The Rising of the Shield Hero S2 – 10 – The Rising of the Katana Hero

As Raph-chan is led to her cell in a giant snowy prison, she is worried that Naofumi-sama will be angry at her for staying behind, even though it wasn’t her fault. But she still vows not to die until she sees him again.

Fortunately, dying isn’t in the cards this week, as no sooner does she find herself in the very same cell as L’Arc, Therese, and Glass do the four escape the “Prison of Exhaustion”, thanks to Raph’s low-level but still effective illusion magic.

Once out, they head to Sikul, dress like locals (which is to say, like Japanese), and grind. Raph-chan fights, levels up, and eats, and starts to rapidly grow, as demi-humans tend to do.

We’re introduced to Glass’ softer side, not only when she thanks Raph for helping free her beloved Kizuna from the Infinite Labyrinth, but also helps tailor Raph’s clothes when she starts to grow out of them. These three may have fought her, Filo, and Naofumi in the past, but they’re not bad people.

Kazuki, on the other hand, most certainly is bad, and in a second-string, B-teamy kind of way, as he’s basically a Kyou wannabe. To that end, he intends to draw the Katana Vassal Weapon and become a legit Hero. Unfortunately for him, the sword has other ideas.

The weapon instead wills itself into the hands of Raphtalia, and proceeds to burn away her Slav-er…Servant Crest that has bonded her to Naofumi all this time. She separates from the others as she breaks into a run, pursued by police and other officials for “stealing” Kazuki’s katana.

Either fate or the sword itself lead Raphtalia to the Temple of the Katana Hero, where a kindly shrine maiden risrobes her and dresses her in a Hero’s Regalia. Then Kazuki and his aides show up, insisting that she return what is rightfully his and he’ll give her a painless death.

Raphtalia, who is now back to her full size and can feel the power of the Katana coursing through her, warns Kazuki many times to simply leave, but he doesn’t listen. He siccs two replicas of a holy white tiger at her, but she dispatches them with ease.

When Kazuki still insists on going toe-to-toe with her, she delivers a strike that will only kill him if he moves. This is it: it’s happening; Raphtalia is no longer Naofumi’s servant or his sword. As she revealed when she first attained the Katana and was on the run, she wants to stand by his side as more of an equal, and has gotten her wish.

That said, even after defeating Kazuki, one more giant white tiger prepares to pounce on her, and she’s used up a lot of her strength on the previous attacks, all of which she used for the first time. Her expression is one of wisful regret and resignation as she wishes she could see Naofumi one last time before she dies.

But she gets her wish again: Naofumi shields her from the tiger, Filo kicks it, and Kizuna finishes it off with her hunting blade. Just like that, the band is back together, complete with newcomer Kizuna. Like the escape from the Labyrinth and Filo’s rescue, it feels a little rushed and easy, but it’s also a credit to this more episodic arc that keep things moving at a good clip and outings have satisfying beginnings, middles and ends.

With the party reunited and the number of Heroes tripled, I’m hoping they can avoid Kyou’s traps and put the jerk in his place soon.

Vanitas no Carte – 21 – Jetez un Coup d’oeil sous la Peau

This week segues nicely from the parting reveal of Domi as the culprit in the latest vampire attacks to the heartbreakingly tragic past events involving her, Louis, and Noé, this time from her perspective. In the aftermath of the bloodbath that claimed both Mina and Louis, Domi weeps at Noé’s bedside, blaming herself for involving Noé in trying to save Mina. Her sister Veronica lives up to the family name, pretending she never had a brother, and revealing that Domi and Louis were twins.

Veronica further twists the blade by saying the twin chosen to live was made on a whim, and thus wonders whether the right (i.e. more useful) twin was spared. Noé comes to and mistakes Domi for Louis, inadvertently compounding her belief that everyone would’ve preferred if she had died instead of Louis. She cut off all her hair and started dressing like Louis, trying to be what everyone wanted. Seeing her in this sorry state, Noé vowed to protect her at all costs from the darkness of their past.

Unfortunately, that past has re-surfaced thanks to the cheerful and mysterious white-haired lad, who introduces himself as Mikhail when Domi is out searching for Jeanne (presumably while Jeanne and the others were in Gévaudan, though I may not be right about that). Mikhail seems uniquely suited to bring out the pain in others, and uses it to take control of Domi.

Noé receives a note from Mikhail and arrives at the grounds of this world’s 1889 Exposition Universelle after dark, and finds Mikhail in front of a carousel and Domi standing atop a Ferris Wheel—two machines invented to imbue their riders with fun and joy. A third machine: a metal dog automaton, guards Mikhail, and he whips out his version of Vanitas’ book. Mikhail says if anyone harms him, Domi will jump, and introduces himself as Vanitas’ little brother, AKA Number 71.

