Watashi ga Motete Dousunda – 03

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R to L: Snow White, Eren Yeager, Shion

The Japanese government mandates that at least one episode of romantic comedies must be a cultural festival episode, but Kiss Him Not Me didn’t treat it like legal compliance; it put quite a bit of effort and its own wonderful brand of energy into it, making for twenty minutes of television that felt much longer, but had me wishing by the end it was longer still. All the positive aspects I mentioned in the first two eps apply here, and then some.

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This KHNM took its real life otome game theme to its natural next step: growing mutual resentment among the boys. The four of them are only together because they like Kae. Kae, a fujoshi, its perfectly content to keep things this way, but they aren’t. They want to court Kae properly, which means they need alone time with her (the last thing she wants).

It’s a great dynamic, and I’m glad it comes to a head so quickly in the series, and so organically, as a result of the give-and-take of the otome scenario. Kae formed a coalition so her class would vote for a cosplay cafe, and she gets to dress up all her boys the way she sees fit. But in exchange, she has to tacitly accept it when they set up time slots for alone time with her during the festival.

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To the show’s credit, despite her amazing physical transformation, Kae remains steadfastly Kae, even if she often manages to hide her baser instincts from the lads. She worries she won’t do well alone with guys, and then she goes and doesn’t do well alone with the guys. It’s the English title in a nutshell: She wants them to Kiss (or do other romantic things with) Him, not her.

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It doesn’t help that the guys are a little overeager. Nana backs her into a wall and they come close to a kiss, Mu achieves an indirect kiss through chopsticks; Iga takes her hand in his, then puts it on his knee; and Shi leaps into her arms in the haunted house, resulting in a fall and his face in her bosom.

It’s all just too much for Kae, who is completely un-inoculated against such romantic gestures. She rushes into the arms of her friend Akane, lamenting how impossible it all is. A-chan was initially amused that Kae had four dates with four hotties, but she’s quick to drop the ribbing and offer support when it turns out badly.

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But while A-chan is grabbing Kae a drink, Kae is accosted by three less-than-savory classmates, who make her guys’ aggressiveness seem coy by comparison. These guys aren’t even trying to be subtle: this girl’s hot and they’re going to get as much out of her as they can.

Then she gives one of them an uppercut, which both he and she thought was overreacting…but how the hell else is a girl supposed to act when there are hands all over her and a crotch in her face?

They chase her down the hall, but she’s rescued by Iga and Nana in the nick of time. Soon Mu and Shi are also there and the four locked in combat with the punks. Kae stops gawking and spluttering and yells, at the top of her lungs, “KNOCK IT OFF!” 

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Kae’s four guys hear her, and realize that and how they erred, and apologize, and all agree to take things slower so as not to overwhelm her again. Thus we return to the status quo, as expected, but it was a fun ride. The show didn’t want us to forget not just that these four guys really like Kae, and not just in a buddy-buddy way, but that when it comes down to it, they also don’t hate each other’s company.

When the time comes for the bonfire dance, the four agree to drop the romantic pursuits for the day and give Kae a little something for tolerating their forwardness (and the brawl, for which there was somehow no punishment). That something turns out to be another dream come true not just for fujoshi Kae, but her fujoshi BFF Akane: the four pair off and dance with each other.

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Kuromukuro – 14

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They’re not playing around, Kaya

Kuromukuro’s second half picks up right where it left off, with Ken suffering a serious wound by Muetta/Yukihime’s hand. She goes after Yukina too, but a huge cloaked ogre jumps in to be her opponent, eventually chasing her off. Sophie and Sebastian also spring into action, surprising their ordinary classmates with their skills.

It’s a state of extreme chaos, where no one can think more than a few seconds ahead. It’s here we see the importance of training and poise under duress (the school nurse, for instance, simply isn’t ready for the wound Ken suffers).

As for Kaya, well, he’s not alone in trying to convince himself this is all some kind of harmles cosplay fun…until a UN soldier saves him from Muetta’s blade. Even so, he keeps the camera rolling, putting the recording of this momentous event over his own life. Priorities.

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“So just DIE already, idiot!”

Speaking of priorities, Ken’s, after his wounds heal quickly but not completely, has his all wrong as well. He wants to “save” the woman who tried and will keep trying to kill him, meaning he’s always going to be a liability against her in a fight.

