Tokyo Ghoul:re – 01 (First Impressions) – New Faces, New Ballgame

Tokyo Ghoul is back! Umm…yay? I for one wasn’t chomping at the bit for a sequel, to be honest. That’s not a mark against the previous season’s quality, nor my investment in it at the time.

I’ve just watched a lot of anime since Root A, and I guess I’d moved on, while the fact this season does not focus on the main characters from the previous ones further dulled enthusiasm.

Thankfully, the learning curve for getting back into the swing of things—Doves, Ghouls, Orochi, Kagune, got it—wasn’t too bad, and the new characters were introduced along with a comfortably familiar few cameos and name drops, which made the medicine go down easier.

Long story short, a couple of years have passed since Root A, and the CCG are now deploying Quinx Squad, which is not a combination of Quincy and Twix…but it could’ve been. Rather, they’re humans who are able to use the typical Ghoul tricks of the trade thanks to artificial means.

They use those tricks against full-fledged Ghouls that are working against the betterment of society, like the taxi driver “Torso”, so named because that’s the only part of the women he takes.

The Quinx squad is led by Sasaki Haise, whose hair reminds you instantly of Kanzaki Kei, and following that bridge to the past, we later learn Kei is in Sasaki’s head, just as Rize was in his.

Within the various Quinx teams there’s a bit of a turf scuffle over who gets to bring in Torso, but it’s really more of a race between the teams (Sasaki’s superior is Mado Akira, whom we know) and even a competition within Team Mado itself, with Sasaki’s subordinate Urui trying to claim all the glory by himself, manipulating their colleague Shirazu to do so.

I felt immediately putting the team at odds with each other was a nice way to give an edge to the proceedings right off the bat—this is a cutthroat business, and even if everyone’s pretty much on the same side, a lot of other interests are in play.

Rounding out the five-person crew are the timid Mutsuki and Saiko-chan, the only female member who we never see until the end credits.

Urui’s desire to “take initiative” fails in the beginning of the episode, when he and Shirazu have to be bailed out by Sasaki, and it fails at the end, when thanks to Mutsuki and a bit of luck, they suddenly find and engage Torso, but he’s too much for them, especially when a fellow ghoul shows up who’s much tougher.

As such, by all going their separate ways, Quinx Squad Team Mado still manages to end up in the same place, on the cusp of closing a case that will distinguish them among their peers, but which will require the defeat of a rather tough boss. Makes me wonder if the team’s X Factor is the so far off-camera Saiko-chan…or if Sasaki has to draw more from his Inner Kaneki Ken

I wouldn’t recommend anyone unfamiliar with Tokyo Ghoul get into this, due to the fact it doesn’t spend a lot of time holding newbies’ hands, but if you’ve been a fan of the adaptation thus far, I’d say this is at worst worth a look, and at best a must-see.

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Citrus – 05

Mei has no time for Yuzu and Himeko’s little competition for her, as she’s busy with both student council duties and filling in for her grandfather, the chairman. She orders the rivals to eat lunch together instead, and neither dare disobey.

Thus starts the first of many of the kind of interactions I was hoping for between Yuzu and Himeko: ones in which they put their gloves down for a second and simply exist adjacent to one another, as they must due to their associations with Mei.

Harumin serves as a great mediator in this venture, even suggesting the three of them and Mei go to Amagi Brilliant Park (well, something like it). Both Himeko and Yuzu doubt Mei will agree, but Yuzu will give it a try.

What Yuzu does manage is to get a day alone with Mei when they’re not at school; when Yuzu lies and said Mama would also like it if she accompanies Yuzu to visit her Papa. Note that Mei probably would have refused if Yuzu hadn’t lied, but it’s a good thing she did.

At first, Yuzu treats this like her first date with Mei, and tries to “cross a line” like Himeko claims to have done, first by breathing on Mei’s ear in a packed train (at first an accident, but repeated once she notices Mei’s reaction), then licking it.

When Mei asks her what the heck is up with her, Yuzu mentions what Himeko said, and Mei sets her straight: Himeko tried to do something weird to her and she scolded her. There’s nothing between them. This really puts a spark in Yuzu’s idea of her chances.

This leads to her trying to get an indirect kiss out of Mei by having a bite of her crepe, only for Mei to have only finished it. Mei delivers revenge for the ear-licking by wiping some cream off Yuzu’s face and eating it slowly, causing Yuzu to nearly boil over.

All these sensual gestures, combined with the simple pleasure of hanging out with Mei alone, gets Yuzu all worked up; she wants to kiss Mei and shout her love from the mountaintop more than ever.

But when she’s about to ask if they can hold hands (incremental steps), Himeko pulls up in her S-Class Benz and starts attacking Yuzu.

