Owarimonogatari S2 – 02

Those ‘battles to come’ Izuko mentioned at the end of “Mayoi Hell”? They weren’t fought or shown in Part Two, “Hitagi Rendezvous”. Instead they remain just over the horizon, foreboding in their present invisibility.

“Rendezvous” is instead primarily interested in re-introducing Senjougahara Hitagi as a prominent figure in Koyomi’s life. Even though she’s kinda always been prominent in his heart and thoughts, we’ve seen so little of her since Koimonogatari that even she seems to be struggling with her character…which is pretty hilarious.

In any case, she’s saved up a ton of “points” that she intends to cash in on with a day-long date with her boyfriend (ending promptly by 7pm so she can have dinner with her father.) It’s also White Day, and they both graduate the day after tomorrow, so now’s the time to enjoy one last gasp of high school romance (before it becomes a college romance).

Ononoki is still hanging out in Koyomi’s house, given the mission by Kagenui to keep an eye on him until ordered to stop (and implying if Kagenui never returns to recind the order, she’ll stay by Koyomi’s side the rest of her life). Tsukihi’s cameo consists of her grabbing and walking off with Ononoki, claiming she’s her favorite plushie.

From then, it’s on to the date! Senjougahara has adopted a Hanekawa-style hairdo, and also acquired a driver’s license having aced her driving test on the first try. She also points out that until very recently (since his “return”) Koyomi has been unable to acquire a license, since as a vampire he wouldn’t show up in photos.

Senjougahara is not your cliched bad driving anime woman; she simply drives Koyomi safely and well without any drama to the first stop on their date: the planetarium. We and Koyomi first learn of her dream to draw the “perfect space map” of the celestial bodies that surround earth on all sides; such maps are shaped like a hand fan, which is also called…an ougi.

Having recently experienced string of action-packed days—dying, travelling to the depths of hell, exams—one can forgive Koyomi for nodding off while lying on the comfy beds below the planetarium dome. When he does, he dreams of Ougi, and Dream Ougi seems to be just as “real” as her physical version.

Instead of Senjougahara, it’s Ougi who shows Koyomi various constellations which match the animals that have represented the oddities/apparitions of his exploits. Shinobu is depicted as a Hydra, Hitagi a Crab; Nadeko the serpent.

Ougi also tells Koyomi she represents “the principles of the universe”, further tying into the fan-shaped map of the cosmos, and tells him of her duty to “eject” those who “break the rules.” They include Izuko, Shinobu, and the newly-resurrected Mayoi. And she hopes, for Koyomi’s sake, he “forsakes” them, thereby assisting her in correcting the mistakes of the universe.

With that, Koyomi wakes up beside Senjougahara (who also nodded off), and from there, they jump from place to place on their date, following up the educational planetarium and science museum with lunch, bowling, and karaoke, with Koyomi unexpectedly beating her in the latter two categories. As “punishment” for losing, Senjougahara walks arm-in-arm and even lets him princess-carry her back to the car.

Finally, after Koyomi admits he hasn’t been able to get Senjougahara a White Day gift, she parks the car by the waterfront and scolds him. But he can make it up to her by taking her hand in his and calling her by her first name, Hitagi, which he does, in one of the most genuinely moving romantic scenes in the entire Monogatari series—and they don’t even kiss! It’s all in the signature closeups and Saito Chiwa’s delivery.

After the credits, Koyomi finds himself alone in another dreamlike dark space with Ougi, who implies his date with Senjougahara was his “last”, or might well be, depending on the choices he makes. If he wants to be Ougi’s ally, he’ll have to help her fight Izuko, “the big sister who knows everything”, and avoid her apparent traps.

Koyomi begain Part Two with a monologue about how his story so far was one of self-preservation; preserving not only one’s life, but prioritizing his love for himself, to the point love with anyone else wasn’t possible. But since he fell for Senjougahara, he feels he’s been gradually losing his narcissism. So has that part of him taken the shape of Oshino Ougi, and is now fighting the “New Koyomi” who has come to love Hitagi more than himself?

Sadly, those questions, and the battles for which Koyomi must choose a side, will not be covered here; this is the end of Owarimonogatari after just two episodes (Edit: apparently not)! But we can be fairly certain Koyomi won’t forsake Shinobu or Mayoi…and we’ll also see one of Koyomi’s inner thoughts—“to win there is an absolute need to lose somewhere along the way”—put to the test. Koyomi’s already lost his vampirism, for good and ill. Who or what will he lose in the final battle(s)?