The fact his wounds are still open and he keeps coughing up blood all tell Yukina he’s breaking his promise not to go off and die. But she sticks with him to make sure he doesn’t, and it’s her advice in the heat of the battle with Muetta and Mirasa that saves the good guys from defeat.

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Sure, talk about “warrior’s honor” when you’re fighting in a mecha with 8 arms

She notices from the way the two Efidolg geoframes are fighting that they’re not working together, and may not even like each other. And she’s right; Muetta wants the glory, and doesn’t consider Mirasa a warrior of equal standing.

Yukina suggests that the Kuromukuro, along with GAUS 1 and 2, pick on one opponent at a time, working together to wear it down while the second one founders. Before long, Mirasa’s frame shuts down, and rather than let the three turn on her, Muetta grabs Mirasa and heads for the nearest atmospheric lift back to orbit.

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Nothing like a cool, refreshing aloe vera drink bath after a battle

The two pilots failed in their mission because Muetta prioritized personal revenge over the mission’s successful completion, while Mirasa prioritized her own honor. They only lasted as long as they did because Ken was never going all out, both because he didn’t want to harm the woman he’s convinced is Yukihime, and because he’s in such rough shape.

Indeed, he can’t keep the blood down moments after the two enemies escape, and after he’s held back by a GAUS from following them up to their space station. No good can come from him going up there alone, especially in his state.

Instead, it’s time to heal, repair, then re-assess and coordinate priorities. If Muetta is Yukihime, that certainly seems to be news to her. As for the Ogre, I don’t know where to start with him. Is he the same guy Ken saw centuries ago (and drew an awful picture of), or is it Yukina’s father in disguise? Whatever the case, events keep proving her dad right.

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Kuromukuro – 13

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Two Efidolg knights seem to have “gone rogue” in order to pursue their own personal ambitions against Earth. The first is Mirasa, who fights the Black Relic and GAUS units to a draw and escapes into the woods to regenerate. The second is “Muetta”, whose hair immediately indicated is Yukihime, or at least some kind of Efidolg clone of her.

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As Takeyama High prepares for their cultural festival in the interests of maintaining normalcy and taking a break from studies and battles alike, Yuki looms over the episode like a silent wraith, crouched and ready to strike.

Yukina’s class decides to do an “Efidolg Forum”, what with three UN pilots in their class. Unfortunately, everyone else at the base is too busy to join the forum, so it’s just Yukina, Ken, and Sophie.

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In a particularly clever bit of plotting, because one of the activities at the school festival is cosplay (with Mika switching her usual school uniform for another), Muetta is able to slip into the school without any trouble. Indeed, she’s commended for the craftsmanship of her armor and arms.

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While Muetta closes in, Yukina and Ken have a grand old time at the festival, with Ken remarking that modern life itself has always felt like a festival to him, but this takes it to another level. Yukina asks him what he plans to do once he avenges Yukihime, because he has his whole future ahead of him (dundundunnnn).

Almost immediately after Yuki mentions how everyone has two doppelgangers, her Efidolg doppelganger leaps on the stage and charges at Ken, who is so shocked by the sight of her (having just seen her in the digitally altered photo of Yukina), he lets his guard down and gets run through.

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The show, knowing we knew who this was all along, still expertly kept most of Muetta’s face out of the frame right up until the very end, when showing it had the most impact. And the camerawork of the stabbing is great stuff, with an extreme closeup of Muetta cutting to a dumbfounded Ken, who then falls to reveal an equally shocked Yukina.

Where goeth things from here? Hard to say. I wonder if Sophie can somehow suppress Muetta, and why Muetta stabbed him. Perhaps, like him, her memories had bene lost on Earth those centuries ago, but now they’re back and she’s punishing him for betraying their people?

In any case, this was quite the exciting cliffhanger to place between Kuromukuro’s two halves: the moment Ken’s two princesses met.

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P.S. The rock band in the auditorium is playing the show’s opening theme, a cover of “Distopia” by GLAY.

Tanaka-kun wa Itsumo Kedaruge – 11

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You’d think a pool episode would wear Tanaka out, but he can always float listlessly on the surface. When his normally relaxing, ordinary school life is infected by vigorous preparations for the cultural festival, we learn what is truly anathema to him.

