Arifureta: From Commonplace to World’s Strongest – 01 (First Impressions) – The Pit of Misery, Dilly Dilly!

Arifureta doesn’t bother with any light-hearted introductions or explanations into how Nagumo Hajime and his class ended up transported to a new, fantastical world, it simply plops us right beside him as he wallows in an abyss of despair. He’s weak, ineffectual, and his only magical skill is transmuting the rock in his immediate vicinity.

He was underleveled way further up in this labyrinth; now he’s prey for prey. When a giant polar bear-like monster with a tanuki face slices his left arm off and eats it, he retreats into a cavern of his own making and passes out under a healing holy crystal, bleeding and waiting for death.

Then and only then do we get some insight into how he ended up in this situation: he was on a quest in the labyrinth when a careless classmate touched something that transported them to a far more dangerous level.

He manages to save his classmate Kaori from a rampaging behemoth, but while the others cover his escape, one of them targets him directly, sending him plummeting into the abyss where we first meet him.

Kaori, who may not see Hajime as a love interest but still looks out for him, warns him not to come on the quest after she has an awful dream about him meeting his doom, but he convinces her to help protect him, and he’ll be alright.

Turns out her dream was prescient, but when Hajime wakes up in the abyss, in pain but still not dead, he decides to change his tune and pump himself up into Survival At All Costs Mode. First, he drinks holy water, then he captures a smaller monster and eats its raw meat, which ends up poisoning him and turning his hair white.

But that’s not all: in addition to his badass hair, Hajime’s muscle mass and stats have all increased, and he’s gained the skill of the monster he ate. Much like Rimuru Tempest when he first arrived in a new world as a Slime, Hajime uses the ample resources around him to continue leveling up and build weapons that will let him defeat ever more powerful foes.

It’s a very A-leads-to-B-leads-to-C procedural process, but one thing’s for sure, Hajime’s seiyu Fukamachi Toshinari stops sounding so annoyingly whiny and adopts a cooler voice to go with his cooler appearance and upgraded skill-set. It’s as if he had to fall into the deepest abyss (and get betrayed by a classmate) in order to awaken the will to become a stronger person in this world.

Armed with a pistol and grenade, Hajime locates the bearlike monster who ate his arm, and utilizes all of his new skills to tear its arm off and eat it, then puts a bullet between its eyes. Hajime is no longer messing around; he’s going to survive and get home, and he’ll kill anyone “in his way.”

Isekai shows are like American crossover vehicles: there are a lot of them, and most of them are exactly the same, but still others are actually good. I’m not quite sure what Arifureta is quite yet, but it at least distinguished itself nicely by putting us right beside a protagonist who had already literally hit rock bottom.

Aside from some glimpses of his elaborately kitted-out classmates and the awakening of a starving, red-eyed Loli, this was a stripped-down and minimalist outing that focused on one young man shrugging off death and despair and improving himself to the point he can climb out of the darkness.

I’ll see where he leads…especially since Youjo Senki taught me the dangers of passing judgment on a show after its first episode.

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The Promised Neverland – 10 – Never Give Up, Never Surrender

With the bombshell discovery of the cliff last week, it looked like checkmate for the kids, and especially Norman, who after all was going to be shipped out the next day. That schedule is not changed, and Norman accepts his fate, much to the despair of Emma and Ray.

Norman offers them a ray of hope by noting that the complex of farms or “plants” form a hexagon, one side of which is the HQ where there’s a bridge across the cliff. But he won’t be joining them, and his mind won’t be changed. That doesn’t stop the other two from trying.

While packing for his “departure”, Norman puts only one item in his suitcase: the string telephone Ray helped Emma make years ago so she could communicate with Norman when he was sick and quarantined. Mind you, his being sick never kept Emma away, and Mama had to shoo her off more than once.

In a microcosm of the trio’s dynamic in the present, Ray’s technical know-how and Emma’s stubborn refusal to give up leads to the two ensuring Norman isn’t lonely. Norman isn’t just a friend, he’s family. Emma and Ray love the hell out of the guy. But this time there’s no string long enough to reach where he’s going.

