkais’ vendetta) heals his wounds and tells/sings him the story of Hakumen no Mono, a monster who wanted to do away with all other monsters and have all of humanity to itself to torment. Meanwhile, Tora is separated from Ushio and ends up getting the lowdown from his old youkai pal Hitotsuki, while the kamaitachi, now firm friends of Ushio, if not other humans, refuse to join the youkai lynch mob.

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It could well be that the power Ushio’s mom wields, and has apparently inherited as the lastest “tasked woman”, is a blight to youkai and a threat to the yin-yang balance of the universe. But this episode only goes so far in revealing who and what she really is, even to Ushio, who till the end thinks the welcoming committee is being a bit rough on him. But these are ancient monsters he’s dealing with, who have no qualms about hurting a woman who hurt them but can’t hurt her back by hurting her son.

As for Tora, Hitotsuki tells him he’s free to join in the hunt, but otherwise had better stay on the sidelines. Tora, for his part, seems to acknowledge he’s gone a bit soft, lacking the cruelty for humans he once possessed. He says he possesses Ushio so that he can one day kill and eat, but he has nothing to show for it, except an increasingly dull edge. I’d say he’s due for some kind of fresh betrayal of Ushio, but there’s the persistent issue of that Beast Spear, and the fear of 500 more years trapped in a cellar. So we’ll see which side he ends up on.

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Ushinawareta Mirai wo Motomete – 08

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Whoa…Déjà vu…sorta but not quite! After much foreshadowing and foreboding, we’ve returned (arrived?) at the day before Kaori’s tragic death-by-runaway bus, which is when the first episode started. The most noticable difference between this timeline and that one is, obviously, the presence of Yui. Everything seemingly reset when she showed up in Sou’s arms. Now we’ll see if her actions of the last six episodes paid off and if Kaori was saved this time.

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For the record, I must confess that I loved Suzumiya Haruhi’s infamous “Endless Eight” arc, partially because I love anything that involves time travel. Unlike E8, a lot of time has passed since the first time we saw these events, so while the settings and conversations and general timing of the days are familar, they’re not fresh in our mind, and in any case all the details are different; even little details like what Sou buys for lunch.

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A bigger difference is the influence Yui has had. While her primary mission seems to be protecting Kaori, that’s made more difficult by Kaori considering her competition. As the episodes have progressed, Yui has grown closer and closer to Sou, and Kaori doesn’t like it.

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But she couldn’t do anything about it until the day they see the stars, because that’s when she confessed to Sou in the last go-round. Unfortunately, something Yui can’t control is how the Sou of this time responds to Kaori’s confession, which stays exactly the same: he doesn’t give her a straight answer and Kaori gives him time.

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Even though a weight has been lifted from her shoulders, the fact she doesn’t have an answer from Sou keeps things awkward, and keeps it difficult for either Yui or Sou to stay close and keep an eye on her.

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It hardly helps matters when Kaori spots Yui talking animatedly with a blushing Sou while gazing into his eyes in the hall. Sure, they’re talking about Sou and her, but she can’t hear from that distance, and in any case she knows what she sees in Yui, because she sees it in the mirror everyday: love. Yui can’t hide it, and that plays heavily into the failure of her mission.

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Pissed off at the world, Kaori rebels a little, flaking out on Yui and going off to sing karaoke with classmates. Her conscience makes her eventually turn around and head back, but by then, Yui has gone after her. Then Kaori heads to the site of her previous death, and while again, the details are slightly different, things end the same way: very, very badly.

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When this happened in the first week, it was a bold play that elevated the show. So dark and morose and terrible was that hospital scene, that it’s no surprise it effected us just as much as it did last time, if not moreso. We were hoping, hoping Kaori’s mother wouldn’t collapse to the floor in grief this time. When she did, our hearts sank all over again.

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With that, we cut back to the lab where Yui floats in a glowing blue tube, and hear the voice of Sou call her name before the credits roll, and the questions come rushing up: was this the first time? The last time? Why Yui? How and when did she originally meet Sou? Will things reset again, or will we see more of this timeline? Can the future even be changed, or will the universe keep finding ways for Kaori to die on that day, having never gotten an answer from Sou?

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