In preparation for the bedlam, he tries to perfect his cloaking device, but to no avail: he has to perform some task, and the final ones available to him and Ohta turn out to be the role of haunted house ghosts.

Of course, initially, Tanaka doesn’t scare Shiraishi so much as surprise her when he so nonchalantly flashes her while switching how he wears his funeral robe (fortunately, he was wearing underwear).

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Ohta and Tanaka also have a sweet moment when they look on proudly as Echizen interacts with people other than the two of them and Miyano (though she resents their pride as somewhat mocking).

The haunted house turns out alright too, with a couple of little issues: Rather than a ghost in a well, Tanaka looks more like a leisurely bathing spa patron.

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As for Ohta, he’s far more scared of the house than anyone else, and so he must be replaced as star ghost. Miyano steps in, but ends up charming patrons rather than scaring them with her adorable demon catgirl get-up, even posing for pictures. Hey, it’s not what they were originally going for in a haunted house, but if the customers come away happy, who cares?

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During Tanaka’s break, he sees class 1-E has a Maid Cafe, and as a girl with very similar long black hair runs off to watch the drama club, I was all but convinced Tanaka would be forced into a maid outfit to substitute, with hilarious results. Instead, we got something even better: Echizen in a maid outfit, complete with bubbly welcome.

Of course, she realizes far too late who she’s welcoming, resulting in the longest—and best—comedic pause of the episode, ending with Echizen reverting to her usual brusque nature, demanding Tanaka go home and forget what he saw.

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Tanaka continues his quest for a refuge from the hustle and bustle of the festival, barging in on a kissing couple and coming up against a sign barring roof access. He settles on a cardboard box near the roof door, where he soon falls asleep. Ohta, who lost sight of him during the break from helping everyone who asked, searches desperately for his friend, stopping at nearly every food and sweet stall on the way—this is a cultural festival, after all, one must sample all they can!

When he does find him, Tanaka is so accidentally scary-looking that Ohta clean passes out. All Tanaka can do is sit by him and wait for him to come to, but of course he dozes off in the process. When they both come to, it’s time to clean up and celebrate a festival well done. But Ohta doesn’t forget the ghoul he spotted, and presents Tanaka with consecrated salt to ward it off…even though “it” was Tanaka himself.

Another wonderfully solid and hilarious Tanaka-kun, adding new life to a well-worn anime theme two weeks in a row with its uniquely bizarre and unexpected yet warm and charming comedy. I hope it gets a second season!

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Re-Kan! – 07

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Hibiki’s ridiculous generosity and utter inability to say no to a ghost is taking its toll and  burning her out, so her friends stage an intervention on the streets, insisting she needs a break from her supernatural drudgery. They head over to her house, which while not a Gothic haunted mansion, could certainly pass for that house in Kwaidan with a few minor tweaks.

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Hibiki’s dad concurs, and produces a pair of sixth-sense-sealing glasses her mother used to wear when she needed a break from ghosts to, ya know, eat or sleep. I like how this story subverts the standard anime glasses girl trope. Sure, they make her look even more adorable (and more bookish), but they also fundamentally change how she interacts with the world. Simply put: all contact with that which most people cannot see or hear ceases. It really is like a vacation.

But the urge to take them off and sense of who’s floating around her—and more importantly, the urge help them—is strong. So Inoue makes a very childish threat: if she takes off the glasses, they won’t be friends any more, and it works; Hibiki keeps those puppies on like her life depends on it.

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Her sidekicks Roll Call Samurai and Kogal don’t like it, but they’re big enough to realize Hibiki could use a break. But when the little sister of a boy Hibiki is playing with goes missing and it starts to get dark, Hibiki desperately needs more sets of eyes to search for her.

Hibiki makes a very difficult phone call to Inoue, who is studying and absolutely scared shitless by Hibiki’s foreboding ringtone. Hibiki seems ready to accept the end of their friendship, but Inoue assures her not to worry. If it’s an emergency, it’s fine to take the glasses off. Hibiki does, and show us yet again how handy it is to have an army of the dead at one’s disposal.

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The balance of the episode is a New Year’s shrine visit by the whole gang. While I miss Glasses Hibiki, I loved how she lets spirits vote on what she wears, and the fact Inoue got drunk and loose-lipped on Amazake, and her friends decided to get her to open up.

