Boogiepop wa Warawanai – 09 – The Tower

All quotes are from Biddy Tarot.

The Tower shows a tall tower perched on the top of a rocky mountain. Lightning strikes set the building alight, and two people leap from the windows, head first and arms outstretched. It is a scene of chaos and destruction.

The Tower itself is a solid structure, but because it has been built on shaky foundations, it only takes one bolt of lightning to bring it down. It represents ambitions and goals made on false premises.

When Masaki visits Aya’s flat, he quickly finds evidence that she was up to all kinds of strange, and when Aya answers, she’s reluctant to involve him any further than he is. After all, she’s been using and betraying him all this time. Their relationship was built on lies, so it’s only natural for it to crumble now.

Except that Masaki doesn’t care what Aya says she’s done to him. He cherishes the time they spent together, and he fell in love with her. So no matter how shaky she insists the foundation of his love may be, he’s still willing to take a leap of faith for her. He won’t give up on her, even after she’s given up on herself.

The lightning represents a sudden surge of energy and insight that leads to a break-through or revelation.

It enters via the top of the building and knocks off the crown, symbolising energy flowing down from the Universe, through the crown chakra.

Desperate to solve—and witness the resolution of—the case of the Imaginator, Suema speaks with Kotoe, who tells her where she was when Spooky E first brainwashed her: the abandoned Paisley Park, with its tower called The Ladder. It’s the tower Masaki sees a plane fly over—a plane he can hear on Aya’s end during their call.

Thus both Masaki and Suema head towards this Tower: a symbol of change, upheaval, chaos, revelation, and awakening. Atop that tower, Jin/Imaginator seek to bring about all of those things by tearing out Aya’s heart a creating a seed that will take root in the hearts of everyone in the city, bringing them under Imaginator’s control. From there, the seed will spread across Japan and eventually, the rest of the world.

The people are desperate to escape from the burning building, not knowing what awaits them as they fall.

Around them are 22 flames, representing the 12 signs of the zodiac and 10 points of the Tree of Life, suggesting that even in times of disaster, there is always divine intervention.

Masaki gets a head start to Paisley Park by borrowing Nagi’s motorcycle, but he’s met by Jin’s army of “thralls”, all of them protected by the thick padding of mascot costumes. Just as he’s about to be injected with nothing good, the real Boogiepop suddenly comes to the fake Boogiepop’s aid.

After dispatching the thralls, Boogiepop blares some Wagner on the park’s loudspeakers while she explains to Masaki that all his fear had been brainwashed away by Spooky E. This leads him to question whether his feelings for Aya were genuine or a product of his brainwashing.

Boogiepop puts the question to him: how does he know when, if ever, he’s exercised his true free will? After all, isn’t the process of adapting oneself to society its own kind of brainwashing? In the context of not having freedom one way or another, her next question is: what does he value most?

Thankfully, the Tower doesn’t always associate with pain and turmoil. If you are highly aware and in tune with your inner guidance system, then this Tarot card can indicate a spiritual awakening or revelation.

You may be able to see the cracks forming and take action before the whole structure comes tumbling down.

Boogiepop leaves Masaki and reappears atop the tower, where Jin is poised to sacrifice an Aya seemingly resigned to this fate. When he looks into her heart and finds nothing, Jin panics; this is someone he can’t manipulate. Yet after a brief interlude with a gun, she assures him he can do what he was planning to do and she won’t stop him.

When Jin attempts to tear out Aya’s heart, his hand goes right through the rose. Aya laments that she expected such a thing to happen, because Jin needed a human sacrifice, and she’s not a real human. Boogiepop revels in the fact that even had she not intervened, Imaginator had already lost by choosing Aya. By only looking towards a new future under her control,  Imaginator chose “shaky foundations” to build her tower, and now it’s crumbling.

You may create a massive transformation before you reach the point where change is your only option.

In its most positive form, the Tower card is your opportunity to break free from the old ways of thinking that have been holding you back.

Imaginator separates herself from Jin, who leaps out of the tower in the process. But like the divine intervention suggested in the Tower Card, Boogiepop arrests his fall before he dies. Without Imaginator, Asukai Jin is no enemy of Boogiepop’s, and Boogiepop doesn’t take lives without purpose.

She tells Aya that even if Imaginator had succeeded in changing everyone’s hearts and removing the pain, that change would only be temporary, and eventually fade away. Imaginator and Jin alike were missing a very important fact about the hearts they saw: that they can change without their help; and grow through communication with others. Boogiepop also assures Aya there’s something deep in her heart that would have protected her from tampering.