With a cruel, icy calmness, Mei basically tells Himeko to buzz off, and beckons for Yuzu to keep going. Mei and Yuzu walk away, leaving Himeko standing there, stunned, alone, and hurt.

It’s not the first time I felt for Himeko, but I’d never felt for her more before this moment. Even Yuzu can’t help but turn back, not to gloat, but with a pained, empathetic look.

It was around the time I was thinking “when the heck are they going to meet Yuzu’s Papa” that Yuzu brings Mei to a graveyard. It never occurred to me he was deceased, as I (wrongly) assumed her mom was divorced, not widowed. Mei also seems both surprised to have been brought there, but also honored.

It’s a very solemn, touching scene when Yuzu says all the good and bad things about Mei when introducing her and Mei doesn’t challenge any of it; this isn’t the time or place. Even more touching is Yuzu’s reaction when Mei silently prays at the grave. Yuzu is about to muster the courage to say something she needs to say…but Mei beats her to it.

The letters Mei gets from her father (whom she calls “Sensei”), one of which Yuzu jokingly threatened to open? Mei has never opened any of them. She’s afraid to, because if any of them contradict her long-standing hope that he’ll come back one day and everything “will be the way it was”, she’d be crushed.

When a shaken, tearful Mei asks Yuzu if such an outcome is really possible, Yuzu says the tactful thing, even if it isn’t something she can guarantee: everything will be fine, and she’ll help her in any way she can, like a sister should. The smile Mei gives Yuzu drives the point home: Mei doesn’t need love; at least not right now. She needs family.

As Yuzu cries out of Mei’s sight, Mei seems to be laboring to maintain consciousness, and sure enough, she collapses on the stairs at school the next day, right in front of Himeko. Trying to force herself up, she runs down Himeko just as Yuzu enters earshot, and, whatever bad shape she’s in, Yuzu doesn’t let Mei’s cruelty towards Himeko go unanswered.

What she does do is order Himeko to take Mei’s place at the various meetings she meant to attend, while she takes Mei to the nurse’s office. The two drop their rivalry for Mei’s sake, because Mei has not been looking out for herself properly enough, and their childish rivalry has blinded them to the toll Mei’s overwork has taken.

In the nurse’s, there’s no makeout scene, but a scolding scene. Mei explains how driven she is to become a worthy successor to her grandfather, especially now that his health may be failing. Yuzu wonders out loud why Mei’s father doesn’t take over, and Mei, for once, agrees with Yuzu’s  “nonsense”, which she likens to a broken watch—right twice a day.

And just to bring things around, Yuzu and Himeko have a nice little scene together in which Yuzu scolds her for overwork as well, tells her to be more honest, and the two come to a kind of detente.

That detente is sealed, in a way, when while walking to school the next day, Yuzu urges Mei to go ahead when they spot Himeko. Mei apologizes for being such a bitch to her and taking her for granted, and Himeko is instantly in tears, hugging her tightly, probably telling Mei she has nothing to apologize for.

That night, Mei’s father shows up, just like that. Yuzu has no idea who he is, and gets skeeved out when he hugs her and doesn’t let go (which, yeah guy, don’t hug a girl who doesn’t know you). Mei’s reaction to seeing her father again—as well as his reaction to seeing her—tells me things aren’t going to be the same in the Aihara household…but they’re definitely not going to be boring!

In the meantime, I really enjoyed both Himeko and Yuzu’s growth in this episode, the continued casual, reliable support role Harumin plays, and how Mei and Yuzu drew closer together not in a romantic way, but as family. Most importantly, Yuzu is now consciously weighing her own desires with what is actually best for her “little sister.”

Saekano 2 – 06

Both the immediate (Eriri collapsing) and long-term (finishing the game) crises are resolved this week, with one major caveat: to rescue Eriri, Tomoya gave up on a full Winter Comiket release, even though that’s the reason Eriri ended up in such a state (that, and her obsession with quality with the threat of Hashima Izumi looming).

Ironically, it’s Izumi’s bro (and Tomoya’s chief rival) Iori who comes to Tomoya’s aid, offering a ride to Eriri’s villa. Tomoya finds Eriri really did get everything done, and more to the point, he believes it’s her best work and the best work he’s seen all year.

That brings a smile to the gradually-recovering Eriri, but she’s even happier to hear him say, categorically, that she’s his “number one;” that her new art is better than Izumi’s. She doesn’t mind that he doesn’t go so far as to tell her she’s beaten Utaha and Michiru, but she happily infers it.

After that, the two settle back into the same routine as when they were little kids: staying indoors, playing games and watching anime, which Tomoya both notes was because Eriri was so sick so often, but also doesn’t complain about.