Hajimete no Gal – 04

While wholesomely innocently researching “gals” on the interwebs to learn how to interact with Yame and Ranko better, Junichi comes across an extremely cute gal with a loyal following. This gal’s necklace has the same snake motif as Kashii Yui’s hairpin, so yeah, it’s pretty evident from the start that “Boa-sama” is Yui in disguise.

Yui is always presenting a calm, mature identity at school, but beneath that exterior she’s a vain, arrogant, imperious girl, labeling all of her classmates with various servant’s names and titles. Junichi has always been a loyal “doggy” to her, and isn’t interested in sharing him with some uncultured gal.

While Yame is hanging out with her galfriends, Yui springs out of the bushes and strikes like the snake she loves wearing, taking an extremely dumb Junichi on a date.

Meanwhile it’s on the tip of Shinpei’s tongue who Boa-sama reminds him of; an increasingly irritated and thus less careful Boa throws him a bone by describing him and his crew of losers to a man.

While secretly recording her flirting with Junichi in the classroom (which is illegal in Japan), Boa-sama gets final visual proof and shares it with the lads, who are shocked by the revelation. Despite Shinpei’s efforts to reveal his discovery in secret, Ranko gets wind of it.

Sensing that being blunt will be best against the painfully dense Junichi, Yui passionately confesses to him on the roof. When he turns her down (as he’s dating Yame), she immediately cracks and her extremely fiery, petulant personality gushes out.

She also plays her trump card: she secretly recorded her date with him (which is illegal in Japan), and orders him to break up with Yame and go out with her, or she’ll send the video to Yame.

That’s checkmate for Junichi…or it would be if he didn’t have a gang of friends watching both his back and Yame’s. Ranko arrives with the three losers, superhero-style (complete with ill-advised high jump off a ledge; Ranko lands as a hero would; the guys eat shit).

Ranko counters Yui’s Yame-harming blackmail with blackmail of her own: the knowledge that Yui is Boa-sama. Yui surrenders, but she won’t give up so easily, and the war has only begun…just as Junichi’s well-endowed childhood friend prepares to take the stage.

While the lack of any real suspense regarding who Boa-sama was, and Junichi’s general incompetence in everything but being an easy mark for…just about anyone, the episode was buoyed by Taketatsu Ayana’s strong performance voicing the many sides of Yui, and while the lolicon guy still needs to stop talking, the losers, Shinpei in particular, were in top form this week.

Saekano 2 – 11 (Fin)

Megumi and Tomoya go on a date, not just because it seems like the thing to do after the rest of the harem has cleared out, but to cheer one another up. It’s clear it’s not a one-sided case of Megumi cheering Tomoya up from the look of a soundless flashback in which she reacts dramatically to Eriri’s news she’s moving on from the group.

Megumi also seems to take great joy in shopping for clothes and shoes with Tomoya around. Even if he has no fashion sense or money to speak of, his company is appreciated and their instincts—like the one to hold hands in the crowded section—are often in sync.

By the end of the trip, Tomoya is feeling much better, as is Megumi, and the former makes sure they stop by a hat store so he can get her the same white hat she was wearing when he first envisioned her as his main heroine, as thanks both for her company and for getting him glasses last time.

Megumi is touched by the gesture, and when they return to that fateful hill, she tells Tomoya “she’s not giving up”. It strikes me as having dual meaning, as she intends to move forward with the doujin group even without Eriri and Utaha…and intends to make Tomoya fall completely for her.

Tomoya agrees they should move forward, but when his laughter turns to tears of loss, she reaches out to embrace him, only to then pulls back.

Now sufficiently cheered up, cried out, and ready to move forward, Tomoya takes it upon himself to see Eriri and Utaha off, surprising them both on the platform of their train to Osaka. Their looks say it all; Eriri in particular can’t believe he’ll forgive them.

But it’s not about forgiveness at all for Tomoya; it’s about wishing his two dear and wonderfully talented friends good luck on their exciting new venture. And I don’t think he’s putting on airs—one doesn’t turn down something like Fields Chronicle, and he thinks their “god-tier” talent can make it the best ever.