Mikhail is here for one thing: Vanitas’ memories. He used Domi as bait to bring Noé to him, and will now use Noé to drink Vanitas’ blood and thereby gain those memories, including learning why Vanitas killed “father that day”. That Vanitas killed his dad comes as a shock to Noé; Mikhail can tell and concludes that even after all this time Noé must not know a damn thing about Vanitas. That’s hard to argue: it could be everything Noé knows is simply what Vanitas wants him to know.

Mikhail remedies that by pulling his shirt down (revealing the same spreading blue  malady that affects Vanitas) and offering his own blood for Noé to drink, making it a demand when Noé hesitates. When Jeanne learns Domi hasn’t been seen in three days she rushes to find her, but by then Noé’s fangs are already in Mikhail.

We flash back to Mikhail’s past, when she was in custody after her mother, a prostitute was found dead. Mikhail’s mom presented him as a girl and offered him to her best customers. He runs into a badly-wounded but still chipper Roland, who tells Mikhail he has a new home from this day. Roland is called away by Olivier, and Mikhail is suddenly grabbed and chloroformed.

When he comes to, he finds himself before the Marquiss Machina, and a boy he calls “Number 69″—a young Vanitas. Thus begins Noé’s long-awaited journey into his best friend’s murky past…but will they still be friends when Noé returns from that god-forsaken place? I see now why last week was so pleasant and lighthearted—it was a momentary breather the torrent of sadistic dread dished out in spades by this episode…and it’s only the beginning.

Tokyo 24th Ward – 04 – There is Nobody Else

Last week’s tornado disaster was ambitious, but awkwardly executed and punctuated as it was by the introduction of Carneades, (AKA Goofy Anime Clown Villain #5,000,406), I didn’t feel the weight of those twelve deaths until here, when RGB are attending Kaba-sensei’s memorial service.

Shuuta blames their inability to properly work together to create a future whre no one got hurt, and now doubts his ability to be a hero to anyone, and thinks this is something to be left to someone else. Ran points out that there is no one else receiving calls from “Asumin”. They’re it. They can’t get discouraged—too many more lives are at stake.

Three months pass with neither a call from Asumi nor a message from Carneades, but there is an uptick in the distribution and use of a mysterious Drug rather unimaginatively called “Drug D”. This coincides with an impending deal with a foreign casino magnate (not Trump) to re-develop the 24th Ward’s near-lawless Shantytown.

While Kouki investigates from one side of the law with SARG, Ran, a Shantytown native, and his crew takes action from the other side, locating and neutralizing users and searching for the source of the drugs. It’s likely Ran & Co. suspect the drugs are being brought in specifically to facilitate the redevelopment venture at the cost of Shantytown’s culture and identity.

While Kouki and Ran are busy with the Drug D case, Shuuta stays on the sidelines baking bread, until one day at closing time Mari spots Kozue wandering off on her own and tells Shuuta to go after her. It’s here were we finally see how Kozue is doing, having lost her dad just when she was starting to get over Asumi’s death.

Kozue is standoffish with Shuu even as she calls him Shuu-ni-chan, even threatening to scream or report him as a stalker if he doesn’t buzz off. She also says he shouldn’t have saved her, which is just heartbreaking. But Shuu stays with her, because a big brother from another mother can’t let a young girl walk the mean streets of Shantytown all alone.

There’s every indication that Kozue is up to no good or, dealing with her pain by seeking dangerous situations due to her lack of regard for her safety illustrated by her comment Shuuta. But it turns out she’s on an errand of love, braving Shantytown to locate the latest tag from DoRed depicting a rocket powered “Kaba”, or hippo. Celebrating these tags is helping her work through her grief.

While Kozue and Shuuta are separated, she soon encounters Kunai, nominally part of DoRed, though someone Ran notes hasn’t shown up in a while. Kunai tells Kozue that Red from DoRed painted it, but he can’t divulge Red’s true identity any more than the people of Oz can know the real Wizard. Kunai also beleives there to be only two paths for those born in the Shantytown…a life of criminality, or a life of art like the one Red leads.

After Shuuta encounters Kouki apprehending a Drug D dealer, he bumps into Kouki, who sets his mind at rest by locating Kozue with his friend Kunai, then enlisting him to film him paint his latest Kaba tag. While he works, Ran reinforces Shuuta’s misgivings about turning the Shantytown into another surveillance district.

Kouki is all on board with such a transformation for the greater public good, but I’m glad Shuuta has another friend in Ran who can argue for the other side of the debate, which is that there are some fish who can only live in murky waters. The government and business interests are just looking for another way to tread upon the poor and disadvantaged by taking what little they have. There is certainly ugliness in Shantytown, but also beauty.

