Holmes of Kyoto – 01 (First Impressions) – The Game’s Afoot

After Mashiro Aoi broke up with her boyfriend in Saitama, he immediately started dating someone I presume to be her best friend. Betrayed, angry, and generally very down in the dumps, Aoi wants to book a train there to give them a piece of her mind. In other words, while she may be justified in seeking vengeance, there are better ways she could be directing her energy.

Aoi also doesn’t have the money for the train, so she snatches some valuable drawings from her late grandfather’s house and visits an antique shop in Kyoto’s Teramachi Sanjou district to have them appraised. There, she meets the young Yagashira Kiyotaka, AKA Holmes, who is as exceedingly apt at appraising people and intent as he is appraising antiquities.

The story of her fateful first day at the shop is framed as a reminiscence between Aoi and Holmes two weeks after he hires her as a part-time assistant, in order to pay for her ticket—if she still feels the need to go to Saitama once she’s made enough.

Holmes can’t buy antiques from those under 20, but even if she was old enough, he uses the particular pieces she chose to try to sell to basically teach her a lesson about turning the other cheek. Even the famous artist Hakuin couldn’t escape scandal, even if he was the victim of a false accusation.

At the end of the day the infant he was left with made a strong impression on the artist, and the love he had for said infant is captured in the drawing. Because Aoi has a good head on her shoulders, she realizes the error of her ways and is ashamed—unlike one of the counterfeit sellers who visits the shop.

Aoi doesn’t turn down his offer of a part-time job, especially if it means working with such a bright, charming, attractive fellow. She may have entered the shop with her head hanging low, but she leaves feeling lighter than air, twirling past the same riverbank of couples she cursed earlier.

Holmes of Kyoto, as Aoi’s voiceover puts it, is a “quiet and beautiful story of the cases we solved in Kyoto,” which is an apt description. I’m liking the simplicity and focus of just two people in the small, simple yet potential-filled setting of a shop, and Aoi’s seiyu Tomita Miyu (Riko from Abyss) is always a welcome inclusion to any cast. In all, a strong start. I want to see more cases!

Advertisements

Hyouka – 19

After school, Oreki is irked by Chitanda classifying his ability to form cogent theories as a talent and not luck. So he challenges her to come up with a situation, and he’ll prove he can make a theory up about anything. A strange, specific, cryptic P.A. announcement is made, and she asks him to come up with a theory about that. He theorizes that a “student X” is being called to the staff room to for the crime of using a counterfeit ¥10,000 note to purchase stationary, then writing a letter confessing his crime to the owners. By the time he completes his theory, he forgets the original purpose of the “game.” He declines Chitanda’s suggestion they try to deduce that, and goes home. The next morning, his theory is proven in the paper.

Such is the chemistry between Oreki and Chitanda, and the snappiness of their discourse that they can carry an entire episode by themselves, in the clubroom, without a single cut elsewhere, aside from the neat diagramatic visual aids in their minds. At the start, Chitanda wants to prove to Oreki that he relies on innate talent, not merely luck. Oreki wants to prove the saying that “a theory and ointment will stick to anything” – even his theories. The perfect opportunity presents itself when a seemingly innocuous announcement is made over the P.A. But there’s enough in that message to get the two going in a rousing, ingenious bit of investigative work that isn’t gussied up with any exterior parties. It’s just Oreki, Chitanda, and their constantly-churning brains.

Before their investigation game began, however, we paused the show and came up with a theory of our own, predicting the P.A. announcer was summoning an eyewitness to a crime. We came to this conclusion based on the exacting structure of the announcement: almost like how a trial attorney would ask a witness “Where were you on the evening of the 31st?” We were more or less as right as Oreki, though we gave “Student X” the benefit of the doubt regarding whether they committed a crime or merely witnessed one. It would seem both are true: the student was given the fake cash by an older person, couldn’t turn it down, used it,  confessed, then reported to the staff room as ordered and aided in the apprehension of the counterfeiter. Case closed.

Despite having a good idea where Oreki was going, watching HOW he got there, and all the details that led him there, indeed makes for a rousing spectacle. Factor into that Chitanda is on the edge of her seat the whole time, rapt and ready to spring to action should anything he says not match the facts they have or strain credulity. On more than one occasion, this leads her to draw very close to Oreki (one time, as seen above, even close enough for a kiss). Yet each time both blush and recoil. This behavior – combined with Chitanda’s nervous invitation for Oreki to join her at her uncle’s grave – adds to the already compelling body of evidence implicating them both with barely-repressed mutual attraction and romantic tension in the first degree. Will that potential ever be realized? Regrettably, with a scant two episodes left, we predict not. But we’ve been wrong before.


Rating: 9 (Superior)

P.S. Perhaps part of why Oreki is hesitant to acknowledge his talent is because he wouldn’t be where he was today – with so many investigative feathers in his cap – were it not for Chitanda getting in his face, prodding him, and giving him those maho shojo eyes. She compels him to act, which more often than not leads to success. She’s like his reluctant muse.