Aho Girl – 04

Beneath the twin tails and great skin of Hanabatake Yoshiko lurks an eldritch abomination of idiocy, and woe betide the poor doomed souls all who enter her orbit, for they are irrevocably corrupted (except for A-kun, who merely has to endure her).

Among the condemned is Nozomi, whom the boys try in vain to keep from Yoshiko’s dumb clutches at a department store hero show. While horrendously idiotic, Yoshiko can appear or sound cool in isolated moments, so Nozomi’s descent continues.

Yoshiko’s corrosive idiocy also rubs off on a teacher at school who is simply trying to get her to understand the fundamentals of reading comprehension. But because, like all female educators in anime, their teacher is 28 and single, Yoshiko instinctively pulls on that thread of shame and loneliness, until by the end the teacher doubts everything she’s ever known…and begs A-kun of all people to “teach her about love.”

On the eve of A-kun’s birthday, Yoshiko plans to sneak into his room in the night to “find out what he wants.” She drags an unwilling Sayaka along, and the Fuuki Iinchou accompanies them because she wants a picture of A-kun sleeping.

The resulting antics between Yoshiko and Iinchou result in an ornery Ruri getting knocked out by an errant blow by Iinchou meant for Yoshiko, and everyone gets in trouble…not with A-kun, but with Sayaka, who wonder what the heck everyone is thinking.

There’s also a brief thread in which Kurosaki (Bleach reference?) repeatedly describes himself as one of “Sis’s soldiers”, before eventually becoming A-kun’s “tool”/”dog”…when all he wanted to be was his friend. The connecting thread with all of these stories? No good can come of associating with the likes of Yoshiko.

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Aho Girl – 03

It’s a jam-packed Aho Girl with another not one or two or three but four separate stories, starting with a different opening in which the Disciplinary Committee President (DCP) slowly pans into the shot from the right leering at A-kun, until Yoshiko slowly pans in from the left.

From there, Yoshiko’s mom meets Sayaka, and is immediately suspicious she’ll steal A-kun from her daughter (and by extension, her). Thus she uses two pairs of handcuffs (she normally uses on her husband) and tries to get Sayaka to show them her panties, which will determine what kind of girl she is.

When A-kun threatens violence on Yoshiko and her mom, Sayaka surrenders, and when she finally reveals her panties to the women, they’re so white and pure Mom tells A-kun he’s free to be friends with her: she’s no threat.

Part Deux is another “kids in the playground” segment, with Yoshiko wanting to play and the kids preferring if she just studies, since she needs to get a job at some point. I will never tire of their mature, pragmatic banter.

Then a big white dog shows up—a huge white dog—and Yoshiko protects the little ‘uns…by attempting to ride him. There’s a poetry to her being dragged across the dirt telling the jaded kids to “hold fast to their dreams” as she holds fast to the dog, eventually ending up holding him in the air with her legs.

It’s a stray dog, so naturally Yoshiko intends to keep him, so she can keep riding him, and to the kids’ surprise, she seems to have trained him. The girl even calls Yoshiko “kinda amazing”, which immediately concerns her friends.

Following the dog rodeo, Yoshiko suddenly sounds a lot more bright and sophisticated when talking about her one true love of bananas. Her interest piqued by a bold upstart domestic banana farmer, Satou-san, and the taste is so good she bowls’ over backwards, revealing her panties once more.

The sophistocation quickly fades away when she proposes to run to Satou’s farm to meet him, and Sayaka must tag along…to the tune of 100km. Stopping to buy a drink, Sayaka very unwisely sends Yoshiko into a store that sells far more than just drinks, and the phrase “a fool and her money are soon parted” is elegantly yet devastatingly illustrated. The ugly, dull, expensive, yet not not adorable town mascots of “Middle of Nowhere” were a nice touch.

They finally reach the farm, and Yoshiko draws Satou into a perhaps not appropriate hug for an old man who is a complete stranger. Still, Yoshiko seems convinced she knows the man’s soul intimately after tasting his exquisite banana (that sounds wrong but it’s factually accurate). Then it’s up to Sayaka to get on all fours and beg for train fare home. I can’t blame her for not wanting to sprint another 100km home.