To their disappointment, her response to almost every question is “Nana!”, so ingrained is her love for her late gran. Hibiki, not wanting to do anything untoward, simply asks Inoue if she’ll be friends with her in the next year, for which Inoue offers a more sober tsundere response of “I suppose.”

We finish things off with a fun little brawl between the incorrigible Ero-Neko versus Samurai and the Killer, who are sick of the cat’s sexual harrassment, as Kogal watches with enthusiasm.

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P.S. Like Hannah with Food Wars, I’ve taken over Re-Kan reviews from Zane in order to even out our workloads. -Preston

Re-Kan! – 06

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Amami Hibiki is a lovely young woman, but let’s be honest: she’s a bit of a goody-two-shoes, at an age when she’ll be forgiven for letting her hair down and misbehaving now and again. After Narumi (no slouch in the goody two-shoes dept. herself) wonders out loud (and loudly) why Hibiki can’t ever act like a “normal high school girl”, we’re introduced to a whole new Hibiki—a Kogal Hibiki!

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The sight of Hibiki all Kogal’d out—and Kido Ibuki ditching the good girl voice for one of constant irritation—is already worth the price of admission. But what makes this another quintessentially Re-Kan! episode is that Hibiki’s new look and act is the result of the ghost of a high school girl from ten years ago possessing her.

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The deal is, the Gal-ghost will make Hibiki more like a “normal high schooler”, which isn’t really possible since the high school world has moved on in the last decade, but never mind; and in exchange Hibiki will lend the ghost her body so she can “pass on.”

Until then, Gal-Hibiki’s attempts to act aloof and cool and use outdated lingo provide entertainment to her friends, including the group’s journalist, Uehara Kana, who is always snapping pics and documenting her encounters with ghosts on her blog, following the journalistic tradition of her parents, for which she’s secretly proud.

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Worried about what the Gal-ghost will do in Hibiki’s body, her friends follow her, discovering she’s summoning someone to meet her. When she discovers she’s being followed, she’s annoyed and a little embarrassed, as they observe her actions and explanations increasingly out of step with her ko-gal persona.

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All is revealed when the day of the meeting arrives. The person who meets her is her mom, who coincidentally is one of Hibiki’s shopping buddies, whom she shopped with the day before in Hibiki’s body. The Gal-ghost is angry that her mother hasn’t moved on from her untimely death, or had a new daughter, and is even still making enough dinner for three ten years later.

But the Gal’s host, Hibiki, explains to her that a mother will never forget their child no matter how many years pass, nor will she ever see her departed daughter as worthless. The mom catches up to her and beautiful catharsis ensues. No longer guilty for dying so soon without accomplishing anything in life or giving anything back her her mom (a false charge on her part), she’s able to pass on.

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Before she does, sticks around within Hibiki just long enough to make sure Kana doesn’t make the same mistakes she did. Kana organized a Christmas party for everyone, despite the fact what she wanted most was to hang out with her parents, who are always busy. The Gal-ghost orders her home, and to Kana’s surprise, her folks are there waiting for her.

By serving as the Gal-ghost’s vessel, Hibiki not only got some rad fashion tips and education in early 2000’s jargon, but was able to help Gal forgive herself and pass on, but through Gal, helps her still-living friend re-connect with her parents.

So it’s a good thing for both of them Hibiki isn’t just another normal high school girl!

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Re-Kan! – 05

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After working hard on getting their haunted house ready for the cultural festival, Hibiki’s crew meets her dad Asahi, a widower with white hair from “being through a lot”, but who is grateful Hibiki has such kind friends to depend on. He and Narumi tend to get frightened by the same things, which is to say anything involving Hibiki.

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Of course, Hibiki’s dad knew what he was signing up for the day he met her mom Yuuhi, who was just as beautiful and mysterious as their daughter would turn out to be. It was the ghost of a pigeon that brought them together, warning Yuuhi that a young man was going to get hit by a car trying to recover his pigeon corpse.

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The next day at the festival, Narumi (in Sadako cosplay) is the first to encounter Hibiki’s dad, and they have a nice chat about Hibiki. Specifically, Yuuhi’s ability to not only see ghosts, but see the future.