This sendoff, complete with a Megumi phone call with the same positive, concilatory intent, is enough to bring Eriri, Tomoya, and even Utaha to tears. It’s a bittersweet moment, one perhaps made a bit more silly when after Eriri removes Tomoya’s glasses, intending to keep them, then leans in to kiss, it’s Utaha who steals a big, long smooth with Tomoya, and Eriri is forced to whip out her twintails for the first time in a long while. They also miss their train in the excitement.

But no matter; they’re on their way. Post-credits, Tomoya and Megumi are both on first name terms, now seniors in school, chattering away with their usual excellent chemistry and bonhomie. Then, to their surprise, Hashima Izumi appears, a recent transfer, and Tomoya understands Iori’s words about sending his sister to a place where her talents can be put to best use.

Will Izumi be the artist for Tomoya and Megumi’s game? Perhaps, but it’s a certainty that Michiru will score the music once again. Hey, remember Michiru? The show makes sure to let us know it’s in on the joke regarding her absence for the back half of the season (which, frankly, was fine).

But notably, Michiru is conversing with Eriri and Utaha, who are watching Tomoya from afar. Eriri is still enrolled in the school, but the graduated Utaha is there because “it’s a free country.” The more things change, the more they stay the same!

Saekano 2 – 10

It’s very rare indeed for an episode to come around that gives you everything you wanted; everything you held out hope would come to pass but didn’t dare expect. And yet, well, here we are.

The completion of Cherry Blessing was an arc closure at an odd time in the run of a season, but the groundwork that was laid thereafter pays off wonderfully here, as Kashiwagi Eri decides to Take Her Talents to Rouge Beach, thus enabling Kasumi Utako to come along for the ride.

We start in the aftermath of that hellish meeting with Akane, still shaken from the abuse they were forced to endure. Utaha is no less honest and upfront as Akane was: she’s steaming mad that she’s being treated as an afterthought; a James Jones, if you will.

But as much as she hates Akane for doing so, she still agrees with the producer that Eriri is many years too early and too green to presume she’s “in a slump.” If Eriri agrees to do Fields Chronicle, Utaha will strive to crush her, even as they collaborate.

Of course she does. Competition, even outside one’s own field, drives a creative like Utaha. She wouldn’t be who she is if she didn’t treat Eriri as a rival; and when such a massive job comes around such as this, her’s is the name she’ll want spoken first in praise of the game.

Eriri laments that Utaha is dumping such a huge decision on her alone, but Utaha points out she’s not the one doing the dumping; that’s Akane. Utaha never had a choice. But if Eriri says yes, she’ll work with her, and not just because she’ll be able to as part of the deal with Akane, but because she believes the two of them can move forward together.

Not long thereafter, Eriri calls Utaha out of the blue, inviting her to join her back at school, where Eriri announces she’s defeated her slump and has her drawing touch back.

She forgot to bring the sketches to prove it to a giddy, over-the-moon Utaha (who curses Eriri for being so damn useless), but Eriri doesn’t need them, and instead proves it by sketching then coloring a gorgeous portrait right before a stunned Utaha.

She is indeed back, and Eriri responds to Utaha’s approval with smiles and laughter, but those turn to bitter tears when Eriri thinks of the reason she can draw again. As much as she wanted it to be because Tomoya wanted her and because of his support and love, she can draw again because of the less-than two minutes Akane spent insulting her.

Akane’s tirade did what it was meant to do, whether Akane meant to do it or not: Rattle Eriri’s cage; rattle it until the latch slips loose and Kashiwagi Eri can be fully released from behind the iron bars of Tomoya’s safe, comfortable doujin group.

That place is no longer conducive to the creative growth required for Eriri to be as amazing as she can be—and as Tomoya said she could be. It’s a hard pill to swallow, but Eriri does so, and Utaha offers a comforting hug in the process. You heard right: Eriri and Utaha hug. 

In return for her empathy, Eriri warns Utaha not to let Akane look down on her. Utaha had seemed thus far to be taking Akane’s words as gospel because she’s so experienced and successful, but Eriri, staunch Kasumi Utako fan, offers a different view: Akane “isn’t anything special” if she would so blithely underestimate Utaha’s talent.