Be it real or synthetic, a different kind of seed has taken root in her heart; that of love for Masaki. It’s a seed that’s replicated in his own heart, and survived all emotional attacks against it. Before disappearing into the either, Imaginator salutes the half-paralyzed Masaki and the love in his and AYa’s hearts, which neither she nor Jin could manage to break through.

Suema, disappointed she arrived too late to have any significant role in the resolution of the case, is asked by a departing Boogiepop to go up the tower and bring Aya down so she can be with Masaki, whose head is again in Aya’s lap when he comes to, while Nagi is by their side, glad he’s okay.

Aya and Masaki built a stronger structure than they thought, and it holds together even after those of Spooky E, Towa, Asukai Jin, and Imaginator have crumbled to dust…all with nothing more than a little help from that plucky reaper, Boogiepop. Suema takes comfort in knowing some like that really is out there.

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Boogiepop wa Warawanai – 08 – What Friends Are For

This week all the disparate parties involved in this arc begin to confront and communicate with one another, starting with Suema meeting Jin. She watches one of the girls Jin “initiated” walk by while engaged in a phone call, and decides she can’t let this go on. She wants answers. Boogiepop momentarily speaks through Touka offering help, but Suema insists she’s got this.

In the case of Imaginator, I consider it fine for Suema to ask for any help offered; she’s quite out of her depth here. While Jin is initially taken aback by how much she’s been able to figure out for herself, he manages to successfully gaslight her, and even if she doesn’t walk away a convert, it remains to be seen if his plan-reveal-couched-in-artistic-rhetoric proves useful to her solving the case.

Then again, maybe I’m underestimating Suema just as Jin is, or just as Spooky-KotoE underestimates Masaki when he realizes he’s being followed by six or more people. He heads underground to confront them, and uses a nice bit of misdirection to catch KotoE’s goons off-guard (Towa should invest in less disposable goons) and put KotoE herself on her back.

The only problem is, she won’t talk, he can’t really make her talk, and if he kills her he’ll be branded a murderer. Like Suema, Masaki seems doomed to be disappointed in his efforts to crack the case. He’s only caught a pawn, just as Jin can shrug off everything he told Suema as messing around.

When Nagi suddenly shows up to keep his half-brother in check, he slips away, and KotoE reveals she was keeping some goons in reserve. But these goons aren’t any match for Nagi’s skills any more than the first wave were to Masaki’s. She makes quick work of them, including KotoE’s attempts to attack her with a butterfly knife, but isn’t interested in getting any information from her. Her focus is probably catching up to her brother.

When KotoE wakes up, she’s still in her brainwashed mode, but Jin appears and manages to snap her out of it by reaching into her soul and taking note of the missing blooms on her rose (much like Suema’s problem). But while he’s always known of Kotoe’s feelings and yearning, she was mistaken in thinking her sadness mirrored his own; he’s never been able to feel sadness; only despair.

Jin also laments he can’t save her, but will change the world to a place where no one has to feel like she feels ever again. With Spooky E’s brainwashing undone, Kotoe breaks down, but engenders no more sympathy from Jin than a stranger, which is a devastating sight to see. Then Jin moves on to Spooky E’s command center atop the amusement park tower, apparently led there by the part of Spooky that copied his will into Kotoe in the first place.

Jin introduces himself as Imaginator, the one Spooky and Towa have been looking for, but calmly warns Spooky that they’re on completely different levels. They may possess similar brainwashing abilities, but while Spooky basically mind-rapes people by shoving information into their brains, Jin’s is far more…therapeutic? Horticultural? Since he can see everyone’s plant—even Spooky’s—he can control them as he sees fit, adding or removing parts with Imaginator’s help.

Rather than stuff info in the brain, he finds what is lacking, and offers whatever a person desperately desires: to be whole. The result of this: Imaginator will “normalize the psyche” of the human race, eliminating all emotional want and yearning. There are a LOT of problems with such a world, so it goes without saying Imaginator can’t get away with this.

But Spooky E can’t do shit about it; Jin removes his aggression in the blink of an eye, intending to use him to take over Towa, in order to expand his reach and accelerate his plans. While unable to attack Jin, Spooky E decides it better to attack and kill himself, so at least he won’t be the conduit through which the enemy takes control of Towa.

Jin, however, doesn’t believe in enemies, except as parties who exist to be turned into allies with the right manipulation. His plan to use Spooky E as an ally thus backfired, he discovers Orihata tied up in that same location. She begs for help, but Jin isn’t there to save her. He’s there to use her as a sacrifice; the kind that will propel his dreams forward and make them a reality for the next generation.