Yuuhi knew she would die shortly after giving birth to Hibiki, and she knew Hibiki would go through pain and anguish, but she also knew she’d find friends. As scary as it was and is to live with the ladies in his life, Asahi wouldn’t give it up for the world, and is elated that his late wife was right.

Narumi is modest and bashful about praise, as always, but she also feels bad about being so hostile about Hibiki’s sixth sense, now that she knows it was passed down to her and is actually a pretty amazing gift.

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Unfortunately for Harumi, when she’s wearing her Sadako wig all the school ghosts think she’s Hibiki, and put her and Asahi through a haunted gauntlet that results in her hair turning white like Asahi’s; not from fear, but from an incident at the okonomiyaki booth.

Another fine effort from Re-Kan: blending personality-based comedy and slapstick with a good dose of feels.

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Golden Time – 20

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A lot of shows can feel drawn out when they try to take things slowly, but Golden Time can be deft at at delaying gratification and generating interest in unresolved matters. By the end of this episode, Banri is really no closer to giving the ring to Koko, Mitsuo is no closer to reconnecting with Linda, and Oka is no closer to acknowledging Banri’s existence after catching him “having a frank conversation” with Linda.

And let’s not forget the overarching unresolved issue: the fact there’s still another Banri rattling around in his head, making it physiologically impossible to move on, as his heard has resolved to do (and had been, to a degree, succeeding.) We’ll confess to Banri’s ring-holding growing more and more excruciating; internally we were yelling “GIVE HER THE RING. GIVE HER THE DAMN RING NOW, PRECIOUS!!!” at the TV at one point. But it just doesn’t happen.

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There’s a reason we’re so apprehensive. We’re hoping that whatever’s going on in his head could be somehow resolved if he garners the will to present that ring to Koko—knowing Koko could very well interpret it as a proposal. It’s a powerful symbol burning a hole in his pocket. There are no guarantees the ring will do anything of the sort, but the way he and Koko talk, there would be worse things than them tying the knot and sharing the rest of their lives together.

But while his big memory problem is left unresolved (and his identity left in a very precarious position after his “relapse” in the middle of the parade), along with all the other things listed above, the episode is still an odd joy to watch. Banri’s journey to find someone to talk about it takes the weirdest turn when Sho and SHi of the Tea Club, of all people, are the first to learn of the ring, and fill his head with a dizzying cocktail of wisdom and conjecture. The duo is brimming with zany, aggressive energy; they’re an underutilized gem on Golden Time’s deep bench.

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It’s as fun as it is frustrating watching Mitsuo struggling so mightily with Linda, and the show isn’t messing around with the obstacles in his path, as he isn’t even able to utter a word to her for the entire episode. It’s also sad when Oka utterly ignores Banri. We love how she often subverts her usual chibi aura with striking displays of seriousness. Like Mitsuo, Nana, the Tea Chicks, or even 2D-kun, Oka feels like she carry her own show.

And that’s why we thoroughly enjoyed this episode even though it tortured us with the ring and didn’t resolve any of the characters’ many problems: the more time we spend with the supporting cast, the more we want to learn about them, and the more time we want to spend watching them interact and do ordinary, non-supernatural stuff. Golden Time could presumably keep this up for some time, but with only four episodes left (that we know of), we still the show resolves a few things before the end, preferably without leaving us trembling despondently in some dark corner, as poor Banri was.

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Rating: 8 
(Great)

Tamako Market – 10

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RABUJOI apologies for the delay of this review.

The Usagiyama High Cultural Festival approches, and the Baton Club gets a primo spot in the schedule, when they’re assured the largest audience. Captain Midori designs the uniforms and volunteers to come up with the choreography. However, she can’t think of anything, and hides her creative block from the others. When she misses a day of school with a fever, Tamako, Kanna, and Shiori visit her, and she admits she has nothing. They decide to come up with choreography as a team, and perform splendidly. When the festival concludes, Choi, having noticed a mark on Tamako’s neck, declares her the Prince’s Bride.

Virtually every school-themed slice-of-life series is going to have a Festival episode or two that gives the characters defined goals and challenges them to rise to the occasion and meet them, and Tamako Market is no different. What’s admirable about the series is that the core characters are in a club (the baton club), but it hasn’t been a particularly integral part of the series. The show hasn’t lived and died by their…er...batoning; which is nice, because far too often it seems like series are dominated by club activities. And far more important than the actual performance (which was pretty good), was how the Baton Club arrived there.