The scene of Norman’s goodbyes is…is rough. All of the other kids are either in tears or just barely holding back, but no one is suffering his impending departure more than Emma, and she makes no attempt to hide that suffering, or to pretend she’s not going to do everything she can to stop Norman from leaving, including trying to slip him the tracking device breaker.

It takes the most explicit death threat from Mama yet (delivered chillingly quietly so only Emma can hear) for Emma to calm down and accept Norman leaving. Before they part, Norman hands her back the tracker breaker and tells her not to give up. As for Ray, he’s not even there; Norman has to come to him, and even then, Ray says nothing. They only share a parting look.

Norman and Mama’s solemn walk to the gate is another standout scene, steeped with doom, but also an odd kind of peace. Mama seems to hold Norman in genuine esteem, as the two seem to have an understanding that Emma and Ray will be treated well until the “end of the time that was decided.”

He momentarily throws Mama off when he asks her if she’s happy, but she replies that she is because she met someone like him. They reach the gate, and Mama directs him to enter a well-lit room to wait…and that’s the last we see of him. Who knows what he saw, or if it was the last thing he saw. Maybe Mama has bigger plans for him than mere food?

Emma and Ray are gutted by Norman’s loss. The three of them were inseparable, almost symbiotic, but Norman was their center; their heart; the bridge between them. The two of them don’t seem able to continue on, even with support from Don and Gilda. Ray tells them he’s “tired” and doesn’t care anymore; they can do what they like, but he’s resigned to dying there.

Emma was then the last of the trio to hold out hope and not give up, but she’s too overcome by grief to accomplish anything. Both the little kids and Mama take note of her constantly morose state, and Mama visits her in her dorm to urge her to give up, and life will be much easier. She even offers Emma a path that will allow her to become the next Mama of the house, rather than be shipped away.

Of course, Emma is never going to go back on what she promised Norman, no matter how many perks she offers (or bones she breaks). So Mama tells her fine, keep dreaming of the impossible, “writhe in agony”, and be damned.

Time passes, and the eve of Ray’s shipment date arrives. Emma wakes up and finds him singing to himself in the chapel. It’s there where both of them reveal that at least part of the way they’ve been acting around Mama, Gilda, Don, and the little ones was merely a performance; a means of lulling Mama into thinking they really did give up.

But they haven’t, as the fire in their eyes at the end of the episode proves. They seem as determined as ever, and thanks to Norman’s reconnoitering of the wall, a path to escape remains. What a fool I was to believe it was time to give up when they hadn’t; to doubt the strength of their spirit and defiance!

Mama, the demons, the system has taken so much away from these kids. It’s time to take something back from them for a change. I am here for it.

The Promised Neverland – 09 – Let’s Get Cracking

By the end of last week, four episodes of The Promised Neverland remained for the kids to escape the farm and survive the aftermath of casting aside their old lives, and all the protections and amenities therein. Even if their lives wouldn’t last much longer than if they’d  stayed put, at least they’d die free.

Alas, for all of the kids’ careful preparation up to this point, the situation has never been more dire. Any hope of Emma escaping on her own two feet has been dashed thanks to Mama’s act of appalling brutality (“clean break” indeed) while Norman is due to be shipped out in a day’s time.

Norman puts on a brave face for Emma, but when he fetches water he betrays a look of paralyzing fear and despair. And yet, once that moment has passed, there’s a decidedly defiant look on his face, like he’s decided and committed to his next move.

When he returns, Ray is with Emma, and they’ve already decided something as well. When Norman proposes they proceed with the escape plan without him once he’s gone and Emma is healed, they reject him in unison. Their counter-proposal: Norman will deactivate his tracker with the device Ray has just completed (using parts from all the various discreet rewards he got over the years), and hide out until Emma heals. Then they’ll all escape together.

Norman is fine with this plan, except for the fact that if he goes missing, they may ship Ray out in his stead. In that case, Ray says he’s willing to have his arm broken so, like Emma, he won’t be suitable for shipping. When Norman asks how Ray found out about the truth of the House, he says he’s always known, since he has memories of his life going back to when he was still in the womb.

Norman agrees to the plan, and the next morning, Norman executes his escape, running to the wall with the backup rope Don and Gilda made, while Emma and Ray stick close to Mama. The music that plays while Norman is running to freedom is epic, hopeful and triumphant.