He goes further in wanting to apologize to the others in Eriri’s stead, as he’s the director and all, but Eriri insists: if she can’t apologize properly, she can’t keep moving forward. So she does so, and the whole crew is on hand for Winter Comiket…albeit with only 100 hastily burned copies of Cherry Blessing.

It’s shocking how quickly all the work they’d done suddenly becomes a finished product, which sells out within 30 minutes due to lots of buzz about a new game with studs like Kashiwagi and Kasumi collaborating. At the market, Eriri also apologizes to Izumi for how she treated her, and explains why she did (fear of being surpassed).

Yet in the midst Eriri dispensing all of her apologies and the team dispensing every last copy of their game, something seems off. The camera uncharacteristically lingers on Megumi too often, and she seems to be hiding something that will certainly rain on the parade of the big release.

Content to quietly skip the post-release party and go home for the time being, when Tomoya forces the issue, she finally has a very Kato-ish “outburst”, one that cuts Tomoya to the quick, far more than if she had yelled or cried. In his haste to save Eriri, he neglected to tell her about anything that was going on, during the precise days she said she’d make sure she was available for him, no matter what.

Tomoya took her earnest promises and commitments lightly, and ultimately ignored them altogether and took everything on himself, keeping her in the dark until everything worked out. That is something Megumi cannot forget, nor easily forgive.

As happy as I am to see Tomoya and Eriri on such good terms again, I can’t say I blame Megumi. If getting out of the doghouse is even possible, Tomoya, with his famous lack of awareness, may find doing so even tougher than making a dating sim from scratch.

Saekano 2 – 05

After witnessing Megumi reject a request to date from another guy, Tomoya has to keep Utaha from being too harsh on Eriri, who has fallen way behind on the art despite a schedule extension.

Utaha now considers a Winter Comiket launch a “pipe dream” until proven otherwise, but Eriri promises she’ll make it, and Tomoya has her back…though saying “she’ll deliver exactly what you expect” probably wasn’t the best choice of words for an artist.

One morning, Eriri stops by Tomoya to tell him she’s going away to her family’s winter house in the woods to draw in seclusion, even skipping school to meet the deadline.

Tomoya seems more or less fine with this, but he—and I, for that matter—feel a foreboding atmosphere; like somehow Eriri won’t be coming back, or won’t be the same when she does.

Letting Eriri go “off into the wild” was a big, possibly fatal mistake, according to Utaha, who is ready with a whole “five-stages of creative deprivation” spiel with Tomoya and Megumi, predicting all the ways Eriri will stray from her usual self in her desperate attempt to make the greatest art ever with which to beat the Hashima siblings, ultimately leading to her dropping the project altogether and never being heard from again.

What with Utaha’s added “sixth stage” of Eriri finding another guy and another job and thus Tomoya won’t have to worry about her anymore (the implication being he can focus more on her), Tomoya is loath to take these predictions so seriously…even if they don’t sound so far-fetched.

Megumi proposes he and she go to the villa the Saturday before the Monday deadline, but Tomoya humbly declines, both due to the situation of a guy going away with two girls, but more importantly, because he has deadlines of his own to meet. Megumi lets the matter drop for now, but is already concerned that Eriri would go to such lengths to complete her work.

Just as Utaha foretold, Eriri starts exhibiting signs of stage one (rough language), and Tomoya is worried, since two (blaming herself) can’t be far off. Tomoya tries to play lip service by saying “he believes in her”, but what he’s asking Eriri to do has become increasingly unlikely, even for someone with her talent, because there’s too much pressure and not enough time to pull it off.

Tomoya’s attitude irks both Utaha and Megumi; and Utaha is doubly irritated that she has more respect for Kashiwagi Eri thant Tomoya right now. She puts a lot of words in his mouth, but he can’t or won’t dispute any of them. Tomoya is starting to look like a failing director.

But Eriri does eventually manage to make some progress in drastically changing her style, once it starts to snow. She and Utaha knew the grand route would need a different style, and Eriri isn’t the most versatile artist…but she works her butt off in that cabin and finally, apparently, has the necessary art ready.

Whether she actually does or not, I have no idea, honestly. All I know is, Eriri doesn’t look like she’s in a particularly good physical or mental state by the end of this episode. While Utaha got a degree of resolution in her episode, lying on the floor with Tomoya, Eriri finds herself lying on the floor alone, isolated in a snowy forest cabin, in need of food, sleep, and affection. Here’s hoping she gets all three, soon.