In Numero Quatro things get a little frisky and a little dark, as Yoshiko, seeing A-kun is down from not scoring a full 100 on any of his tests (say what you will about her, she’s good at nice round zeros), and decides to cheer him up…the same way her mom cheers her dad up some nights. Oh dear…

Yoshiko is truly an idiot, but she pays attention when she wants to, and was clearly taking very precise visual notes, judging from the attention to detail in which she handcuffs A-kun, talks to him like he’s a baby with an insufferably cutesy tone while stripping. A-kun is not, for a single moment, turned on by the display, and indeed, looks like he’d rather be anywhere else in the world. I’m sure Yoshiko’s mom would be sad to see him that way!

His sister, on the other hand, manages to walk in just after he’d gotten on his feet and delivered a tremendous knock-out drop kick to Yoshiko, and in the very moment he’s lifting her skirt with his teeth to fetch the key from her panties. Poor Ruri! On the one hand, she shouldn’t have to see that. On the other, well…Yoshiko really shouldn’t have to ever see her parents’ foreplay.

Aho Girl – 02

This week Aho Girl continued to deliver strong comedy bang for the buck, relying on a single, central premise (Yoshiko is an idiot) but applying that idiocy in a diverse array of unexpected ways.

First Yoshiko wanders off and plays with children, who think she’s cool until A-kun arrives to burst their bubble. It’s an act where Yoshiko exhibits her rare glimmers of brilliance (both in building a boss sand castle and lamenting that the kids’ hopes were already “lost and broken by modern society”, her failed swing attack makes deft use of both slapstick and observational comedy.

In another little dig at modern society, Yoshiko gradually convinces a rough-looking delinquent to stop pawing Sayaka and play with her, a “fellow idiot” instead, believing she sees him for what he really is: a sensitive, misunderstood young man just trying to make it in the world.

Turns out A-kun’s sister Ruri is also capable of scoring zeros on tests, but not for lack of studying, for which his high-scoring brother can’t hide his shame, and leads Ruri to tell him she hates him and latch onto Sayaka instead, who worries about the girl’s future.

Finally, A-kun has an admirer, and it’s the disciplinary committee president, who despite her button-down, strict manner, is concealing all manner of lewd and lascivious thoughts, especially when A-kun invites her (quite innocently) to search him (for contraband), which she takes to mean violate her regulations. She ends up banging her head on a locker trying to jump him, but promises “it isn’t over”.

Aho Girl – 01 (First Impressions)

Aho Girl or “Clueless Girl” is about all of the ways Hanabatake Yoshiko is an idiot, as seen from the perspective of her neighbor and long-suffering caretaker Akutsu Akuru. In under thirteen minutes of airtime, A-kun and others call her an idiot thirteen times and he assaults her a half-dozen more as punishment for being so idiotic.

If that sounds really one-note, it’s because it is. However this double act in which A-kun is the straight and Yoshiko is the foil sort of succeeds for two reasons: despite her idiocy Yoshiko has a great deal of performative range (thanks to her seiyu, a game Yuuki Aoi) and the bits and jokes are numerous and frequent, leaving scant time to stop and ask yourself why you’re watching.

Sidonia no Kishi 2 – 07

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Of the four people in this shot, I only trust the ones sitting down, which is troubling, because she’s the one with by far the least power aboard Sidonia, despite her formidable scientific prowess. Heck, I even have a problem with Yure, who seems to have cultivated a kind of scientific tunnel vision, realizing the wild dreams of her superiors without regard for the consequences.

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We watch in horror the fruits of this dream team’s labor this week: the Graviton Beam Emitter goes berserk when they try to shut it down, and it starts acting like a wounded Gauna, extending its tentacles out across Sidonia’s hull. The familiar blue and green computer displays turn a alarming red hue, and the Kubrickesque neatly-framed control tower contrasts nicely with the unhinged chaos taking place outside its windows.

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Worse still, the head, at least the substitute head in XO Yuhata, has no idea what the body is doing. When you stop and consider for all they know they’re all that’s left of humanity, Captain Kobayashi testing highly dangerous experimental weapons without informing the bridge crew is a bridge—or rather space elevator—too far. It’s a testament to Yuhata’s confidence, decisiveness, and calm under fire that things don’t spiral completely out of control.