After he attaches the rope, he holds it taut as he runs up the wall, and manages to grab hold of the top ledge and hoist himself up. A vast forest unfolds in all directions on the other side; a forest full of possibility. If they could get everyone into that forest, the adults would be hard-pressed to find them.

When Mama finally notices Norman is not around, she checks his tracking device, and her expression makes it clear it’s not working. But to Emma and Ray’s horror, she smiles and closes the device, and Norman emerges from the forest, looking like he’d just been drugged or hypnotized.

Turns out it was neither, but simply the look of utter, complete defeat. Only while atop the wall and looking over the other side could he discover the truth: there is a vast, yawning, sheer CLIFF between the wall and the forested land, of a distance they can’t hope to surmount.

Just when the kids’ spirits were at their highest, everything is cruelly snatched away, and their doom feels more inescapable than ever. What an emotional roller coaster; a symphony sorrow; a triptych of tribulation. Those poor damn kids…what are they going to do now?

Happy Sugar Life – 10 – Partners in Crime

Shio believes everyone’s heart is a jar made of glass. If it isn’t regularly filled with love, or is hit by various stresses, it will crack and break, and when it does, there’s no coming back.

Shio is worried Satou’s jar is dangerously close to shattering, so she tries to do as much as she can. She covers her with a blanket, warms up the curry, and throws her clothes in the wash—where she sees Satou’s bloodstained clothes.

Seeing Satou in such a state reminds Shio of her last days with her mom, who became destitute when she finally left her abusive husband. Shio wanted to do what she could then too, including replace her mother’s “jar” with a new one she sees across the street.

But in doing so, Shio is almost hit by a truck, and her mom’s jar breaks. She takes Shio on a walk in the rain, then stops and leaves her there, saying a simple “goodbye.” Her mom’s jar was broken, and she was simply…done.

When Satou awakens, she pretends like nothing’s wrong, but immediately starts talking about their next home. After all her talk about the castle where they’d live happily ever after, it wounds Shio to hear Satou so gung-ho about abandoning it.

But more than that, Shio is hurt by what Satou isn’t saying, and by all the things she’s hiding. When Satou tells Shio all she needs to do is smile and love her, it reminds her of her mother, who also asked nothing of Shio but to stay put; to stay safe.

Shio won’t have it; not anymore. She doesn’t like Satou’s secrets, or her vision of how she should be to her, which is to act as little more than a human doll. She storms off, and in her anger, tells Satou she hates her. Satou then becomes paralyzed with despair.


The same night Shio’s mother abandoned her, Satou happened to be walking around, and meets Shio, asking her why she isn’t chasing after her mom. Shio tells her it’s because what she felt toward her mother wasn’t love, it was just a desperate hope her mom would keep living, so she could live.

With an attitude well beyond her not numerous years, she decides not being with her mom anymore is for the best. But she also realizes she was too harsh with Satou. She doesn’t hate her; but she hates how Satou shoulders the burden of protecting her.

From now on, Shio wants Satou to tell her everything, and they’ll share the burden and protect each other. In other words, a more balanced relationship where Shio has agency. Satou agrees, and tells Shio all of the horrible things she’s done to keep her safe, including killing someone. Shio accepts it all and fills Satou’s jar…because Satou fills and strengthened hers.

Attack on Titan – 08

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Man, those Titans look like the “Came With the Frame” family, wearing seemingly warm, friendly expressions. To bad they only look like that because they’ve found fresh humans to eat. The fact that Titans (unique variants aside) aren’t particularly grotesque monsters  but look simply like scaled-up naked humans who act purely on instinct, has made for quite a skin-crawlingly disturbing dynamic.

This week, we see Jean, who never wanted to fight on the wall in the first place, almost fall backwards into a position of leadership and the esteem of his peers, not because he performs amazing feats of badassery like Mikasa, but because he’s just…one of them. Not particularly strong, but able to assess situations and rally others to his side. After all, if someone like him can keep his cool (most of the time anyway) in such awful scenarios as he faces this week, so, they believe, can they.