Rokudenashi Majutsu Koushi to Akashic Records – 06

With its sixth episode, Akashic Records has unfolded in a steady pattern: a first episode of setup (in this case the magical competition) a second episode that raises the stakes (the attempted plot to kill Rumia) and a satisfying third episode that brings everything together with style and panache.

Last week ended with Re=L trying to kill Glenn, but that’s just her nature: rush in headfirst without thinking. Fortunately for Glenn and Rumia, Albert is there to hold Re=L back, and the two court mages decide to help their old buddy out with protecting Rumia and foiling the Imperial Guard’s plot.

Many times, we cut away from the end of the competition to Glenn simply running from the Guard with Rumia in his arms. Albert and Re=L take over for Glenn, with Albert saying everything Glenn would say if he was there, keeping Class 2’s heads in the game. Everyone performs like he hoped when he selected them, including Sisti, who makes use of his altered spell advice to defeat her opponent in a duel and grasp victory.

From there, a nifty little twist takes place: the representatives of the winning class get to be presented their award by Queen Alicia herself. In this case, that’s Albert and Re=L…only it ISN’T. Albert and Re=L switched places with Glenn and Rumia back when they met, using self-illusion magic to assume each other’s forms.

That puts Glenn, The Fool, right where he needs to be to (quietly) unleash his Fool’s World spell, nullifying the conditional cursed necklace around Alicia’s neck. Before that, Alicia has to say some very harsh lies about ordering Rumia’s execution and that she never loved her.

That really puts poor Rumia through the emotional ringer, but Rumia’s a tough gal, and once it’s no longer deadly to do so, Queen Alicia lets her true feelings be known, and that in turn leads Rumia to accept and return her mother’s love in a tearful, cathartic embrace.

As for the ringleader in the Guard’s treachery, Eleanor Chalet, a heretic mage of the Researchers of Divine Wisdom, is surrounded by the real Albert and Re=L in a dark alley, but uses a spell to escape before they can place her in custody, offering only one vague, if titular clue, about why she was so keen on killing Rumia AKA Ermiana: “Akashic Records.”

If a RDW traitor could pose as queen’s chief handmaiden, it means the good guys will have to exercise constant vigilance. Albert and Re=L bid goodbye to Glenn, though considering she’s featured heavily in the OP and ED in an academy uniform, I wouldn’t be surprised if Re=L returns, posing as a student in Glenn’s class to assist him in keeping Rumia safe.

After thanking Glenn for helping to save her, along with her mom, and for keeping his three-year-old promise to have her back, Rumia and Glenn head to the tavern where the rest of Class 2 has already gotten the victory celebration started. In fact, I was totally caught off guard yet delighted by the fact Sisti managed to get wasted (on brandy cake of all things!) and is in full-on Lovey-Dovey Shironeko Glom mode with Glenn.

That would be enough discomfort on his plate, but as a final insult, the class ended up spending his entire reward, as well as the three-month salary he won in the bet with his fellow teacher, on the night’s food and drink bill. Not to worry, however: he’s sure to get more homemade meals from Sisti.

Saekano 2 – 04

Maybe it was because I was so tired, but I was off in my assessment of Tomoya’s assessment of Utaha’s script. It’s not that he demanded perfection; his true qualm lies in his exact words: “It’s a crap game.” Meaning, the script is written like a novel, and is thus unsuitable for a dating sim. This is why, as compelling as it is, it must be re-worked.

Of course, Tomoya delivers his criticism with all the delicacy of a sledgehammer through a plate glass window, and he and a still-stunned Utaha have a little shouting match in the maid cafe of what is otherwise, mercifully, a completely in-the-background school festival.

Tomoya is a rude ass about it, but he’s not wrong, and after making Utaha cry, Tomoya is contrite and assures her she did nothing wrong; it was he who failed as game director, getting sucked into the text without considering how it would fit in a dating sim structure.

As he attempts rewrites, Utaha sleeps in his beat, deflated from the rejection of her new arc, which, by the way, was an arc in which the character most resembling her gets the guy rather than the character resembling Megumi. Megumi calls Eriri to report Utaha’s whereabouts, but Eriri is unconcerned.

Eriri’s been in the boat Utaha’s in right now, and can relate, and in any case, she’s got a mountain of her own work to do, surrounded as she is by crumpled balls of art that don’t meet her standards or vision. Eriri isn’t even interested in entering the Miss Toyogasaki Pageant, despite being the reigning champ.

From there, it’s almost a purely Utaha-and-Tomoya episode, with the two combining forces in a creative odyssey during which Utaha gets so exhausted she falls asleep wearing only an open dress shirt and panties, much to the painfully oblivious Tomoya’s shock.