After Ran splits, Shuuta lingers by the new tag for a while, and eventually Kozue comes to him by seeking out said new tag. Her attitude towards him has softened now that she’s seen not one but two beautiful artistic tributes to her dad, and shows him the photos she’s taken of all the tags so far, though she wonders why Red is painting these when he knows the government will erase them by painting over them.

Shuuta counters that the art won’t be erased, because he’ll remember it, and the one who made it. Just like a loved one dying, a part of them will always remain in one’s memory and heart. She tells Kozue not to say things like she should have died in her dad’s place, and Kozue smiles and asks Shuuta to keep protecting her. He’s her hero, after all.

That would have been a lovely way to end the episode, but 24-ku demonstrates narrative efficiency by using the final few minutes to set up next week’s Trolly Dilemma. Carneade’s sigil appears in the skies over the ward and he hacks everyone’s TVs and phones, and shortly thereafter, RGB’s phones ring with “Asumi” on the other line. They were expecting her.

This time, it’s the cruise ship owned by the casino magnate that is the setting of the dilemma. A terrorist has rigged it with bombs. She offers two futures: kill the terrorist and save the ship and all the people aboard, or let the terrorist go and let everyone die? Shuuta and Kouki don’t understand…it doesn’t seem like that hard of a choice. But it is for Ran, because the terrorist they see in the vision—the one he’ll have to kill—is his friend and wayward ally: Kunai.

Just as Kunai is wrong about there only being two ways for someone from the Shantytown to live, Asumi is wrong about these being the only two outcomes. With what they see as a 1-and-1 record guiding the future so far, RGB will be extra-determined to manufacture a third outcome. The question is, will Shuuta, and more importantly Kouki, respect Ran’s desire not to kill Kunai?

Irina: The Vampire Cosmonaut – 10 – That Sweet Pain

Parting is sweet sorrow, but before that, Irina and Lev’s first and last official date is just plain sweet. Their usual bar is closed, so they go see a movie instead—one about traveling to the moon, natch. Her theater etiquette leads much to be desired, but as Lev learns during their night picnic under the aurora, her kholodets game is pretty solid.

When the time comes for what would normally be a gradual lean in for a kiss, Lev instead remembers the weakened Irina sucking his blood from his arm, and decides to bear his neck to her. She almost digs in, but for the sound of the approaching bus, so the two settle for a significantly less intimate but still sweet, and for Irina, tearful, hug.

Unfortunately, that’s the last we see of these two together this week, which makes the rest of the episode a bit of a drag and a downer. Much is made of Lev and Mikhail being the final two candidates for the first human spaceflight, but there’s no real reason to ever think it won’t be Lev. Still, the two are the subjects of a photo session in the capital of Sangrad to make it look like they live and have always lived there, for the benefit of the public.

As for Irina, she and Anya just happen to be in Not-Red Square when Irina spots Lev and rushes towards him, only to be stopped by suited security goons. Anya has ice creams slapped out of her hands and is scolded for letting Irina out of her sight. Turns out there is no “Design Bureau”, Irina continues to undergo tests and counts down the days down until the launch, when she suspects she’ll be of no further use and disposed of.

Little does she know the saucy Comrade-Secretary Ludmila Harlova does have plans for Irina as some kind of weapon, and besides that considers her too cute to eliminate. Since she’s essentially Gergiev’s right hand (and may be eyeing his job for all her talk of “revolution”), that means Irina will almost certainly live.

As for Lev, he is chosen to be the first human in space, basically because he’s less of an arrogant prick than Mikhail, which…sure, fine! He reunites with the Chief at the flight center, and names his capsule Aster, which in the language of flowers (in Zirnitra at least) represents hoping someone far away is safe.

Irina has to settle for seeing Lev as a constellation in the sky, or mistaking Anya for him. I (1.) hope she’s not slowly going mad and (2.) sincerely hope that she and Lev can meet again, because when the two of them aren’t sharing the screen together, everything—even the first human spaceflight—feels a little less special.

Attack on Titan – 62 – Looking Past the Hell

If you like Reiner Braun, you’ll love this episode. If you’re an anime-only watcher wondering where the hell Eren, Mikasa and Armin are, well…you’ll have to settle for flashback cameos for now. When Reiner saw the latest (and possibly last) generation of Titan candidates as his own candidate circle last week, that was a prelude to the episode we get this week, in which the story of his generation of candidates unfolds.

Reiner, Annie, Bertholdt, Pieck, and the Galliard brothers Marcel and Porco make up that previous generation. Back in the day, Reiner was extremely unsure of himself and his talents, much like Falco is in the present, and was bullied by Porco. Marcel kept his bro in check, but Annie is too busy smushing grasshoppers into goo to get involved in the scraps.