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Speaking of lacking either physical or emotional brawn, Armin starts this episode content to be left behind lest he slow Mikasa and Connie down. But like Eren, Armin is Mikasa’s family, and she’s lost enough of that, so she’s not leaving him. Since he’s going to be a burden to them one way or another, Armin hatches a plan: something neither Mikasa nor Connie would have ever conceived of: lead the weird Titan-fighting Titan (TFT) to HQ so he can take out he Titans there, allowing them to resupply and continue the battle.

So Mikasa and Connie (with Armin in tow) set to work killing all the Titans around the guy, until he notices the ones gathered around HQ and gets to work. That handsome couple up top are his first victims, who are killed before Jean’s eyes just as he’s ready to give up (there’s a lot of instances of people about to give up in this show; all of them perfectly justified).

Once there, Armin comes up with another plan. In the process, he transcends his whiny third wheel act. Now, he’s a crucial member of the ramshackle unit, not just because Mikasa draws strength from him being alive, but because he just might be the sharpest tactician they’ve got.

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This plan has a lot less margin for error than the TFT-luring operation. Everyone has to put their lives on the line for the sake of everyone else. Any slip-ups, and they could all die. Seven athletic fighters hide in the rafters, waiting for the rest of the unit to blast the seven Titans in the head with shotguns so they can swoop in for the kills.

And while Connie and Sasha fail to strike killing blows to their Titans, Mikasa and Annie, two of the toughest ladies around, bail them out. I like how Sasha is pissed off with herself for giving up and not trusting her comrades would save her. Now she knows better.

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When they resupply and return to the surface, their would-be TFT ally is in the middle of a cannibalistic scrum. As they debate over whether to continue to rely on him, he dispatches the last of the Titans and collapses, armless. Then, from the dissolving remains of the TFT carcass, a regular-sized human form emerges – the human we all knew was in there, kicking Titan ass as a Titan.

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But I must tell you, while I fully expected Eren to be in that TFT, I was not prepared for the emotional impact of Mikasa running to him, embracing him, then totally losing it when she hears his heartbeat. That was even the title of the episode, and it still absolutely slew me.

There will certainly be many different reactions to Eren being a Titan (or having the ability to pilot them). Not all of those reactions will be positive. But right now, the only thing that matters to Mikasa—and me—is that the heart of the person she holds most dear in all the wretched world is still beating.

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Attack on Titan – 07

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We quickly learn this week that those intense flashbacks to when Eren and Mikasa first met, and Mikasa found her purpose in life—to be with Eren—was all simply building up for the moment Armin tearfully informs her that Eren died to save him.

It’s another cruel blow to someone who’s already endured so much pain; in fact, it figures to be the final blow; after all, Mikasa has been going on over and over about there being no other reason for her living than Eren.

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To Armin’s surprise, and mine too, however, Mikasa doesn’t break down; not outwardly anyway. Instead, she seems to shut down right then and there. Her eyes lose their sparkle. But for now, she sticks to her duty. She gives a big speech about being far stronger than all of them (which is true) and calling them pathetic cowards.

She’s going to go fight and live, even if she has to do it herself. Others follow her, whether due to a sudden spark of motivation from her words, or out of shame. Elsewhere, it’s so grim one soldier successfully loads a gun so he can put it in his mouth and end it all.

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But like Armin, we know something’s not right about how Mikasa is proceding. She’s going too all out; killing with extreme prejudice until her gas supply is totally exhausted. And with no gas, she has no mobility, and no more hope of suriving the gathering Titans.

She kneels in an alley, waiting for death…but she reflexively doesn’t let herself die, in spite of herself. As a Titan comes at her, then another, she remembers Eren, and dodges, and fights back, like he did, to save her. Then one of the Titans kills the other, and leaves her alone. Wait…what?

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This “ally” Titan—with familiar unkempt hair and steely teal eyes—is Eren in another form, to my eyes. And he kills the other Titan with the same raw ferocity he killed one of Mikasa’s captors; as she puts it, putting “all the manifest anger of humankind” behind his righteous blows that rip his own fist apart, only to re-heal instantly.

It’s too soon to be sure, but this “unique variant” may be humanity’s first real effective weapon against the Titans. If he pans out as a reliable human ally, he certainly won’t be a total game changer; he’s just one “good Titan” against countless scores of Titans of all shapes, sizes and strengths. But I for one am glad Mikasa and the little people have scored a break, even if it’s a temporary, incomplete one. Like them, I’ll take every break I can to stem the rising tide of blood and anguish.

