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.

Little Witch Academia – 15

The Gist: Professor Croix’s villainy is finally revealed, as is Akko’s destiny. This is in large part because Akko is lured to Croix’s lab and experimented on in her sleep, in the name of learning more about Chariot (and Shiny Rod). All of this leads to a magic battle with Ursula, which results in an anticlimactic stand off, despite some impressive effects leading up to it.

Having no time to waste, Ursula lays out the history of the great tree, of which only the leylines remain, and the importance of the 7 words, and that Akko’s spirit has been reviving them. She literally walks Akko through the memories of waking these words, which fills Akko with purpose and joy.

However, for whatever reason, she does not reveal that she is Chariot, nor does she warn Akko of Croix’s motives…

The good bits stuck close to Ursula this week. While the resulting face off with Croix was anti-climactic and unnecessary, Ursula’s battle up the steps of the new moon tower was nicely animated and gave us a great look at the powers of a competent witch. It was also nicely foreshadowed, as Akko walked past the dangerous looking archer statues and creepy decorations.

Ursula’s motherly explanation to Akko about the words was full of great feels too. While I don’t think a secret mother-daughter plot will be revealed, the filial love and pride was all there, and it was delivered with respectable subtlety.

As interesting side notes, there’s division amongst the students over Croix. While some students carry their tablets openly (reading ongoing stories about the shooting star no less) others like Amanda don’t see the point. If magic and science are the same thing, what is the value of magic in the first place?

Meanwhile, Diana Is starting to figure out Ursula is more than meets the eye. I suspect she will reveal the identity to Akko, which will pose a short term betrayal twist for Akko/Croix vs Ursula, before Akko x Diana join forces to save the day… but I suspect that’s many episodes off yet. (Diana is still looking for Ursula in the old Luna Nova year books)

The Verdict: Unfortunately, Little Witch Academia remains a not especially well constructed narrative. This is most obvious in the show’s use of repetition of scenes, which feel like a mix of filler and a lack of confidence in the audience to get (or even remember) what was important in previous episodes. Given the sluggish pacing and lack of focus, that lack of faith may even be deserved, but it feels no less like a cop out.

Take Croix as an example of LWA’s clunky structure. Not only is Croix not foreshadowed or built up in the first 13 episodes, but Croix herself claims to have been secretly observing Akko all this time. This makes her appearance as an antagonist feel rushed and tacked on and that lack of build up robbed the first season of purpose.

Compare this to the bizarre choice to keep Shooting Star as a recurring element that will, no doubt, play a roll in Akko’s eventual success — or compare it to Diana being in the crowd behind Akko at Chariot’s show during their childhoods’ — and you just have to wonder why Croix didn’t receive the same treatment? For goodness sakes, Andrew has had more build up than Croix, and he remains without any relevant narrative purpose…

In the end, the heart and rendering style carry LWA just above a 7, but not by much. I may go so far as say it’s the most disappointing show I’ve reviewed in a while, and the most disappointing I would still recommend you view.

Little Witch Academia – 14

The Gist: Luna Nova’s faeries form a workers union and go on strike. This is due to the very meager amount of life-giving magic energy shared with them by the school but the school cannot afford to give them more. Magic is fading from the world, after all.

An angry Akko attempts to break up the union but manages to be swayed by their argument. So much so that the faeries make her the union’s general secretary, which leads to a great scene where Akko shuts down Diana with chants of ‘Aristocrat.’ Also, the faeries seal off the philosopher’s stone, which shuts off everyone’s ability to cast magic.

Enter Professor Croix on a flying Roomba, who will teach modern magic and has begun integrating magic and technology, and is most definitely not secretly behind the strike, with her robots nor her need to get the school to buy into her research program. Her program, Sorcery Solution System, can fix the dwindling magic issues for everyone, and does, for now…

The Good: This week was full of clever details and subtle humor. From Croix’s flying roombas being the ‘evolution’ of brooms, to the headmistress’ “Oh my, what a textbook downward trend” response to a magic PowerPoint presentation, to the Shooting Star being featured on the back of Akko’s newspaper again, the world and the people in it all get a great deal of building up. (and it’s funny and charming to boot)

It’s also interesting to see parallels between Akko x Diana and Ursula x Croix, and to play with Akko being quite taken with Croix, and still unaware that Ursula is actually Chariot, the one witch Akko would align with most strongly in the world. (But may no longer, since Ursula has cocked up revealing the destiny plot for so long)

The Meh: The new opening credits sequence is clunky. It presents the Akko x Diana conflict and future Croix x Ursula conflict way too obviously, with little visual flair and forgettable music.

It’s also jarring to introduce a central villain in the second season of a show and, while that villain mirrors other themes established in the first season (magic’s inability to adapt to a technological era), it’s just so out of left field. (“Oh here’s the new teacher” is literally quipped by the headmistress.) More over, the ‘tragedy’ of Ursula not being able to tell Akko about her destiny comes off as hamfisted McShakespeare.