Unlike Falco, Reiner towed the company line without hesitation, and the Marleyan commanders valued his loyalty. To Reiner’s shock and Porco’s outrage, Reiner ends up inheriting the Armored Titan. He and the others (minus Porco) end up in a parade, which he leaves when he spots his Marleyan dad. Unfortunately, his dad wants nothing to do with him.

The new Titan Warriors are sent by Commander Magath to Paradis, and on their first night there, Reiner learns that Marcel set things up so Reiner would get the Armored Titan instead of his brother. Like Falco intends to do with Gabi, Marcel wanted to protect his brother and give him a longer life. That morning the group is ambushed by Ymir, but Marcel saves Reiner at the cost of his own life.

When Reiner stops running later that morning, Annie and Bertholdt eventually catch up with him, and he’s a blubbering wreck. Annie has no time for his cowardice and starts to beat the shit out of him, insisting that their new priority should be to retrieve the Jaw Titan and head home.

As she beats him, Annie says both Marleyans and Eldians are a bunch of lying bastards, so who gives a shit, but Reiner rises like a creepy zombie from behind her and puts her in a chokehold. He insists they continue the mission. If they tried to go home now, they’d be fed to their successors.

After this scuffle, we know what happens: Reiner, Bertholdt, and Annie attack Shiganshima as the events from Titan’s very first episode are repeated from the Titans’ POV.

The three mix with the district’s refugees and join the 104th Cadet Corps with Eren & Co. We know that story too. Fast forward five years, and Annie tracks down Kenny Ackerman, but is unable to get any info about the Founding Titan (i.e., Eren) from him, and he doesn’t buy that she’s his long-lost daughter.

Annie wants to head back to Marley, certain that the intel they’ve amassed these five years will be sufficient, but Reiner knows better: They don’t have the Founding Titan, which means their mission isn’t complete, which means they won’t be welcomed back.

As Reiner’s memories of his undercover mission on Paradis progress, we see watch present-day Reiner prepare to commit suicide by placing a rifle in his mouth. He only hesitates when he overhears Falco, probably the candidate most like him in his candidate days, discussing his problems with one of the wounded veterans at the hospital (who, judging from his black hair and green eyes, could…could be an older Eren in disguise).

Falco could be one of the last Titan warriors, and he needs all the help he can get from those who served before him. Reiner decides he won’t end his life today. His life might be hell right now, but he’s still able to look beyond that hell to, in this case, the hell that awaits Falco and his comrades. If he can stop them from reliving that hell, remaining alive will have been well worth it.

Itsudatte Bokura no Koi wa 10 cm Datta. – 03

Miou and Haruki had started to grow just a little bit closer to one another, but the sudden revelation that Haruki’s brother died saving Miou throws their intercept course, as it were, way off, until Miou is suddenly sprinting in the opposite direction.

Even when Saku tells Miou Chiaki was always frail but nevertheless risked himself to save others. Miou living a good life for his sake is “how it should be”, and Miou shouldn’t feel any shame for being the one who was saved.

But she does. She blames herself for Chiaki’s death, and doesn’t see how she can even face Haruki, let alone talk to him, let alone close that 10cm distance.

So Miou suddenly disappears from the center Haruki’s life. She doesn’t get near him or talk to him, and flakes out on the painting competition.

Haruki wonders if there’s anything he did or said to cause Miou to change like this; and he can’t come up with anything, which only increases his frustration. That frustration makes it difficult to focus on editing the film.

When he finally catches her on the rooftop at lunchtime, Miou attempts to retreat wordlessly. Haruki bars her way, and tells her she has to tell him what’s wrong or he won’t understand.

Since there’s no way Miou can tell Haruki what’s really wrong, all she says is that “she’s no good”, and he shouldn’t talk to her anymore.

Haruki’s friends are worried about Haruki, and can immediately tell he’s distracted from the quality of his work. Haruki is mad, because he’s helpless to discern what’s wrong with Miou. Without revealing him the secret he and Miou share about Chiaki, Saku only tells Haruki that Chiaki would have “done what he believed was right.”

All well and good…Haruki doesn’t know what to do! That night Haruki reminisces about how kind and loving his big bro was, and how strong and brave he was, never letting Haruki see him so much as frown, despite his body continuing to deteriorate.

Honestly, I feel for Miou. I don’t know how you’d comfortably broach the topic to Haruki of who saved her from drowning and what happened to that person. I guess you simply don’t do it comfortably. It’s not a pleasant thing to do, but it’s the truth, and I’m of the mind that truth has to come to light if there’s going to be any future for Miou and Haruki.

Both Miou’s secret, how she handled it, and the sudden notice that Haruki has won the chance to study in America, conspired to make this episode feeling very somber, even fatalistic. Here’s hoping next week will bring a ray of light to cut through the gloom, if only a bit.