Poor Orihata: poised to become a tool for Imaginator immediately after Spooky E and Towa did the same. Is there any saving her or Kotoe, and are Suema and Masaki up to the task?

Boogiepop wa Warawanai – 07 – Great Kid! Don’t Get Cocky

Aya and Masaki have begun running a little act where she serves as bait against drug dealers while he swoops in as Boogiepop and takes them out. It’s worked so far, and Masaki is happy they’re keeping hundreds of people from being hurt or destroyed by the drugs they steal. You even get the sense that Aya’s taking a shine to Masaki, since she seems hesitant when Spooky E orders her to cut off ties with him pending new orders.

Meanwhile, Spooky E is trying to get his hands on Imaginator, and finds an in in Kinukawa Kotoe. We get a little backstory about how she’s known Jin since she was five and fell in love at first sight. Unfortunately, Spooky E gets a hold of her, and doesn’t turn her into a terminal, but copies himself into her body, so he can more easily gather information from a local bar.

Using cash from the vast Kinukata coffers to bribe someone in the know, Spooky KotoE learns that Imaginator can control peoples’ minds and turn former allies against one another, in addition to sending them flying without touching them.

The next day Masaki finds KotoE with Aya, and she knows about their Boogiepop charade. Spooky tells Aya, a synthetic human who has been trying for some time to crossbreed with normal ones, to try crossbreeding with Masaki before they “cut him loose.” But Masaki doesn’t want to stop the Boogiepop act; he wants to do it alone, without exposing Aya to danger.

Of course, Aya’s already in a heap of danger, as is he; Spooky E switches up the plans once again; he’ll let Masaki go off and keep being Boogiepop, right up until he ends up a corpse in an alley. Aya wants to go after Masaki to help him, but Spooky E disables her, informing her that Towa and Axis have abandoned her. As far as he’s concerned she’s a tool he no longer needs.

As for Masaki, everyone may think he’s stupid, a moron, or according to Nagi, in danger of getting too cocky, something clicks about what Jin said to him about Aya not being as calm as she seems. To properly protect her, he’ll need to learn more about what’s going on…a lot more.

This week didn’t close the Imaginator arc, but by eschewing Touka/Boogiepop, Jin, and Anou Shinjirou, it felt a bit more focused and grounded than last week, while still propelling the story. I don’t know if the classic shounen hero in Masaki will be able to prevail, but I’m pretty sure it will involve the real Boogiepop at some point.

Boogiepop wa Warawanai – 06 – Protecting Unstable Hearts

For whatever reason Orihata Aya, AKA “Camille”, is beholden to the Towa Organization’s Spooky E, and he treats her like a disposable tool, urging her to hurry up and sleep with Anou Shinjirou, as well as gather clues that will lead to finding Boogiepop. Already, we see that “Camille” is bound in chains of fear, deference, and servitude. Who will break her chains, and is that even what she wants?

At least in this instance, Masaki intervenes, “saving” Aya from Spooky, who assumes the kid is an enemy of Towa when he’s just good at martial arts. Spooky shocks Masaki unconscious, and when he comes to he doesn’t remember his assailant. She apologizes, but Masaki likes her, and wants to do anything he can for her. So she asks him if he knows anything about Boogiepop.

Back at Shinyou Academy, Asukai Jin’s cousin Kinukawa Kotoe reaches out to Suema Kazuko, the school’s resident researcher of weird tings, regarding Jin’s odd and suspicious behavior of late. Suema promises to look into it, and before you know it, she’s hiding in a classroom into which Jin invites two girls, who promptly remove their tops and undergo some kind of magical ritual.

When it’s over, they feel like all the weight of their lives has been lifted and that they can do anything…for Jin. This is how Jin and Imaginator are taking over the world: one schoolgirl—one fragile adolescent mind—at a time. At some point someone’s going to have to stop them, but I imaging Boogiepop will again only play a supporting role. Suema, for her part, has always longed to “take on the darkness [her]self.”

In an auspicious crossing of paths, Suema encounters Anou as she’s talking with Niitoki Kei. Kei has kept her distance from Suema’s friend Touka (and vice versa), but not just because Touka’s guy rejected her, but because she knows Touka’s “other side.” Anou still seems pretty out of it, unable to remember what he’s doing at the academy while feeling like something important is missing.

Scenes of Aya talking to Masaki are intercut with scenes of Suema finding Aya on the roof, ready to die. Aya wants death to free others from her, not to free herself from Spooky E and Towa. Her self seems to the least important thing to her, whether that self has been tampered with by supernatural forces, or if it was always in a troubled, fragile, easily manipulated state…as most kids entering adulthood after all.

