Well, it didn’t take long for the season’s top pick to pull away from the field: Erased is the best new anime we’re watching at RABUJOI, and it isn’t really close. This week it raises the bar once more, throwing us along with Satoru back to 1988. The setting is perfectly retro, from the stoically practical structures to the efficient boxy cars.
Satoru is, naturally, quite disoriented by this latest (and by far furthest) revival, as anyone would bee if their 29-year-old consciousness suddenly found itself in the body of their 10-year-old self. The early camerawork, detached and dream-like, does a great job visualizing that disorientation.
But once he realizes what being where and when he is means, he races home, where his mother finds him dozing on the floor, waiting for her to come home from work. I’ll admit, I was not prepared for the emotional punch of seeing Sachiko again, nor Satoru’s reaction to seeing her again. Tears fell from my eyes as they fell from his. That’s when you know you’re locked in a story.
He’s right; his mom will look pretty much the same as she does here 18 years later, and that’s some good-ass genes. But the emotional similarity ends there. The feeling of simply living with his mom in that cramped little apartment, smelling her cook dinner, and eating as a loving familial unit; he remembers it all, but now he sees it in a new light.
He now experiences this stuff through the eyes of a 29-year-old who, from his perspective, saw his mother lying dead in a pool of her own blood onl hours ago, not the 10-year-old boy she sees. As such, his good manners and loving, grateful attitude throw his mom off.
Satoru also realizes that now he’s back in a time before Hinazuki Kayo was murdered, he can act to try to avoid that tragedy. But first things first; he has to introduce himself and become friends with her. His mates misinterpret his attention to and desire to speak with her as a crush, and manage to arrange a meeting, which goes…okay.
Satoru figures out she looks to be a bit of a handful (“this brat is a pain in the ass” was a brilliantly timed line from his inner voice), but Kayo quickly sees a bit of herself in him, specifically that they’re both “performing” to the world around them. Now, for a minute, I thought she might be aware his 29-year-old self is in there, or even be a 29-year-old herself inside.
But neither has to turn out to be true, because the fact remains: they have a connection. It’s one they might have had if Satoru had approached her the first time around. Now he has the benefit of foresight and hindsight.
Kenya, the wisest-beyond-his-years member of Satoru’s group of friends, seems to know what his mate’s interest in Kayo is, and instructs him to read her essay in the class composition collection, a short, simple, utterly heartbreaking tale entitled “The Town Without Me” (or “The Town Where Only I am Missing”), which also happens to be the title of the show.
Had he read the essay 18 years ago, he may not have seen it for the obvious, top-of-her-lungs cry for help that it is; it’s also chillingly prophetic. But he’s not really 10, he’s 29, and now that he has a pretty good idea of Kayo’s situation, he can’t simply stand by and let her be erased a second time. Moreover, he believes saving Kayo will sufficiently alter the future to save his mother, not to mention his framing in the murder.
So he tells his mom he’s going to have a party in the apartment with five of his friends. She only knows of his four friends, and immediately assumes the fifth is his girlfriend. But one step at a time. Satoru walks to the park where Kayo is reliably hanging out, not wanting to go home to her physically abusive mother (a harsh contrast with Sachiko).
There, Satoru tells her the truth: he does perform around others, pretending to like everybody so some of them will like him in return. She can relate, and elaborates on his thoughts by telling him she often wishes that one day, she won’t have to pretend; that the interactions will be genuine.
29-year-old Satoru can see what’s going on here: as he’s trying to hide his social awkwardness with forced affableness, she’s trying to hide her churning emotions by presenting a stoic, uncaring facade. The problem as he sees it is, a 10-year-old just isn’t strong enough to bear that burden.
Kayo needs a friend; someone who will be there to raise her spirits and restore hope that things will get better; that her suffering won’t be permanent; that she needn’t disappear from town, or from the world. Satoru wants to be that friend, and judging from their discussion and tender meeting of cold, ungloved hands, she’s open to such an arrangement.
I desperately want Satoru to suceed.