Itsudatte Bokura no Koi wa 10 cm Datta. – 02

“Summer, Fireworks, Color of Love” is this week’s title, and it pretty succinctly sums up what we get. If you’ve heard of these themes in romance anime before well…you’re not alone! But what this show lacks in original themes, it makes up for in solid execution and attention to detail, and variety.

We get looks not just into the budding romance of Miou and Haruki, but see how close Yuu and Natsuki are without officially dating, as well as Souta’s attentions towards Akari. The plot of making one last film together, starring a character who is an art student in love, is pretty hoaky, but super-charming if you can switch off the cynicism.

In her desire for her art (and not Akari’s) to be chosen by Haruki, Miou puts undue pressure on painting the perfect canvas, and ends up unable to paint anything at all. Haruki seems to get a bit jealous when he overhears that Miou will soon meet the man who saved her from drowning.

But they largely set aside those issue when the six friends gather for a fireworks festival. Natsuki sets things up so Miou and Haruki are alone, while Souta’s in the right position to catch a stumbling Akari, breaking the ice. All three couples have great chemistry and it’s fun to watch them interact.

Everything seems to be ruined when Miou faints and she and Haruki end up with an obstructed view of the fireworks, but they find a platform to get a better view. Haruki tells Miou he’s looking forward to seeing what art she comes up with (adding to the already high pressure of that project).

When he awkwardly offers to grab something for them to eat, Miou bravely, finally closes the 10cm distance by grasping his shirt. The two come this close to kissing, but are lamely interrupted by a couple of yappy dogs. LAME, I say. At least they can laugh about it.

Then the next day the thing I knew was coming came: Miou learns the man who saved her life is dead. Not only that, he’s Haruki’s big brother, Chiaki. She goes home, and rather than paint what love looks like for Haruki, she defaces the painting of her memory of being saved, ashamed that he lost his life, and Haruki lost his brother, all for her sake.

Little Witch Academia – 21

While Akko is singularly invested in finding the remaining two words to release the Triskelion, she also learns that what she’d have regarded as a “selfish”, if successful, mission to bring Diana back has altered her relationship with her and her toadies, for the better.

Barbara and Hanna earnestly thank Akko for acting when they could not, while Diana expresses genuine concern for Akko in suggesting she heed Ursula’s warning. The power of that warning—to not go near the Wagandea tree to attempt to unlock a word, lest one get hit by toxic pollen that robs a witch of the ability to use magic or fly—is gradually whittled away by Arch-Meddler Croix.

Croix expertly manipulates the more-naive-than-most Akko, reinforcing Akko’s own assertion that Ursula’s an overprotective worrywart, while also planting a seed of doubt and suspicion regarding Ursula’s identity and intentions with Akko.

Croix also gives Akko a lift to Wagandea, hoping the pollen will take care of her latest rival to magical primacy. Years ago, she and Chariot went to the tree, with both expecting the Shiny Rod to choose her.

When it chose Chariot instead, it was a major hit to Croix, and her technologically-advanced career since has been one big attempt to overcome that rejection, as well as to stick it to Chariot.

When Ursula arrives to rescue Akko, Akko has fully gone to Croix’s side, and lets Croix “deal with” Ursula. Interestingly, Croix isn’t so evil that she wants Chariot to die in a fall, so she wakes Chariot up just in time so she can cushion her fall.

When Chariot shakes off her injuries (and Croix’s insistence she’s out of time) and goes after Akko once more, Croix doesn’t stop her; clearly she’d hoped for a cleaner operation, but since Chariot’s involved, she cuts her losses and withdraws.

Ursula catches Akko, who falls just as a cloud of magic-sapping pollen surrounds her menacingly. Overcome by shame for the things she said to Ursula, Akko takes it all back, apologizes, and says “thank you”, which she should have said a long time ago, but resonates more here, as it’s essentially the meaning of the sixth word, Lyonne, which Akko unlocks, leaving her at the same place Chariot was: with one word remaining.

Croix is unconcerned with her loss this week: she has been gathering all of the negative energy that all of the soccer fans of the world have been pouring into the popular, healing “Emotion Refresh” app she developed, and all that energy is going into a Gurren Lagann-style, giant mecha version of the Shiny Rod, presumably with the goal of releasing the Triskelion before Akko.

The social unrest being caused by football competition has been in the background for some time now, and it’s neat to see something that has a clear analog in the real world not only making an appearance in LWA, but serving as a key source of Croix’s power.

For all her megalomaniacal scheming, we definitely saw the affection for Chariot that still lingers in Croix’s heart. If Akko and Chariot are going to have a chance against her, part of their plan may involve tapping into that vestigial affection. But first thing’s first: Akko must get that seventh word.

Little Witch Academia – 20

Despite Akko’s protesting (with backup from Andrew) Diana insists she has no choice but to perform the ritual before the transit of Venus behind the moon is complete. She goes into the ritual chambers alone, but is immediately impeded in her mission by Aunt Daryl, who wraps her in one of her many giant magic snake familiars.