They re-work the Ruri path, then Tomoya gets it in his head he needs a third arc as well: one in which everyone lives happily ever after, which also seems to match what he wants in real life with Utaha and Megumi. While initially frustrated Tomoya wasn’t responding to her feelings, by the end she comes out confident they’ve made a stronger, more fun game by working together.

On the evening the festival ends, when the bonfire is about to be sparked, Megumi asks Utaha, her writing duties now complete, if Ruri is based on Sayuka from Metronome in Love. And she is; of course she is, because both of them are actually Utaha. And Utaha makes it clear she still hasn’t given up on the ending in which her character is chosen by the protagonist.

Megumi straightens out and her eyes focus upon hearing this, before bowing and heading down to the bonfire, where she romantically approaches Tomoya. Megumi tells him she’s not Megumi right now, she’s Ruri, Sayuka, and also…then takes his hand, and dances with him, as Eriri draws them and Utaha looks on. Lovely stuff.

Rokudenashi Majutsu Koushi to Akashic Records – 05

What seemed most likely to be the conclusion of the magical competition turned out to be something else entirely: something far more significant than Glenn’s wager with Halley; something far more interesting, too.

It starts simply enough, with a lunch break in which Glenn reminds us what a bastard he can be by taking advantage of the fact that Sisti thinks he’s Rumia so he can nab a bite to eat. That being said, he transformed to give Lynn a pointer about illusion magic, so he’s really only a half-bastard.

Quite surprisingly, Glenn and Rumia are approached by Queen Alicia VII, who can’t help but take advantage of the fact her biological daughter is right there before her. Unfortunately, Rumia isn’t in the mood to talk or be conciliatory; she politely tells the queen she’s mistaking her for someone else and bolts.

I can’t say I blame her! Rumia may have just won the Mental Defense round, but that was nothing compared to her dilemma this week as her “former” mother all of a sudden gets in her face. Glenn tracks her down when Sisti is worried about her, and helps Rumia work through the conflicting feelings. For his part, Glenn tells her there’s no way to avoid regrets 100% in life, so one might as well make choices that are true to who they are.

Meanwhile, our two mysterious bluish-haired folks are on the alert after hearing about suspicious activity with the Imperial Guard: Albert and Re=L. Not long after Alicia talks with Glenn and Rumia, she is taken into custody by said guard.

The two are clearly court mages and former colleagues of Glenn’s, have have both a casual rapport with one another (considering how often she lets him pull her hair) and confidence in their abilities (Re=L is all for a fully frontal assault).

It isn’t long before Rumia is tracked down by the guards, accused, tried, and convicted of attempting to assassinate the queen right then and there. Glenn is knocked out and she’s tied to a tree to be executed, and as is typical of Rumia, she’s ready to die…

…But Glenn wasn’t knocked out that badly, and uses flash spells to get the jump on the guards and rescue Rumia…even though Rumia isn’t sure she should be rescued, poor girl.

Once a safe distance away, Glenn contacts Celica, but like the queen, she’s being held hostage by the Guards, which means Glenn is on his own. Only, not really, because Re=L and Albert show up just when they’ll be the most useful; an ace in the hole, if you will.

We’ll see if they consider Glenn a hostile, or if Re=L will stand down shortly after her aerial attack. Whatever the case, between Glenn, his old buddies, and his capable students, I like their odds of saving Alicia and Celica from the Imperial Guard…Unless there’s a good reason Zelos is restraining the queen and Celica, of course.

In any case, it’s another nice setup for both another high-stakes hostage situation and a proper introduction of Albert and Re=L.

Eromanga-sensei – 04

Whither Yamada Elf goest, so to does Eromanga-sensei (the show, not the artist). Starting out as a caricature of a super-arrogant, condescending brat with delusions of grandeur, Elf’s become a lot more balanced in the last two episodes.

She also reveals that delusions aside she’s a highly capable, multi-talented person, as evidenced by the lovely, tasty-looking meal she lovingly prepares for Masamune. The reason she’s happy to cook is that she gains perspective on how characters in her stories feel when they’re cooking for those they have their eye on.

Sagiri has also picked up on the quickly evolving relationship between Yamada and Masamune (even if he doesn’t see Yamada as a serious love interest), and calls Masamune a liar for saying they don’t get along, when he’s clearly there all the time.

Combined with the result of bringing up the drawing of large-boobed women (Sagiri can’t do it because she doesn’t have them herself), Masamune ends up shut out of her bedroom once more, though the core of her disappointment is his refusal to come clean about the neighbor.

The day the two authors are to reveal their stories to one another, Masamune arrives at Elf’s house to…no welcome whatsoever. I fully expected him to barge in on her working (or doing something else) in the nude, but I was pleasantly surprised when he found her all covered up.