Midori, the Fearless Leader, turns out to have quite a bit of fear after all. She cannot come up with choreography she promised, but maintains a  false facade of control and confidence as long as she possibly can. Ultimately breaks down when presented with all of the evidence she’s failing. She’s afraid of looking bad, even for a moment, but her team don’t want her to cry or hold anything in. There’s no shame in asking for help, or crying, for that matter. This episode is a feast for the eyes, with a plethora of nice little gestures, close-ups, hair-falling, leg-twisting, and eye-glazing. The characters really feel alive. We also liked the generous use of jump-cutting. Very, very nicely directed and animated.


Rating: 8 (Great)

P.S. Choi finally confronts Tamako with her belief she’s the one who must marry her Prince. Whether this goes anywhere at all, we’ll have to see.

Hyouka – 12

The 54th Kanya Festival has arrived, and all the members of the Classics Club are looking forward to it in their own way save Oreki, for whom it’s just another day. They over-ordered the 46th Hyouka anthology, so they have to sell 200 instead of 30, and their club’s low profile and isolated location will make that difficult. The club devises a strategy in which Chitanda negotiates for a better booth and Satoshi will advertise. Both get easily sidetracked by the many booths and events. Oreki, meanwhile, mans the booth, making his first sale to a punked-out member of the fashion club.

With all the guff and drama in the past relating to the Kanya Festival, it was only a matter of time before we witnessed the most recent iteration in episode or arc form, and here we are. And as is typical of Japanese cultural festivals in animes (and perhaps in reality as well; we wouldn’t know), the school goes all out. Every student is involved in something, and the school is alive with activity. The episode’s prologue shows Chitanda, Mayaka and Satoshi awake in the wee hours of the morning, filled with anticipation. Oreki gets his dream job: sitting at a booth in a quiet clubroom all day. We also briefly meet his sister, who is home, though we don’t see her face. She gives him a pen that comes in handy later.  Will she play a role next week?

Rather than have a fresh festival-related mystery pop up, the Classics Club is instead faced with a commercial dilemma: they ordered far too many anthologies, and must create extra demand for them where none existed – more than six times the demand, to be exact. They approach this problem the same way they’ve approached any problem: determine what needs to happen to sell those books, and make it happen. Easier said than done, as Mayaka is stuck in Manga Club the whole first day, Satoshi has his own festival checklist, and Chitanda quickly becomes overwhelemed by the variety of activities distracting her from the task at hand.


Rating: 7 (Very Good)

Nazo no Kanojo X – 10

While buying another Imai Momoka magazine, Tsubaki bumps into his old crush Hayakawa, who has been recently dumped by her boyfriend. He tells her at first he doesn’t have a girlfriend, but confesses after stopping himself from licking her drool. He tells her his girlfriend’s name, and she intercepts Urabe and tells her about her cultural festival. She then calls Tsubaki late at night to ask if he’ll pretend to be her boyfriend at the festival. He agrees. Urabe learns Tsubaki’s alibi was a lie. Hayakawa shows up to the festival dressed in her junior high uniform and a long wig.

This week Tsubaki shows he didn’t learn his lesson about buying magazines of an idol that looks like Urabe, but that isn’t his biggest blunder this week by far. We’re a little disappointed with his behavior throughout the episode, and we would have liked to see more Urabe, but we still enjoyed the tension as Tsubaki walked the tightrope. As for his former crush Hayakawa, she’s a dangerous and kinda scary new threat to Team Saliva, hatching a dastardly scheme to break Tsubaki and Urabe up. Tsubaki can’t help but let himself be played like a fiddle. It’s a very old and well-worn story, but also a well-executed one. Hayakawa is crazy, but  believably so; not too over-the-top psycho.

Tsubaki at least stops himself from tasting Hayakawa’s drool, and comes clean about having a girlfriend, but it doesn’t faze her. She comes to him with a (fake) bruise on her face, and Tsubaki can’t turn her down. The episode is pretty clear that it isn’t chivalry and good intentions alone that motivate Tsubaki; a part of him still likes her, and when presented with an excuse to be with her, he takes it. He knew what he was doing was wrong, and he did it anyway. Then he lied to Urabe, and she found out from Oka. Tsubaki has dug quite the hole for himself, and we’re curious to see how he’ll get out of it – since we assume he will.