That, in turn, elicits tears from Utaha, but she wipes them before bumping fists with Eriri, the first step on their new and exciting journey that is almost asssured to make them a part of video game history.

That leaves Tomoya Aki, whom I half-expected to blow his top and throw some kind of temper tantrum at the news that not only would Utaha be backing out of his group, but Eriri would too, thus “betraying” him for the second time in their long years together.

But I found that such a half-prediction was selling Tomoya short. He’s certainly not elated by the (off-camera) defections, but he’s a big boy, and he’ll get over it. I was pleased with how mature he acted, while Hashima Iori, who left rouge en rouge with Izumi for, presumably, the same reason Eriri and Utaha left Blessing (to grow), urges Tomoya not to quit game developing and creating just because he lost his two “golden geese.”

And I totally get why: Eriri and Utaha were just as much training wheels as geese; he’ll now have to test his producer mettle other people; creatives who may not be as hugely talented, and people who won’t be lured into working for him by the feelings they harbor for him!

But there’s another reason Tomoya will be just fine: his harem has been shattered, and with it all the myriad routes he could have chosen to take. Now there is one route, and it leads him up the same sakura-scattered hill, where a familiar figure seems to be waiting for him…

That figure is, naturally, Kato Megumi, the girl who is best suited for Tomoya, and always was; a girl he won’t be stifling creatively, because they work so well together. She’s returned to the short hair that first inspired Tomoya into making a video game about a nice, astonishingly ordinary, “boring” girl.

Tomoya, in turn, drew Eriri and Utaha into his orbit. Normal as she may sound and appear, without Megumi there’s no Blessing Software, no Cherry Blessing, and no Fields Chronicle offer. She was their heroine, the heroine, and now he’s his. And like any good heroine, she makes the first move, suggesting they go out on a date at once.

Sounds good to me! Well done, show: Satisfying resolutions, character growth, and so many feels.

Tsuki ga Kirei – 08

Simplicity can contain multitudes. By that, I mean sometimes there’s a lot to be found in a pure, unembellished tale of first love of the kind blooming between Koutarou and Akane. With Chinatsu out of the way (an unpleasant but necessary step), all that stands between the two is their gossiping peers at school, eager to know all there is to know.

But there isn’t that much to know. Akane doesn’t even give a straight answer to the question “Why Azumi?” She may not be able to put it in words, but that doesn’t bother her; she doesn’t care why she likes him, she just…does. And he likes her, which is why they now actively do all they can to see as much of each other as possible, during which time they’ll explore more about the ‘why’.

During their private lunch in the library, Kotarou gets a text asking him to attend a hayashi practice, and Akane pounces on the opportunity to see her boyfriend perform, which he does. Just as Akane seemed to run harder, Kotarou dances harder, impressing the hell out of his girlfriend.

Kotarou also gets nods of approval from his hayashi peers, one of whom suggests the couple attend Hikawa Shrine’s Summer festival, famous for its hanging wind chime fortunes. Akane arrives at their meeting spot for the date in full yukata. Kotarou is loving the look; Akane is loving how he’s loving it.

A near-perfect festival date ensues, with no one getting lost or bumping into unwanted secondary characters. Akane also cuts her foot on her sandal, but Kotarou tenderly bandages it when she can’t bend over in the yukata. They don’t let anything spoil their enjoyment of the night and of each other.

Akane ducks away for a bit, but only once she hears Kotarou’s most recent birthday has already passed, and decides to get him a little present: the same beanbag stress toy she has. The only remaining ‘drama’ is her trying to finding the right time and place to present it to him.

Once she does, she feels much better, and Kotarou is grateful, and decides the time has come for him to call his girlfriend by her first name, and she, in turn, calls him by his. And with no one around to suddenly stop them, they finally connect for real on their first kiss, finishing what they started last week and hadn’t been able to stop thinking about.

It all happens to the tune of a rendition of “Summer Festival”, which I last heard in Re:Life. The camera keeps a tasteful distance, underscoring how the two must feel like they’re in their own little world. The next time her friends at school ask, Akane can tell them being with Kotarou makes her feel safe.

The parting shot of what the two wrote on their chime wishes—they both wrote the same thing: to be together forever—is a little mushy, but who cares! I daresay these kids are gonna be alright, and there’s a quiet thrill in watching them steadily improve at this thing called courtship.