No matter how much logic he tosses at Akko, she knows it’s not right for Diana to be dropping out; she’s clearly putting her own dreams aside for the good of her family. When they eavesdrop on Daryl and her twin daughters talking about how she had no problem stopping Diana, Akko has all the moral capital she needs to break with sacred Cavendish custom and enter the sanctum to rescue her.

Andrew helps, convinced that Akko is right. He remembers how passionate Diana became years ago when talk flew around she wouldn’t be able to perform magic. We know the spark of inspiration was the twin pillars of her mother and Shiny Chariot. But to her credit, Akko keeps Andrew out of the sanctum: she’ll bring back Diana on her own…all the way back the academy.

Akko proves she can mostly take care of herself, using her patented partial-transformation magic in rapid-fire mode to lure the snakes away from Diana and stay one step ahead until she regains consciousness and saves her.

With Akko bitten and poisoned, Diana sacrifices her chance to complete the ritual by healing and staying with Akko, who wakes up, then scolds Diana for staying there with her instead of continuing on with the ritual. But this is just Diana being Diana: kind, caring, and healing, just like her mother and the centuries of Cavandishes who came before her.

It’s no coincidence their conversation is held in a facility borne of that family “affection”, a secret hospital where Diana’s ancestors used their considerable magical knowledge to heal the wounded from conflicts that plagued history, without regard to whose side they were on.

Diana’s confession of her lifelong dream (to protect and preserve her family’s and mother’s names and the home they left behind) moves Akko to assure her she can still achieve that dream, restoring her family and complete her education at Luna Nova, as long as she…you guessed it, believes in her heart.

In this manner, two Chariot superfans—one current, one lapsed—come together to realize her credo that a believing heart can make anything possible. To that end, traditional and modern powers mingle, and Diana realizes the fifth word is Akko’s for the taking.

Reciting it summons Chariot’s broom, which they ride together to reach the site where the ritual is to be completed…only to find Aunt Beryl and her daughters waiting to disrupt Diana once more.

For this latest act of treachery, Diana’s relations are punished not by her or Akko, but by the system itself, and are quickly encased in trees. As she did with Akko, Diana stays true to her family’s legacy again by putting judgement aside and helping others before herself.

By the time she’s saved Daryl and the twins, the Venusian eclipse is over, but Diana still gets a momentary nod of approval, so to speak, from her family’s founder, Lady Beatrix. She may not have quite completed the ritual, but it’s clear to all who will lead the Cavendish family’s future.

Until that time, Diana is free to return to Luna Nova, much to Akko’s delight. She also gives Akko a ride home on her broom, which is the perfect time for her to express her gratitude for what Akko did…softly, and only once. Still, Akko heard her, and after their shared experiences this week their bond has never been tighter.

After charming and fun but inconsequential episodes involving the B-characters, this Diana-focused two-parter was a welcome and worthwhile outing that brought two rivals closer together and brought Akko one word closer to potentially changing the world.

I also appreciated the bonhomie that’s gradually developed between Akko and Andrew (who will be back, at least to give Akko her hat back). While I would have preferred if Diana’s full fleshing-out arc had come sooner, it’s better late than never, and well worth the wait.

Little Witch Academia – 19

In a move that initially feels like she’s been underutilized in the show thus far, Diana makes the decision to drop out of Luna Nova Academy, effective immediately. The Cavendish family is in dire straits, she is the only one who can right the ship, and the window to assume the mantle of family leadership is closing, and won’t open again until the stars literally align years from now.

In true form, Akko either rejects whatever reasons Diana has or doesn’t bother to ask what they are: she’s only concerned with whether this is really what Diana wants. It’s clear Diana isn’t happy about leaving. But pride in her once-great family, and love and obligation to fulfill her now-deceased mother’s wishes outweighs her desire to stay in school.

Akko doesn’t make Diana’s departure any easier, so she throws Akko’s own main goal—the Words, and her inability to find them as quickly as she claimed she would—back in her face. There’s a nice meta nature to this: Akko has futzed around with Amanda and Cons but has yet to find the fifth, “history and tradition”-related Word.

There’s also the fact that Diana always thought she would be the one entrusted to the task of unsealing the words and opening the gate. But she ruefully accepts that Akko is the “chosen one”, and not her.

When Diana arrives at a huge but increasingly deteriorating Cavendish estate, we’re officially in Magic Falling Aristocrat Land, complete with Diana’s drunk aunt, Daryl. She and Diana exchange hollow pleasantries, barely bothering to hide their mutual disdain.

The sense is immediate that not only would Diana not have to deal with the collapse of her family before she finishes school, but that Daryl, the proxy head, has no desire whatsoever for Diana to come in and start mucking about the lifestyle she and her daughters cling to: sucking up what’s left of the Cavendish fortune and grinding its name into dust.