Rating: 7 (Very Good)

Sakamichi no Apollon – 07

The day of the school cultural festival draws near, and Kaoru still won’t speak to Sentaro. Kaoru and Ritsuko are elected to the festival committee by their class, who have begun to noticce their mutual affection for one another. Sentaro makes a move on Yurika, but they’re interrupted by a bedraggled Jun, who Sentaro punches. Kaoru wastes an opportunity to clear the air with Sentaro, and the two drift far apart. When the festival arrives, the rock concert is cut short by electrical problems. On a whim, Kaoru decides to occupy the crowd by playing jazz on the piano. Sentaro joins him on the drums, and their jamming draws the whole school to the gym, spellbound. When they’re done their impromptu set, they run down the slope.

Whew…now that was a goddamn powerhouse of an episode. Just as jazz was the catalyst for Kaoru and Sentaro’s friendship, it’s also the salve that mends it when it’s asunder. The episode is a roller coaster of bleak emotional valleys balanced by dizzyingly estatic peaks. Beginning with a breif recap of Kaoru telling Sentaro off, potentially (though unlikely) for good, and ends with the most jaw-droppingly epic jam session in the most unlikely venue. The entire school witnesses their catharsis, and are so captivated they almost forget to applaud (Yurika gets it going). The scenes of students running into classrooms beckoning their peers to come to the gym adds to the energy. This week the school learned a lot more about Sentaro and Kaoru.

They jam for just over three and a half minutes, but times seems to drift away altogether during that period. We’re dared to not tap our feet or drum our hands on the coffee table to the music, and we can’t resist. The medley harks back to all the pieces they’ve played thus far – and one Kaoru played just for Ritsuko – but all of them have a new energy, which Ri’ko puts very nicely: “Like two princes arguing good-naturedly as they come back home.” It is an argument: between two momentarily estranged friends; between piano and drums; but once they’re both on the same wavelength and jamming away with such energy and purpose, not even a drunken racist Yankee sailor would deign to interrupt. Ri’ko’s dad mourns the loss of Coltrane at the episode’s start: it’s no time for silent halls or friends…and rock ‘n’ roll just ain’t gonna cut it.

10_masterpiece
Rating: 10 (Masterpiece)

RABUJOI World Heritage List

Tasogare Otome x Amnesia – 05

During the school cultural festival, Yuuko decides the P.I. club will have a haunted house, and she’ll be the ghost. Kirie gets fed up with watching Yuuko hang off of Niiya, and storms off with Okonogi, bump into some of her friends who conscript Kirie for cat maid cafe duty. The experience boosts Kirie’s confidence, but then she realizes how similar she looks like Yuuko, and goes in the haunted house to face her own fear: the fear of being at the bottom of the barrel, and looking like a ghost. She runs out and bumps into Niiya, who compliments her in a roundabout way after she asks him why he likes Yuuko.

Ah, cultural festival episodes. They’re apparently an absolute necessity in most anime involving a school, and this episode represented dutiful compliance with that convention. It did, however, set Yuuko and Niiya flirting aside for most of its running time, focusing on Kirie, who up until now we’d known little about besides the fact she’s not as annoying as Okonogi, a bit of a tomboy, and Yuuko’s granddaughter. Here we learn what we could have predicted: she likes Niiya and is annoyed that he pays more attention to the ghost. She makes Niiya a stand-in for society at large: if he won’t give her the time of day, why should anyone else? After all, she has – gasp – short hair and – double gasp – a modest bust! Yep, she’s basically devilspawn.

When Okonogi dresses her up as a cat maid, to the approval and captivation of the cafe patrons, it’s a much-needed boost of self-esteem. She realizes that she’s got the Kanoe charm; some of the same qualities that make her granny so alluring to Niiya (well, that, and the fact Yuuko is so lovey-dovey with him.) Only she has an edge over Yuuko: she’s still alive. Is Kirie being a bit overly dramatic, considering she’s not that bad-looking at all? Sure. Is her performance this week all over the place? Definitely. But we still enjoyed her little journey of self-discovery, which was punctuated by a bevy of weird close-ups and quick changes of mood. Nothing spell-binding, but enough to hold our interest…for now.


Rating: 5 (Average)