Shingeki no Bahamut: Virgin Soul – 05

It’s an incremental episode with little action, but I can hardly complain when it’s also stuffed full of nice character beats from everyone. Take Nina, going shopping with Mugaro and naturally assuming he’s a girl because he’s so pretty, and dressing him accordingly. Nina cleans up pretty well herself, not that her standard, practical outfit isn’t nice in its own way.

Nina uses her super-strength to negotiate discounts, but it also allows her to stand up against a pimp-like human for torturing his slaves. Brand-new frilly dress or no, she’s ready to rumble with him and his bodyguards when Mugaro uses his red eye to vaporize all of the demon slaves’ collars, causing their former owner and his goons to flee.

Meanwhile, Kaisar is having a crisis of confidence, unsure if he’s worthy of captaining the Orleans Knights in Jeanne d’Arc’s stead. What’s so wonderful is how he expresses this frustration, inviting Rita to lunch, then sounding an awful lot like he’s about to confess to her. Rita is understandably miffed that Kaisar only wants to rant, and punishes him accordingly, while also telling him the old Kaisar of ten years ago may have been useless, but he was better than this Kaisar.

Bacchus’s moral dilemma intensifies when Sofiel pays him a visit complaining that he’s not doing enough to secure the “child;” but it’s only when Nina returns with Mugaro that he starts to suspect Mugaro is the very child he’s looking for. Sofiel thinks Bacchus is pathetic for not caring about staying in the human world forever, and it’s clear at least a part of Bacchus wants to obey her and produce the child…but another part of him doesn’t.

Getting punched by Rita motivates Kaisar to confront the King once more, and gives some very reasoned arguments, but Charioce argues his position well, too, even if he’s a bit overconfident he can become powerful enough to overcome the hatred his hatred will beget. Kaisar rightly believes Charioce’s way of doing things simply isn’t sustainable, and it’s only a matter of time before a large scale demon uprising is upon them (as we see earlier, Azazel is well on his way to starting it). But Charioce says he’s got it. To his credit, he doesn’t begrudge Kaisar living his life the way he chooses, as long as he doesn’t interfere with him.

One of Bahamut’s strengths is its ability to be so stern and serious in one scene, and so lighthearted and comical in the next—and sometimes both in the same scene. So it’s nice to see Kaisar and Charioce’s political debate followed by Bacchus and Hamsa’s ham-fisted attempt to see if Mugaro has two different-colored eyes, only to wake up and creep out Nina, who delivers swift justice and tosses them out of their own wagon.

No huge movement here, but still plenty of solidly entertaining scenes. Nina in particular continues to be a magnetic presence. I could honestly watch and listen to her read the phone book—which makes me that much more excited to see how she’ll fit into the coming confrontation.

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?

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.

Kuzu no Honkai – 12 (Fin)

Last week I joked that I’d be fine with whatever transpired in the Kuzu no Honkai finale…as long as it didn’t feature a school festival. Alas, that’s what we get, and for the most part, it felt like marking time; padding for some closing remarks by Hanabi.

There’s also a time jump from the November festival to March, only for the episode to go back to the festival, which feels fairly weird and not altogether necessary. The jump occurs after Hanabi does some milling around as a stagehand, then ends up encountering Mugi in a supply closet.

What’s going to happen there? Well, I was reasonably sure it wasn’t going to turn into anything steamy, but the jump to March, when Hanabi’s class is now preparing a celebration ceremony for Kanai and Akane’s impending wedding. While being hit on by another guy, Hanabi is “saved” by Ecchan, now sporting shorter hair.

The shorn locks are a not-so-subtle symbol for her having shorn the part of herself that couldn’t live without Hanabi in her bed, and Hanabi is relieved to have Ecchan talking to her again. Ecchan is also correct that Hanabi still wants space and isn’t altogether uncomfortable being alone…though Akane’s olive branch of a rose from her bouquet is an encouragement to, at some point, go looking for her next love.

As we rewind to the festival, we learn that that doesn’t mean a romantic reunion with Mugi. Hanabi goes over a number of reasons why she wouldn’t mind continuing to be with him, but ultimately, she’s a lot happier simply talking with the guy; not having to continue to define their relationship with physical contact. They’re “using their words,” and it feels good to do so.