Both Aya and Masaki have initially believed the rumors going around that Boogiepop is a reaper that takes the lives of girls at the peak of their beauty so they’ll never become ugly, but Suema corrects her: Boogiepop is there to lend the helping hand to fragile young hearts that adults won’t provide, as adults they feel adolescence is just a phase everyone goes through, and will pass.

The reality is that sometimes it doesn’t pass, and you either get kids who kill themselves rather than continue suffering, or try to make others suffer as a salve to their own. In that regard, Boogiepop is there to protect them from themselves as much as those forces that would hurt or use them.

Rather than Boogiepop, the one doing the reaping here, or rather gardening, is Jin/Imaginator, as we see him “convert” more and more willing and in some cases eager young women to “their side.” The fact that this is visualized as Jin tending the roses so that they have roots, stems, leaves, and blooms – the height of their beauty.

Their hearts may thus be said to be complete and at peace, but they’re paying for it with their free will. It’s swapping one set of chains for another. I for one hope Suema, no doubt with help from Boogiepop (and others), can manage to shine a light on that darkness.

So…everything’s starting to make a little more sense, but this still felt like yet more setup, and with so many characters shuffling around, it’s hard to find firm ground on which to plant my feet and actually care about anything consistently.

Hopefully, as with previous mini-arcs, the payoff will be satisfying enough to make it worth all the setup. This seems like a show in which the destination is better than the journeys, or at least in which the destinations must be known before the journeys can be fully understood or appreciated.

Ikoku Meiro no Croisée 9

Part II of “Hangin’ With the Blanches.” Yune has tea ceremony with Alice while Claude reminisces about his past with Camille. The two were good friends despite the difference in status, but whenever Claude wanted to take her out to explore the city, she’d refuse and get all huffy. It turns out her family only let her hang out with him if she didn’t leave the house. That, combined with the fact they’d never be able to marry, makes for uneasiness on both sides in the present.

I didn’t really get the last couple episodes. Sure Yune has fun with Alice, but Claude has just sitting in a dark room for two episodes, and nothing was ever resolved between him and Camille. True enough, it may never be resolved, but his flashbacks with her felt repetitive. We get it; she’s rich, he’s not-so-rich; it could never be. But she still wanted to be friends with him, and I guess it didn’t turn out that way? What of it? What does that have to do with crossroads in a foreign labyrinth?

Camille is more interesting than Alice, but I fear we’ve seen too much of her. At the end of the day she’s just an angsty aristocrat who tacitly complains about her “plight” while doing absolutely nothing to change it. She’s been stuck in a stuffy mansion her whole life and hasn’t experienced anything new or real. She just pouts like a Persian cat. Bring Yune back into the spotlight. She’s everything Camille isn’t.


Rating: 3

Ikoku Meiro no Croisée 8

Yune and Claude stop by the Blanche residence, and Alice takes Yune by the hand and wisks her off. If it was ever in doubt, this episode confirmed that she sees Yune not so much as a human friend, but as a doll-like ideal of a childhood dream she had. It’s pretty odd that this girl made up a story about meeting a Japanese girl, then meeting her by chance years later. Is she an oracle?

In all seriousness though, while she and Yune chatter away about folk tales and rice balls, Claude is just standing around waiting, when he’s cornered by Camille. From a flashback and her general behavior around him, she had an unrequited love for him. The cold way they interact here confirms that they share some complex feelings, not all good. Camille resents her role as a family bargaining chip – she won’t be marrying for love – but she’s resigned to that life.


Rating: 3.5

Ikoku Meiro no Croisée 6

Croisée VI: The Return of Alice. Alice is not the most annoying character I’ve known – not by a long shot – but she is edging towards most annoying of the season, and isn’t helped by the fact there’s a much better, more tolerable Alice doing duty on the S.S. Kamisama no Memo-cho. This one treats Yune like a doll with no free will to play dress-up with and have photos taken for her facebook (which, in these days, was just a book.)

Still, despite the fact Alice has a lot of screentime this week, it was still an enjoyable episode, with Yune learning the tribulations and sheer lunacy of Western aristocratic garb. She likens the carilion, for example, to a birdcage, which it is to an extent, as it limits the movement of birds (ladies). Alice is  just as astonished by how expertly Yune folds initially massive kimonos into the neat, compact outfits she wears daily.

It’s a shame though that Alice’s older sister Camille didn’t have more to say or do, she struck me as immediately more interesting than the tiringly hyper Alice. She looks very much the caged bird, extremely well-bred and well-trained, but there’s always a little melancholy in her face and few words, and when she looks at the corsetless Yune – whose future can be whatever she wants – she almost seems a little envious.


Rating: 3