Specifically, she’s in a very practical sweatsuit, with bags under her eyes instead of ringlets beside them, and a very serious look on her face. This is all Masamune needs to realize all her talk about writing light novels being a mere “hobby” is a bunch of codswallop.

More evidence is presented when the two read one another’s manuscripts before turning them over to Eromanga-sensei. He’s reliably blown away by her story, a page-turner seemingly perfectly tuned for Eromanga’s stylus, right down to the small-boobed characters in cool outfits. But Elf is also blown away by Masamune’s…just not in the same way he is by hers.

It’s not that her story is in any way worse—on the contrary, it would likely sell many orders of magnitude more copies than his—it’s that this isn’t a competition for the most bankable LN. It’s a competition for Eromanga’s services and after reading Masamune’s manuscript, Elf is so sure she can’t compete, she tosses her manuscript straight into the shredder (much to Masa’s dismay).

Reading it also confirms to her that Eromanga-sensei is his little sister next door, and that’s why she can’t compete: it’s a 300-page love letter, for chrissake. It’s not even meant for any other reader but her, which is why Elf is both outclassed and beet-faced she read it at all.

When Masamune finally gains access to Sagiri’s room—via the window in a frankly needlessly reckless stunt that could have gotten him killed and resulted in ending up in a very lewd position with Sagiri beneath him. There, he learns why she hasn’t opened the door for him in two weeks: she doesn’t hate him, she’s been improving her drawing, both battle scenes and bigger boobs.

Her take on his dalliances next door was that the neighbor was a rival artist trying to take “Izumi-sensei” away from her, while he kept the wager secret because he was worried she’d be seduced by the more famous and successful Elf. With the misunderstanding cleared up and his victory sealed (she’d never leave him for another author), she reads the manuscript.

Like Elf, it’s embarrassing for her to read; doubly so since it’s about her. And while she considers it an interesting story, he’d never be able to release it as a book, because it’s just too personal. She also, not in so many words, rejects the implied confession the manuscript represents (at least, Masamune seems to take it as a rejection).

Masamune is fine with that rejection, but he’s committed to re-working the story into something he can show to his editor, something that will sell and garner a huge audience, and eventually, get awarded his first anime adaptation, putting him on the same level as Elf. Most importantly, his goal is to get Sagiri out of her room so they can watch the first episode of their anime together in the living room.

While I thought this was Masamune going too far and was sure it would put Sagiri off, I am surprised yet again when Sagiri take a couple steps outside her room; the first steps in many to come on their quest to create an anime-worthy book. Let the goal-striving begin.

Saekano 2 – 03

Tomoya and Eriri find themselves suddenly confronted by the Hashima siblings, whose Rouge en Rouge game company put out a demo of a game very similar to their own.

While Megumi does her best to keep things diplomatic, it isn’t long until Eriri and Izumi are coming to blows.

Sure, they’re low-impact blows, and each seems to want to empower the other to do their utmost to beat each other (at art, not physically), but then there’s the fact that, at the moment, I don’t much care particularly how well Blessing’s game does relative to Rouge’s.

Isn’t it enough that the team works hard and puts out a game they can be proud of, into which they put their blood, sweat, tears, and passion?

In between acting like she and Tomoya have been married for years, irking certain male classmates, Megumi is preoccupied and fired up by Utaha’s surprise story revision.

But the only way they’ll know whether it works or not, and which script to choose for the game, is by implementing it. That means a lot of work just to catch up to the Rouge demo, with no guarantee their output will surpass their rival’s.

When one all-nighter involving Tomoya and Megumi only nets 20% of the work, other measures need to be taken. When Michiru suddenly arrives, appalled that Megumi spent the night, Tomoya sees an opening, and asks his cousin to recruit her Icy Tail bandmates into doing the gruntwork necessary to plug Utaha’s new story into the game.

They pull a second all-nighter, and considering how late I’m writing this on a Thursday night, I can’t say I don’t relate to their exhausted state when they’ve completed their task.

All that work makes it that much more harsh a slap in the face when Tomoya meets with Utaha and utters the line above. Apparently, after story, art, music, and programming have been combined, neither of Utaha’s stories cut the mustard; at least not now that Tomoya is convinced Iori has a better story up his sleeve.

He requests a complete rewrite—certainly his prerogative as game director—but I assume Utaha is dismayed by his blunt assessment, as I was. In an attempt to outdo Rouge, could Tomoya be overplaying his hand? By demanding perfection when perfection may be unattainable, will he only end up driving his partners away one by one?