“Real Love” is what both are after, which is why they decide say goodbye to each other (though whether they remain platonic friends, we don’t know.) After all, they both know what it feels like to be in love, and while they could one day find themselves more deeply in love with each other, neither want to be “saved” in that way, at least not yet.

They don’t want to give up on the possibility that some day, someone will cross their path and they’ll know it’s true love. They decide to live that way, even knowing they could get hurt even worse next time, or may never find that love. They are finally assigning value to themselves; they no see themselves as ‘scum’, or ‘the worst’. They both lost their first loves, but they’re young, and life goes on.

Kuzu no Honkai – 11

While on a train to a weekend hot springs getaway with Kanai (two adults! How often does that happen in anime?) Akane falls asleep (she later blames being with the younger Mugi last night). She dreams she’s in a gallery of all the men she’s had, and all the lines she supposedly crossed, while either not realizing it…or not caring.

The distinction is moot; what matters is the reason: she’s never felt truly connected with anyone. In the dream, Kanai asks her why she “keeps doing this” if, as she herself said, she’s not “suited for it.”

Like last week, there’s only one brief scene involving Hanabi, and it’s one in a situation we’ve barely seen her in: hanging out with high school peers she hasn’t laid with. They view her and Mugi as some kind of ideal couple, and we the audience, like Hanabi, can only roll our eyes and say If they only knew.

When Hanabi tells them how she thinks it’s best if she and Mugi don’t see each other, they call her “such a grownup”, and considering everything she’s been through in such a short time, and the satisfying end result of Kanai’s rejection and Mugi’s, er, “moving on,” I tend to agree.

Even the contrast between the girls’ food orders and her plain ol’ coffee seem to help her exude a wisdom beyond her years. She’s been through some stuff; they haven’t. If they actually have, this show didn’t have time to show it.

Last week Akane didn’t like her dynamic with Kanai, in which she he was occupying far too much of her thoughts for her comfort. Trying to move on by telling all, if anything only intensified Kanai’s feelings for her. She’s in a nonchalant “okay let’s see where this goes” mode when they start off on the hot springs trip, but by the end, she starts to notice her heart beating.

No one has been able to throw Akane off like Kanai throws her off here. He tells her he’s fine with her messing around because he thinks she does it because she likes it, as opposed to never having known anything else. The flaws she’s always thought kept her from connecting are of no concern to Kanai, and his love for her isn’t transactional; it’s unconditional, almost paternal.

That unconditional love, and his desire for her to live a happy life, wipes clean those portraits in her dream gallery, replacing them with the image of her and Kanai. She finally feels connected. It’s something entirely new to her, but she doesn’t dislike it, and the next morning when Kanai goes for it and asks if she’ll marry him, she decides to give it a try.

Now that she’s ready to take that step, her first date with Mugi is more about closure than anything else; even Mugi realizes this. For so long he tried to find out how he could change her, but in reality, the Akane he loved was the one who existed; not the ideal he hoped to help create.

It’s clearly shitty for Mugi to see the change in her once she announces her marriage, knowing he had nothing to do with that change. But like Kanai’s rejection of Hanabi, it’s also freeing. Mugi loved the way Akane was before she changed. But she has, and so I imagine he’ll move on. But he won’t forget her.

It will hurt for a while, but Mugi will be okay, just like Hanabi and Moca and Ecchan will be alright. With Akane and Kanai getting hitched, it will be interesting to see if Hanabi and Mugi attempt a relationship, only not as it was: rather than an pragmatic alliance of “replacements”, a genuine romantic pairing of two people who no longer consider themselves scum.

Kuzu no Honkai – 10

Mugi may have been able to sleep with Akane while Hanabi was rejected, but Mugi isn’t under any illusions the reason is anything other than Akane “just felt like it today”; that she’s role-playing, student-and-teacher; because it seemed like a lark. His connection with her matches the episode’s title: “Fragile and Empty.”

The thing is, Mugi does know Akane better than most, if far from as well as she knows herself. He knows from watching her all these years how she jumps from man to man. In her inner thoughts, she tells us how it was always like that since her first: taking all of a man’s love and giving nothing back; taking all the jealousy of the other women and wrapping herself in it. This is the process by which she assigns worth to herself, and it’s the only process she’s ever known.