The Verdict: Little Witch Academia is the Anakin Skywalker of Anime. It’s the theoretical perfect storm of natural talent, it plugs into something we want to see more of (anything from Trigger) but the production around it is constructed with such a solid lack of common sense and competent story telling that you could often be excused for thinking you could write something better.

Will it go Darth Vader and kill all its younglings, or will it stay focused and never give me a reason to use a clunky Star Wars metaphor again? Only time will tell!

Little Witch Academia – 13

The Gist: The Samhain Festival is quickly approaching and Team Akko can not escape their fate as sacrifices to the sorrowful ghost Vajarois…and Sucy and Lotte can not escape the feeling that Akko’s plan to make that sacrifice more fun, is just a lot of wasted effort.

However, things begin to turn around when Diana’s lackeys Hannah and Barbara pull Akko aside and chew her out for the ‘trick’ she played on her. While making fun of Akko’s place in life, they go out of their way to throw shade at Lotte’s lack of presence and Sucy’s creepiness…while those two are within earshot in the hall. And why not? Team Akko isn’t anything but the laughable leftover losers in their eyes, and in the eyes of much the rest of the school.

The Samhain Festival gets underway and it becomes quickly apparent that the guest witches’ opinion of Luna Nova isn’t much better than Andrew’s muggle father’s. The traditional events largely bore them, or are done incorrectly like the bubbling pot that spits slime at them or the dancing flower that eats one of the girls casting the spell.

Curiously, the guest witches heap much of their criticism at the feet of Luna Nova’s Grand Mistress, Miranda Holbrooke. This struck me as a bit strange, only because Holbrooke has come off as stodgy as Professors’ Badcock and Finneran (At least, she had until Akko had raised her father from the dead a few episodes ago). Regardless, the visiting witches don’t give any examples of why Holbrooke’s management has been deficient, though she certainly lets Team Akko run with their tradition breaking idea—going so far as to restrain the other professors from interfering.

Speaking of Team Akko, with an energized Sucy and Lotte now by her side, Akko puts on a slapsticky ‘Sacrifice Show’ for Vajarois and the guest witches. While many of the laughs are at Akko, whose magic transformations teeter on the edge of failure, the crowd is laughing and, eventually, the trio manages to lift Vajarois’ curse in a fantastic display of light and pleasure.

The emotion of it all even reaches Diana, who can’t wrap her head around what she’s seeing, and who she’s seeing do it. More interestingly, she’s shocked to learn that Akko’s group isn’t even allowed to qualify for “Moonlit Witch,” because they broke the rules, in spite of creating a good and unexpected result appreciated by all in attendance, including the dissipating ghost herself…

Thankfully, winning “Moonlit Witch” was never really the point for Akko. As much as she said otherwise, all she wanted was to do some magic that other people thought was fun, and to do it with her friends.

Confronting traditions seems to be the major theme this week. That, and that witches are overly focused on magic without practical application, and don’t appreciate that practical application is needed in their world, and needed to justify them to the non-magical world.

Like Akko, Amanda, Jasminka and Constanze put on a great show of skill cleaning up after the failures of the traditional performances and, like Akko, that trio is payed no mind at all because of their place in life (magical janitors).

Even Diana’s masterful performance rings a bit hollow, as summoning a magic unicorn doesn’t serve a practical application in comparison. Diana hasn’t made that exact connection yet, but it will be interesting to see if she carries more respect for Akko and the others into future episodes. Because she was impressed, even just for the magic’s sake, this time around.

The Verdict: LWA has re-tightened it’s grip on my heart these past few weeks. Putting aside the lackluster episodes that weakened that grip mid-season, LWA knows how to charm with western style slapstick (Sucy’s casual pointing as Team Akko plummets to the ground is pure Bugs Bunny) and simple power of friendship themes.

The battle against tradition is an interesting focus as well. Consider how strange it is that Luna Nova has had the ability to lift Vajarois‘ curse for ages—right there on the shelf—but none of the witches have bothered to investigate, let alone try it out. Its little wonder that a baffoon like Akko is needed to shake up their world.

How this all plays into Chariot’s secret identity and the greater magic words plot, who knows? (I didn’t see Akko unlock another word this time out) Regardless, it moved the characters along, the world along, and was a hoot to watch throughout!

Little Witch Academia – 12

I’m pleased to report that this week’s LWA did not squander the goodwill earned in last week’s exemplary outing, as there is now a significant event at Luna Nova, the Samhain Festival, which will take us to the halfway point.

Akko knows that Chariot was named “Moonlit Witch” at her Samhain Festival, so naturally wants to pull off the same honor. She doesn’t accept the “sacrifice” duty she drew from lots, and her friends’ discouraging (if realistic) words only make her more mad, so she storms out of her dorm.

She happens upon an exchange between Committee Chairman Diana and some students who have collected some mirrors for their duty. The one Diana recommends is a “prankster” variety that, when Akko looks in it, gives her Diana’s form and voice.

Some decent comedy ensues, with every passerby asking Diana for help, including her two groupies, who Akko decides to pull a prank on by telling them they’re cursed, drawing on their faces, and leaving them in the courtyard all day and night. I’d say that’s harsh, but these girls have been asking for her wrath, and they get it here.