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Watching the emitter continue to swell until collapsing on itself like a miniature supernova, leaving a huge gaping hole in the ship, made for a very disturbing, visceral sight, especially considering how many people either got gobbled up in the implosion or were left floating free in the vacuum of space.

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Goshdarnit, there are enough perils in space without the Hubristic Triumvirate of Kobayashi, Kunato, Ochiai serving up new ones from within! Yet in the aftermath of a very close call, Kobayashi is so seduced by the “weapon of wonder” that she orders Yure to keep trying until she gets it right, despite the fact Yure, a gifted scientist, just told her it was a failure.

I’m telling you, if Kobayashi retains power much longer, it’ll be a miracle if Sidonia doesn’t end up a fine cloud of dust in the inky black vastness. At least Yure has the common sense to talk with her old friend Sasaki about her predicament. “My boss is a megalomaniac who’s finally gone off the deep end. Any advice?”

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Meanwhile, down on the flight deck, the Gardes and their pilots continue to get upgrades, like an armor that links up four frames into one with an artificial kabi hull well-suited to ramming Gauna. The leftover kabi was used to make katana for the pilots, to serve as combination low-tech last-resort sidearms and good luck charms. But Samari doesn’t see good fortune in her new blade; she sees that things are only going to get hairier. She can feel the “Rumbling” that is the title of this episode.

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Speaking of rumblings, there are some about the prospect of a full-on Tanikaze Nagate harem, what with Ren convincing her sister En to stop by Nagate’s post to deliver some food, only to find Samari of all people has beaten her to the punch. I for one dig the Sidonia hoodies, not to mention En’s acrobatics.

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Turns out Samari wanted a drinking buddy to vent to, and it may as well be the person who, along with Tsugumi, seems to be leaving her in the dust with all the new weapons, and in the midst of all the recent bloodshed. Samari is doubting her abilities—never a good thing for a group leader—and not looking forward to sending more comrades to their deaths. It’s a welcome look into another underling struggling as a result of the callous actions of the powers that be.

When she apologizes for whining, Nagate cheers her up, saying he believes she’s saved more pilots than lost, and that she has his ear anytime. Her lips loosened by many cups of sake, she proposes “photosynthesis”, perhaps to see if she can claim more than his ear—but he takes one swig of the booze and passes out, ruining her tentative plans to conquer the young hotshot—and blow of steam in the process.

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For an episode with so much dark stuff going on, there was also a fair amount of comedy, most of which I can report actually laughing at, a rarity in a show where appeals for laughs can feel as mechanical as the vivid computer schematics. In fact, Sidonia’s comedy has never felt as well-timed and confident as this week.

The centerpiece, in which Izana’s suit rejects her because it has detected “modifications” that turn out to be her sudden development of female physical attributes (i.e. boobs), telegraphs its impending joke with the glitch she can’t clear, without spoiling the shock of the suit suddenly “ejecting” her, giving Nagate a show that shocks his head right into a bulkhead.

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Izana’s sudden but not unexpected transformation into a woman services both fan (at least in my case), plot, and character. Nagate had always been more comfortable around Izana in part because she wasn’t quite female or male. But she’s been emotionally female for a while now, and now her body’s caught up, it should change their dynamic drastically. That frontrunner status is confirmed by Yuhata, who already has boob envy.

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That’s not even the whole joke of the bath scene, though. When Izana retreats from the an uncomfortable situation, Tsugumi and Yuhata continue talking and playing in the bath as Izana joins Nagate on the floor below…and learns that he could hear everything they were talking about.

Watching this realization gradually wash over Izana’s always expressive face is delightful to behold, matched only by Nagate’s innocent look and meek “What’s up?” before she drives her bionic arm into the table, splattering his scalding-hot ramen broth all over him in a nice moment of Physics.

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The cold close focuses on a team of astronauts surveying Planet 7 in the Lem System (likely named for Stanislaw Lem, author of Solaris), about to have a Very Bad Day, as their comrades suddenly start screaming until drowned out by alien sounds and static. This, just after they mocked Sidonia’s obsession with weapons.

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