She executes the same process with Mugi, “shattering his world” so that she can keep standing. But unlike other men, Mugi knows her game, and wants to change the rules. But he also knows changing her is no mean feat, as she isn’t someone who’s ever fallen for anyone, only had others fall for her.

After scores of random, inconsequential men who simply played the game her way, Akane now finds herself afoul of not one but two very different men. Even though Mugi knows what kind of person Akane is, and even when another man tells Kanai, neither of them flinch in their devotion to her. The difference is, Kanai doesn’t care, and wants her to be herself. Mugi, on the other hand, still wants to change her.

During their aquarium date, Akane racked her brain about what exactly Kanai’s deal was. She felt like she was the one pursuing him by committing so much of her thoughts to him, and didn’t like how it felt, so tried to make the date their last. She thought if she told him enough about who she is (or at least the perception of that person that had been crafted both within and without), but Kanai still stopped her from leaving.

Akane has been unique in Kuzu no Honkai as the only character not “in love” with another. Indeed, Akane may not even know what it is to love someone. She’s been loved by men many times before, and every time she shattered their worlds and danced on the ashes. Now things are different.

Neither Kanai nor Mugi will back down. Both know who and what she is, yet still yearn for something she’s never experienced: a relationship that endures, a prospect that doubtless terrifies all parties involved. But Mugi knows the only way he can change someone else is by starting with himself. That’s advice he got from his pact-mate, Hanabi.

Can Mugi actually succeed, and if he does, where does that leave Kanai? Hanabi, Ecchan, and Moca are in pretty good places emotionally right now, but it feels like Mugi’s still operating deep in that murky soup they once inhabited. Who, if not himself or Akane, will be able to help him out?

Kuzu no Honkai – 09

When this week’s Scum’s Wish starts, Hanabi is alone, and wants to die. When it ends, she still feels alone, but realizes she isn’t, and doesn’t want to die. But first thing’s first: Both Narumi and Mugi reject her on the same day (poor girl!) a trip to a forest getaway with Ecchan is a welcome distraction. Any time her mind is busy is better than not.

Ecchan is looking forward to having Hanabi all to herself, but they find her cousin Atsuya is at the cabin. Atsuya feels like an interloper the whole time, but he’s not just there to mark his territory. In his opinion, Hanabi is a dead end for Ecchan: she’ll never get her to feel how she feels about her. And he doesn’t want Hanabi continuing to string her along.

But this trip was never about “making Hanabi hers”, but about saying goodbye for good. Atsuya in the next room or no, Ecchan still gets one last night of bliss with Hanabi. But after that, she vows to be alone. Hanabi wakes up early, and on a walk with Atsuya he tells her Ecchan can’t be used as a replacement.

After they spend one last day out on the town, as the couple Ecchan had at some point hoped they could be, Ecchan expresses her pride in Hanabi for “going for it” with Kanai-sensei, even though she knew how much the rejection would hurt. She did, in effect, what Ecchan had already done, only Hanabi has been “too nice” to reject her, so she has to break it off herself.

With a heartfelt, genuine display of affection and an intense desire to keep knowing Ecchan and learning more about her, Hanabi manages to secure consideration that Ecchan may come back to her, but it may take a long time. Forgetting how to love someone after loving them for so long, takes time, if it happens at all.

Now down Narumi, Mugi, and Ecchan, Hanabi returns to school in a haze of loneliness and despair. She wouldn’t be out of place in Zetsubou-sensei‘s class. Neko spots her looking forlorn and at first appears eager to gloat about how now, finally, Hanabi is getting her comeuppance; a taste of the bitter medicine Neko’s been tasting for years.

But doesn’t gloat; not really. She also has an earnest nugget of recently-earned wisdom to deliver: being rejected is a kind of liberation. Once one starts doing things for themselves—even something as small as buying and wolfing down a danish—you can start to feel better. And having heard these words from Neko, Hanabi realizes she isn’t alone. Her pain isn’t unique, and it’s not implacable.

The episode closes with Akane at Mugi’s for a “teacher home meeting”, only with the parents not home, it’s actually a booty call. And despite Mugi’s clear discomfort with the premise, she is very insistent that he acknowledge that it is an official teacher meeting, and that he call her “teacher.” Yikes.