Naturally, Akko isn’t taking Diana’s goodbye lying down, and she’s clearly unconsciously drawn by the possibility the fifth word will lie in her interactions with Diana and her family. But whether it’s too slow, out of magical range, or the writers simply forgot, she doesn’t take the broom Cons made for her last week.

When she’s had her fill of travelling by foot, she thumbs a lift, and is reluctantly picked up by none other than Andrew and his father, who happen to be on their way to the Cavendish Manor. An initially tense, awkward backseat scene is lightened when Andrew refutes his father’s claim Akko “ruined” his party, while Akko tells Andrew the reason for their “fated” encounter: she’s going to bring Diana back.

Akko’s arrival with Andrew and his father certainly surprises Diana (Andrew’s line about finding her by the side of the road is at once cruel, hilarious, and true), but in this nest of vipers, it’s Diana who does what she can to keep Akko safe, claiming her as a guest (and as much a witch as she is), and getting her dolled up for dinner, after which she’ll go straight to bed and leave first thing in the morning. (Diana also hides her pried Shiny Chariot card from Akko…we know she was a big fan too!)

Akko holds her own in deflecting barbs from one of the few Cavendish maids left (her communist tendencies were well-documented from the faerie strike episode), but Akko also learns from the maid that Diana’s parents died when she was little, and she immediately feels guilty for all the awful things she’s said to her. Diana is also known within her family as being “kind” like her mother, in keeping with the Cavendish motto: “Affection.”

Akko also proves again that she cleans up nice, but her questionable dining etiquette earns her a simple wordless glare from Diana, one of my favorite moments of the episode.

The classiness and elegance of the evening starts to erode when Aunt Daryl reveals her reason for inviting the Hanbridges: she would like to sell them some prized, priceless Cavendish heirlooms, including the tapestry of Beatrix, one of the Nine Olde Witches who founded the family and was involved in the Grand Triskelion business.

It’s a very distasteful business, especially when Daryl all but begs a departing Hanbridge for money, offering a discount. This is what has become of the Cavendish family, other than Diana: a collection of people who have abandoned pride for greed. Daryl is only interested in maintaining her fancy quality of life, even though it’s unsustainable, considering there’s only a finite amount of Cavendish treasures she can monetize.

For her part, Daryl blames the sorry state of the family to her all-too-kind sister, Diana’s mother, and her insistence on helping others for free, as befits the Cavendish motto. But even if Daryl isn’t responsible for getting the family in this mess, she certainly has done nothing to get out of it.

That’s why Diana believes she must perform the ritual and become family head as soon as possible. Akko almost gets lost int he midst of this family drama, but there’s no way she won’t play a role in resolving it, no doubt unsealing a word and maybe even bringing Diana back to school in the process.

Little Witch Academia – 18

Miracle Magical Shining Tornado Punch!

The Gist: Constanze is the side character of choice this week and the setup is a popular ghost hunting event called Wild Hunt, which Croix has somehow gotten Constanze permission to participate in. Akko wouldn’t have any role to play at all, were it not for her ability to cause havoc (she destroys one of Constanze’s mech helpers) and her neurotic urge to ‘help’ (she feels righteously driven to make up for destroying the mech, no matter how much additional damage she causes and how many times Constanze chases her away)

There’s a lot of legacy Gianax/Trigger going on here, with TTGL-style mecha fights — pushing to the limit — as well as Space Patrol Luluco style anachronistic aesthetic blends. (Rocket Powered Pirate Ship) While these nods are executed very well, with all the tongue and cheek over the top delivery you would expect, they are transparent call backs to better series from the companies past, and that ultimately points out how not-glory-days LWA is itself at present.

As to Constanze herself… there isn’t a lick of dialog. Nor, really, is background provided. She’s this generation’s only technomage, but she doesn’t have a strong connection with Croix (they are never in the same scene together) and that tech/magic blending doesn’t even draw comment from the other students or teachers. That’s stuff we already knew of course and the only additions are the implication that she is a deeply unhappy girl, a loner, who’s parents took a family photo in front of a swedish tall ship once… yeah, not much there?

You could probably argue that Constanze experienced character development this week. Slowly accepting Akko, even seeing value in Akko’s silly mech-drawing, and ending on a smile… but who cares? Constanze has existed as little more than background art for seventeen episodes so far. Again, who cares?

So we have another generic Croix-villain plot, featuring another B-cast member tagging along with Akko, that ends with Croix closer to whatever her villainy is but Akko gaining another friend, which will probably be necessary to unlock the final word or words. No word was unlocked this week and nothing consequential about the plot was revealed to the characters. Sucy and Lotte aren’t even in the story, save some background elements. Diana isn’t in the episode at all.