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Attack on Titan – 02

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As the first waves of Titan victims become a feast for crows, Eren, Mikasa and Armin retreat from Shiganshina and the breached Wall Maria to Wall Rose. Initially carried by Hannes, Eren fumes over running away, but there’s nothing else to do: he lacks the strength, as does all of humanity.

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As for the Titans themselves, there’s a bizarrely charming dumpy childishness to many of the smaller ones, acting like the humans spread out before them are simply fun toys that happen to double as food. But then there are some that seem much more purely evil, or at least more evolved to dispatch humans on a massive scale, like the Titan that blasts through the gate and uses fire breath to roast the garrison.

There’s a sickening inhuman cruelty at work, but also the sense that this is simply how nature has progressed; humans are no longer the top dogs, and life is going to get more difficult. The Titans are simply doing what they’ve evolved to do: feed on humans. Sorry, humans.

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The kids end up on a boat with a few hundred other survivors, who then become refugees within Wall Rose. Whatever picturesque, idealized town Shiganshina was, their new temporary home is far bleaker and harsher, with a populace already experiencing a food shortage, there’s great animosity for the newcomers; even wishes that the Titans ate more of them.

Once he’s over the initial shock of witnessing his mother’s death and the death of hundreds of others before his eyes, Eren switches to anger and goals that, at this point, are absurdly unreasonable and premature. He tries to run before he can crawl, or at least talk about running, i.e. driving the Titans out.

Thank goodness then, he has the more sensible Armin to keep him from getting an even more severe beating from a guard, and a no-nonsense Mikasa who isn’t above punching Eren out and stuffing bread down his throat if it means keeping him alive.

I’m already enjoying the dynamic of these three, in particular Mikasa, the steadfast rock of the trio with no patience for Eren’s empty speeches about wiping out the Titans when clearly, at present, nothing can be done.

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That fact is underlined when, after putting the refugees to work in the wastelands cultivating food doesn’t arrest the food shortage, 250,000 of them are sent back out to “fight” the Titans. Of course, they only serve as a massive buffet (only 200 survive), and a sign of how callous those behind an inner wall can be to preserve what they have.

A lot of time passes this week, making these first two episodes  a solid foundation chronicling the trauma endured by our protagonists that motivate them to enlist in the military, that they might do something, anything to try to push the Titans back.

Meanwhile, Eren has intense, disturbing dreams and/or visions of future events; his dad is still alive somewhere, and there was a secret in the basement of the family home his dad intended Eren to see. All of this points to Eren being more than just talk, but whatever power he possesses seems a long way from being unleashed.

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Reminder: Comments are welcome as always, but please limit discussion to this episode and avoid spoilers, as I am watching AoT for the first time. Many thanks—HB

Attack on Titan – 01

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Thanks to Netflix and a relatively light Fall season, I am pleased to finally crack open the massively popular Attack on Titan, a show I eschewed virtually sight unseen, choosing instead to follow Gargantia, Majestic Prince, and Valvrave. I’m only past the first episode of AoT, but I can already see I made a major oversight; one that will be corrected forthwith.

AoT’s cold open shows us the very moment the people of Shiganshina are royally hosed, then after the credits, rewinds to the morning before the shit hits the fan and begins the process of masterfully building up the dread and tension preceding the events of the cold open.

As we follow Eren (a loud-mouthed portentous shonen if ever there was one) and his sister Mikasa (a girl of few words but immense strength) as they wind their way through the streets of their huge hometown, the walls, streets and structures have a strength, solidarity, and safety to them. Even the sounds of everyday life are lulling.

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If there is one shortcoming to this first episode, it’s that Eren isn’t necessarily likable at first. His reasons for wanting to strike out into the outside world aren’t unreasonable, but he can be over-emphatic in his protestations and scolds.

Sure, he may have had a vision of doom descending on Shiganshina, but he’s fighting against a century of idleness and contentment. Conviction and loudness are no substitute for hard evidence. Also, the episode tries to paint Armin with broad strokes, but there’s not much to him yet except that like Eren, he’s not content to stay within the walls.