On the one hand, Mugi is getting something he’s wanted for years. But there’s no indication he’s succeeding in “changing” her as he vowed to do last week. Instead, he seems to be falling deeper under her control, with no discernible way out as of yet. Hanabi thinks Mugi’s being “tricked.” Akane (at least the one in her head) agrees, but adds that he wants to be tricked; that all men do.

Maybe Mugi will go on like this, content with what he has. Or maybe, in time, he’ll come to see the real Akane as nothing but a replacement for the Akane of his dreams…and that he can’t go on like this.

Kuzu no Honkai – 08

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Nice hat!

This episode was so strong throughout, and its ending had so much impact, I nearly forgot that it started with Ecchan and her cousin Atsuya, automatically the weakest of all the pairings simply because we’ve never met Atsuya before.

Aside from being tall, long-haired, and a bit shy, we don’t learn much, except that he’s certain he still has a chance with Ecchan (despite most evidence to the contrary). Ecchan, interestingly, doesn’t seem so certain he doesn’t either.

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Now, on to the Big Event(s): the Dual Confession of Hanabi and Mugi to their respective crushes. I like how they make sure they do all their Summer homework first. Not only are they being proactive, responsible honor students, but they’re operating under the assumption that they’ll be in no state to study later.

Naturally, they don’t study the whole time, but fool around a bit, and that’s when Mugi tells her he’s had trouble imagining her as Akane. Which is interesting because she hasn’t been thinking of him as Narumi either.

From what I gather from their pre-confession interactions is that Hanabi and Mugi are gradually falling for one another, and starting to become aware of it.

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Of course, they still believe (and are probably correct) that their lingering hope of being with their crushes is an impediment that must be extinguished. Whether they move on as a couple together, to them, moving forward means confronting those crushes and getting rejected.

They’re both scared, but in another sign of how her feelings for Mugi have evolved, when he hugs her, his intent doesn’t matter: the hug calms her and stops her hands from shaking. No one but Narumi ever excited Hanabi, and yet here’s Mugi, doing just that.

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Hanabi and Mugi agree to meet back up at 10pm the evening of the Sunday they’ll confess, but I didn’t believe for a second that they would actually meet up at 10pm. Mugi meets with Akane during the day, and she immediately takes command.

When Mugi manages to quickly get out an “I love you”, Akane doesn’t react, because she knew. Mugi, we know, knew she knew. But she didn’t know that he knew she knew, so the knowing stopped at two levels.

And if Akane ever had anything resembling a match, it would be the person who has watched her and knows the person behind the mask. Mugi only liked her because he couldn’t have her.

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Just as Hanabi is meeting up with Narumi, Mugi finds himself in a hotel room, in bed with Akane, removing her clothes. As the RPG shot above shows, he knows he’s outmatched against such a tough boss, but doesn’t care. Akane may be a “horrible, promiscuous, broken narcissist”, but he wants to believe she can change, and that he can be the one to change her.

Can Mugi be her “first”, as in the first person she actually cared about? Mugi assumes she’s incapable of caring about him, but we don’t get in Akane’s head, so he may be wrong about that. We certainly see expressions from Akane we never have before, and they appear genuine, as if the sheer audacity of Mugi’s gambit threw her off balance.

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Of the two confessions, I always assumed Mugi’s would get messier, because of the object of his desire would make it messy with her masks and manipulations. What I didn’t expect is that Mugi was well aware of what he was getting into, but that he still had hope Akane could be redeemed in some way (and if the one who knows her and how she’s lived her life the most believes that, there could well be hope).

Because Narumi is so guileless and kind—basically the opposite of the Akane—it was a good bet that, pending a sudden unrealistic shift in his character, he’d make his rejection of Hanabi as clean and gentle as possible.

That doesn’t make it any easier or less painful for Hanabi, but once it’s all over—and it’s over pretty fast—she feels like a weight has been lifted, because this impediment to her future happiness had been extinguished. Call it a ripping off of a band-aid.

But part of why she’s relatively fine with how things go down with Narumi is because of how she’s started to feel towards Mugi. She believes she’s not alone because both he and she have unrequited loves, but Akane’s love didn’t out-and-out reject him.

Instead, he rejected the awful person she is and vowed to make her a better one. And now he’s in bed with her, and Hanabi is alone.

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