Rokudenashi Majutsu Koushi to Akashic Records – 04

After its best episode yet, I wasn’t under any assumptions that the show would keep getting better and better, but last week is followed up by a solid, satisfying outing that explores the new status quo among the class now that Glenn is actually giving a shit; this is something that couldn’t be explored last week because of the far more pressing terrorism.

It’s Magical Competition time, and the games will be performed before the queen herself (and Rumia’s biological mother) Alicia VII, but Class 2 is unenthusiastic. Glenn assures them he’s after nothing less than Victory, and appoints those he believes are the best in the individual fields the various events focus upon.

Because the whole class is involved, and Glenn is so confident, everyone becomes engaged and motivated, and Sistine becomes his very active advocate of his strategy. Only Rumia and we know the truth: Glenn actually would have preferred to use only his best students for all the events.

But he can’t go back now; he’s in too deep. I appreciate that he’s bearing the discomfort that comes with knowing he’s dug himself in a big hole, but is willing to stick it out for the good of his students. In fact, he doubles down by entering a bet with Class 1’s instructor Halley involving three whole months of salary…and the bastard is already hungry!

The competition prep is punctuated nicely by a B-plot involving Queen Alicia’s guilt over abandoning Rumia (even if it was for her own good), as well as a glimpse of family life with the Fibels. For her part, Fibel considers Sisti’s parents her mom and dad, and Sisti her sister, so that’s all there is to it.

We later learn on the day of the competition that Celica is an old friend of Alicia’s, meaning not only does the queen tolerate her familiar manner, but she also trusts Celica’s faith in Glenn. That trust is validated when Class 2 goes on to place in all the events thus far, surprising everyone, including themselves and Glenn.

I believe a non-trivial amount of their success is thanks to the confidence Glenn instilled in them all, backed up by Sistine and Rumia, which allows them to focus and maximize the skills they need to harness. It’s also great to see Glenn put Rumia in the Mental Defense event, knowing full well from the past couple episodes how tough she is (more than Sisti, to be sure).

When Glenn sees Rumia’s badass Class 5 competition, Jaill, he starts to sweat a little, especially when the instructor in the even turns out to be a real perv. But to Jaill’s credit, he’s not an overly aggressive or disrespectful opponent; he simply believes he’s the best and Rumia is as frail as she looks.

He’s mistaken, and the revelation that he ends up unconscious while standing while Rumia is still awake to take the win was another great surprise. Competition episodes can be a bore, but this one excelled by leaning on its characters and their relationships. It was a lot of fun.

Saekano 2 – 02

Utaha has finished her script, and to celebrate has Tomoya take her out for a day of shopping, dining, and watching films that aren’t poorly-received (i.e. ghosty, shelly) live-action anime adaptations.

It’s a date, no doubt about it, at least as far as Eriri is concerned, observing the couple’s interactions from afar like, well, a stalker, with Megumi forced to tag along for plausible deniability.

But Utaha doesn’t merely toy with Mr. Ethical: she makes it a point to bring up the fact that now that the script is complete, her job with Blessing Software is also done, and she’s looking to the future.

She asks Tomoya his opinion not only on where she should attend university (out in Kansai or fifteen minutes away) as well as to pick which script should be used: she wrote two. She’s basically telling the director to choose a direction; not unreasonable.

When Eriri and Megumi meet with Tomoya (thanks to Megumi having a key to his place!) they see the ending and see Tomoya’s dilemma. Eriri both acknowledges Utaha’s artistry, comparing it to the Metronome of Love series she claims to have never read, while complaining that it’s a lot more work.

Still, she doesn’t automatically reject this new ending, nor does Megumi: they, like Utaha, leave it up to Tomoya. Sorry dude, gotta make some hard choices, and not everyone is going to be happy. Especially with Izumi’s doujin game already out there in demo form, living in the same genre as their game.

Saekano excels when Tomoya is one-on-one, as he is with the lovely Utaha most of this episode. But I also liked how their interactions were shadowed by Eriri and Megumi (especially the difference in Utaha and Eriri’s reactions to the movie, which chose a “childhood friend-friendly”, and thus Eriri-friendly, ending).

I can’t say whether the script of Saekano is cliched per se; all I can say is that it is unafraid of commenting on the very genre and medium it exists in, or of being almost self-back-pattingly self-referential and irreverent of those institutions.

But the dialogue is expertly delivered by the actors, and the character design is strong, so even if this show’s ‘weakness’ is its script (which I’m not saying is the case), it’s more than capable of making up for it in other areas, which makes this show enjoyable to watch on any given week.

But I don’t think it needs a live-action adaptation.