So why do am giving this week a higher rating than last? For all its negatives, in a vacuum, this episode just had more charm — and a heck of a lot more creative visuals too. Yes, it was completely generic by Trigger’s elite standards but those standards provide powerful emotional anchors and excitement all the same.

The Verdict: as a series, LWA is profoundly ill constructed. Gradually introducing more classmates as part of Akko’s world is fine but giving them stand alone episodes in the last act of a second season is idiotic. Even more so when it cuts the main cast out of the story. (I guess Diana’s research into Ursula’s true identity is just gonna… wait a bit) Beating the villains doesn’t feel earned and the world-building-elements just come out of nowhere. (For a show so full of details, I kinda wish we’d had more build up for the wild hunt… or a pay off)

But as a self contained episode it was fun and, if it had happened 10 episodes ago, it would have done wonders to round out the classmates. That said, if the pattern holds, next week will feature the girl who’s always eating… and I can not imagine that being remotely as interesting.

Little Witch Academia – 17

The Gist: Shiny Rod indicates the 5th word is nearing but, before Professor Ursula can tell Akko much more than ‘it has to do with tradition’ she’s whisked away by school duties. So Akko and a very angsty Amanda O’neal head of to the Appleton Academy, which may be the hiding place of the Holy Grail. Hey, if the Holy Grail isn’t traditional enough, what would be?

Unfortunately, AA is an all boys school full of rich jerks that hate magic. Surprisingly, Amanda is able to pass for a while, but not before king of the jerks Louis Blackwell more or less becomes the main character of the episode. His father is chairman of the school and the Nation’s Minister of Defense but… its a very questionable decision to introduce another new character for an already bloated cast seventeen episodes in. Even less so when he’s just an assier version of Andrew…

Speaking of Andrew, he has a nice conversation with Akko which demonstrates how different their world views are. He is driven by duty and nearly only does things he is required to do, where she is driven by a sense of purpose and personal desire and almost never does what she is expected. The message clearly started to connect with Andrew, and was driven home even more when Akko wanders off before he finishes a tirade. (before he notices she’s left)

Eventually, Andrew has to intervene when Louis captures the girls. Being Andrew, his solution is to propose a formal duel, as is tradition at the academy. This goes well for Amanda twice and, as she’s saved Louise’ life by the end, she is free to go. Maybe the witches even gain a few young allies to boot!

The Verdict: LWA continues to do everything wrong but somehow be just charming enough to keep my attention. I appreciate that Akko doesn’t unlock a word this week but, in structure, the episode unfolds the same way it would have if that had been the case. It’s a weird throw-away module featuring mostly side characters and barely hinting at the core plot.

Amanda x Louis’ duel was nice enough (Amanda’s Chun’Li spinning kick was totally boss) but Amanda herself isn’t a terribly likable character and resolving that she will ultimately stay at school with Akko due to friendship solves a problem we didn’t have before this episode.

Sprinkel in a ton of unanimated panning shots, a very straight forward ‘Croix is still up to no good’ thread, and you have a big pile of meh?

Little Witch Academia – 16

The Gist: Team Akko visits Lotte’s family and immediately befalls an outrageously rare curse that slowly turns everyone into moss. (before eventual death) Without adult supervision, the Girls must band together and collect the ingredients for a cure. However, Akko quickly becomes the only one left and, not knowing the area or as much about magic as her friends, she struggles until the end.

But this is LWA we’re talking about. Akko learns patience and, coupled with her natural endurance, and Shiny Rod, she saves the day and unlocks another word! (MAYENAB DYSHEEBUDO)

This week gave us some great set pieces like the Yeti who’s self conscious due to internet bullying, the irritated reindeer who’s poop Akko must collect, and the general goofiness of the curse.

It also carried the usual Akko/Sucy/Lotte charm, with Sucy’s love of the Hapansilakka pies (and Akko’s hatred of it) playing for some good laughs.

However, episode 16 is absolutely rushed and it’s point about Akko needing to learn patience was too simplistic. The fact that we learn anger is the most efficient medium for magic to be absorbed by the villain’s robo/magic devices doesn’t really add anything. More so, because we see this from a disconnected viewer-point of view, and not through a revelation to our heroes.

If LWA was only 12 episodes long, I could forgive it, but that’s not the case. More importantly, many of the first 12 episodes felt rudderless and pointless diversions from the central plot.

The Verdict: From the moment Professor Ursula says the next word is something Akko lacks and really needs to learn, the entire point of the episode becomes groan-inducingly clear. It’s all delivered well enough, with plenty of quirky LWA details and nice animation, but there’s nothing creative under the surface.

Hopefully, Akko will learn the next few words through a more dramatic (or at least touching) process. Otherwise, the gains the show has made by establishing it’s long term focus will quickly fall apart.