But thankfully, while masquerading as Diana, Akko learns a little bit more about her rival, specifically, that Diana doesn’t take her status and pedigree for granted. She works very very hard, and juggles many many responsibilities. She and Akko are also after the same thing: making the world a better place for magic again.

Akko-Diana is found out by the real Diana while trying in vain to cast a life-breathing spell on a giant statue of Jessica. Diana not only takes care of the statue, but returns Akko to her normal form. She also mentions that Akko skipped out on her meeting with her, Lotte and Sucy for her sacrifice duty.

Diana chastises Akko (and rightly so) for making big bold claims without anything to back it up, wanting to excel as a witch without putting in any of the necessary hard work, and pitching hissy-fits whenever she doesn’t immediately get her way. Akko’s only comeback is yet another big bold, baseless claim: that she and not Diana will be Moonlit Witch at Samhain.

But later, while reflecting on her own, Akko regrets those words and laments the reality: her chances of fulfilling her claim are pretty much zero, in the face of Diana’s talent, bloodline, and work ethic.

Chari-err…Ursula, who promised her mentor she’d aid Akko in the quest to revive the seven words, tells Akko what she thinks Chariot would do: only what she can do, and not compare herself to others.

When Ursula leaves her, the Shiny Rod lights up and directs Akko back to the Fountain of Polaris. This time, Akko asks it what only she can do, and she’s shown someone’s memory of talking to a younger Chariot as she’s practicing various amazing transformation magics.

But what strikes Akko about this memory, is how joyful Chariot seems as she’s performing her magic, and that it doesn’t at all look like she’s training to win the Moonlit Witch contest, but merely honing the magic that interests her; doing only what she can do. A light bulb goes off in Akko’s head: now she knows what only she can do…though she isn’t so kind as to tell us.

We’ll just have to find out what that is, and whether it helps her chances at Moonlit Witch, next week, when the Samhain Festival begins in earnest. We’ll also see if Akko manages to escape sacrifice duty.

Little Witch Academia – 11

Finally, finally LWA stops spinning its wheels with skeleton chases and fancy balls and throws us some juicy story meat, revealing the role Akko will play (or rather, is playing) in reversing the accelerating decline in magic throughout the world.

The reason Charior is so intent on helping Akko isn’t out of regard for her biggest fan: it’s because she believes Akko could be the witch to stem the tide of magical oblivion. Of course, Akko still doesn’t know Ursula is Chariot, and it stays that way, but Ursula still relays a very Chariotesque saying: “That which is dreamed cannot be grasped, but work towards it, day after day, and you will find it in your hands.” 

She’s telling Akko not to be so focused on the future and her ultimate dream—to become an amazing witch like Chariot—and instead focus on the extremely hard day-to-day work that’s needed just to become a competent witch. And Akko has been working harder, with Ursula giving her after-school lessons every day for a month.

By mentioning the blue moon, Ursula probably did not intend to send Akko digging through her trading cards, finding one that references a “blue moon apparition” in the bowels of Luna Nova—but that’s where Akko goes, when the moon is high, notably without Lotte and Sucy tagging along.

Akko’s journey deeper into the abyss is a return to the sense of awe and wonder I got from earlier LWA episodes. Watching Akko continue to move forward even in the midst of terrifying stone witches (and even a false Chariot trying to discourage her), earned her back some serious likability points in my book.

As she explores deep below the school, Diana searches the towering shelves of Luna Nova’s deep archive on her broom. The same blue moon that guides Akko also shows Diana the book related to the quest Akko doesn’t even know she’s already on: the unlocking of something called the Arcturus using seven words to unseal the “Grand Triskelion” that will “change the world.”

I can forgive Diana’s largely expository role because the archive is so cool-looking. As for the seven words, Akko unwittingly revived the first when she opened the portal to Luna Nova back in the first episode. This week she unwittingly reives the second.

She does so by rejecting the future the “blue moon apparition” offers to her, for the low, low price of, oh, her entire past, including memories of everyone she’s known, even Chariot, as well as all the mistakes she’s learned from.

She’d rather achieve that future on her own rather than taking a shortcut, and by saying the magic words that translate into Ursula’s words (about “that which is dreamed” being attained through day-to-day toil), she not only turns the Shiny Rod into an axe but uses it to free the apparition from the wood to reveal a beautiful otherworldly woman.

That woman is Woodward, the professor who inspired Chariot when she was a student at Luna Nova. Woodward was testing Akko, and for once, she passed: the second of seven words has been revived.

What happens when the remaining five words are revived? The Shiny Rod, AKA Claiomh Solais, will break the seal of Arcturus and release the Grand Triskelion, which will “change the world,” presumably for the better as far as witches and magic goes.

In a way, this episode felt like a seal had been broken, not only unveiling the overarching plot and indicating a clear path for Akko, but restoring the show’s wondrous atmosphere, was well as my faith in it going forward. For now, at least, my concerns have been nicely allayed.