Saekano 2 – 01

“Why are things so bad between them?” asks Mr. Awful Thick-Headed Deaf Protagonist, AKA Aki Tomoya, referring to the near constant bickering and fierce competition between Eriri and Utaha. Cue a flashback to a year ago when the two rivals first meet, and Eriri learns Utaha is not only the author of the “Metronome In Love” novels she enjoys with Tomoya, but that she’s trying to snatch her Tomoya away.

Eriri tries in vain to steer Utaha away from Tomoya, while Utaha is irritated to learn how well Tomoya knows his childhood friend Eriri. Utaha brings Eriri up to Tomoya because she’s “interested in knowing more about her”, meaning she’s eager to gather info on a foe.

For all the contempt Eriri and Utaha have spewed at one another throughout last season, they are nonetheless connected by a strong underlying mutual respect. They’re not just foes, but worthy foes. And however much they may differ in creative philosophy, neither can deny the other’s obvious talent, or even be a bit envious of it, considering they excel in different areas (Eriri art, Utaha words).

Utaha learns that Eriri’s motivated by revenge for all the frustration she’s suffered having to hide her talent away beneath a pristine social facade; while Eriri believes she has the haughty Utaha figured out as a cold, calculating ice queen who looks down upon and manipulates her fans with her technique. Neither is wrong!

So back in the present, while they’re still bickering as fiercely as when they first met (with Tomoya as the totem of their rivalry), they can still acknowledge one another’s skill and passion for their craft, and can agree with Tomoya when he says theirs could be a collaboration for the ages.

The praise and enthusiasm of the guy they both like makes it easier for them to look past their surface hate for one another, and the value in working together, even if it’s not always, or ever, smooth sailing.

When Tomoya requests an illustration by Eriri autographed by both her and Utaha as Kashiwagi Kazumi, Eriri, Utaha, and Megumi also requests autographed illustrations. The apparent mortal enemies proudly hang them in their homes, proving their respect and admiration for one another beyond any doubt, even if they’d never ever say it to each other’s faces.

Saekano 2 – 00

Saekano is back, baby! And it has not changed its ways, no sir. In its Episode 00 special, it doubles down on the enticing Episode 00 of its predecessor, piling on the fan service thick and garnishing with witty banter.

We arrive in the middle of an argument between Eriri and Utaha about an anime they disagree about, and again they seem to be talking about the very anime they’re in, and whether it’s deserving of a second season. After this first taste, I’d tend to agree with Eriri.

Like the hot springs episode 00 of last season, all the girls are after Aki’s attentions in one way or another, and everyone remains consistent in their respective approaches: Michiru with the cousin angle, Eriri with the childhood friend angle, Utaha with the Mr. Ethical schtick, and Megumi with the stealthiness and running commentary. Saekano 2 adds Hashima Izumi, another childhood friend of Aki’s and a fan of Eriri’s, to the mix, because hey, why not?

At a hotel in Odaiba overlooking the Rainbow Bridge and Statue of Liberty (yes, Tokyo has its own small one) the game-making group has gathered, and donned swimsuits because Megumi wouldn’t pose in a bikini unless everyone else was so attired. Aki has zero designs on spending the night, but when all the girls but Utaha end up in the room and she’s nowhere to be found, it’s clear she’s used her power of the purse to arrange things so she’d end up alone with Aki.

She claims to have only poured ginger ale for Aki and herself, but he has the sneaking suspicion it’s actual alcohol, and we know how that turned out for him and the girls at the hot spring. Unfortunately for Utaha (but fortunate for everyone else), while she turned her phone off, Aki’s remains on, and the gig is up. Utaha has not given up, but I wonder how far she realistically thinks she can get with such schemes.

At first Michiru only seem to be here to do pool suplexes on her cousin and put him in holds that mean something a lot different now that they’ve both grown, but it turns out she’s been working hard like Eriri and Utaha, writing not one but ten pieces of BGM for the game so far. As she gives the others a sample, her work has a motivating effect on the artists and scriptwriter, and they whip out their own tools of the trade and get to work as Izumi looks on in awe.

That leaves Megumi free to slip out and admire Tokyo Bay with Aki, among many other couples. For all the attempts of the others in the harem, it’s clear who truly has the upper hand, and she makes it look effortless as usual. For all the inappropriate contact Aki endured from Michiru, the advances from Utaha, the hugs from Izumi, and the reminiscing with Eriri, simply standing close but not too close beside his heroine seems to be ideal for Aki.

The other girls may be shapely and beautiful (and the camera never lets us forget it) but Megumi’s appeal just seems to run deeper and fuller. I look forward to seeing how she, Aki, and the others traverse their relationships with each other as the development of their dating sim progresses. And the only people who would sit there and find faults in someone’s hard work are pathetic losers who have forgotten how to enjoy life!!!