Then the evidence arrives in the form of a hand grasping the top of the 50-meter outer wall, and it’s a powerful “Toldya so” moment that shakes every inhabitant of the city to their core. Then…a hole is blasted in the wall with such force it causes widespread destruction to the rest of the city. And that’s before smaller Titans start rushing in.

Any early quibbles I might have had with Eren or Armin go out the window when the appalling carnage starts, with throngs of humans running for their lives and many being scooped up and gobbled up like hors d’oeuvres. There’s a distinct sticky aura of awfulness to the spectacle, and the utter powerlessness of the three young protagonists.

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When Eren rushes home hoping against hope his house is still intact only to find his mom’s legs crushed under its ruins, it’s a gut punch. Before I can recover from that, a Titan eats her with cold satisfaction as a fleeing Eren watches, flooring me yet again.

Amidst the wholesale butchery and mass despair, there are obviously glints of both hope and levity. Mikasa’s imposing brawn is employed for a snicker when she and Eren rescue Armin from bullies, and the smash cut from Hannes momentarily facing off against a Titan to reconsidering and scooping up the kids, and retreating was a legitimately funny “oh shit” moment.

As for hope, well, Eren, Mikasa, and Armin are still alive, which means anything is possible. Obviously, they won’t stay powerless for long. But nor is any viable counterattack likely in the immediate future. The onslaught of the Titans has only begun, after all. For now, surviving is the name of the game.

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Welcome to my weekly (or bi-weekly) Attack on Titan retro reviews. Comments are welcome as always, however please limit discussion to this episode and avoid spoilers, as I am writing these reviews as I watch AoT for the first time. Thanks—HB

Charlotte – 09

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Judging from the amount of time he spends figuring out what to wear, Yuu is not only looking forward to his concert date with Nao, but also seems to be developing some feelings for her. When they meet, he encounters a much more pleasant and bubbly and less surly Nao who is genuinely excited to see ZHIEND live (and collect their very practical smartphone case!)

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As the concert progresses, Yuu’s mind-splinter like nagging feeling of deja vu keeps building until it finally explodes when Sala starts singing a song caled “Trigger”, which just happens to be the trigger that sends Yuu…somewhere, somewhen else. Here, he and and a very alive Ayumi are patients/inmates at the very kind of government facility Nao always warned about, where ability users are rounded up and monitored, while those more powerful (and thus dangerous) are restrained, dissected, and/or disposed of.

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Is this a flashback, or an alternate reality? The show doesn’t say for sure, nor does it need to. Suffice it to say this is an awesome new direction for a show featuring characters with all sorts of crazy powers, so the ability to travel through time (Yuu’s “big brother” Shunsuke’s ability) isn’t that far out there.

The episode fully commits to this new, harsh, dystopian setting with abandon, along with the efforts by other users to free Shun with Yuu’s true power, “plunder”, or the ability to steal other abilities. That power makes him uniquely suited when the time comes to race through the corridors of the facility to release Shun. In the process, many of his associates fall to the security forces. The time between 13:55 and 17:30 is a thrilling masterpiece in and of itself.

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Everything seems to be worth it though, as Shun is released, his eyes uncovered, and…well, something happens. Yuu wakes up in the hospital with Nao by his side, as if it was all a dream, but the timing of Shun using his powers suggests it’s because of Shun that Yuu is here, and was here in this world living peacefully with Ayumi.

Nao is confused by Yuu’s thinking out loud, until a dry Kumagami (who was in the facility with Yuu and Ayumi) enters the room, offering to take Yuu and Nao somewhere where they’ll learn everything they’ve missed out on so far, including reuniting with Shunsuke, who Yuu learns was the one who set Nao on her path of finding and protecting users, thus helping the overall cause. Kumagami also says he can help Yuu rescue Ayumi, as if she wasn’t dead (and indeed, we never saw a body.)

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From post-rock concert to dystopian government facility to comfy hospital room, Yuu then finds himself following Kumagami with Nao to another top-secret underground facility, though in this case, it’s the well-funded but time-deficient headquarters and last stronghold of the “resistance” of ability users against the government, an organization led by Shunsuke, who is now blind.

This is little more than a reveal, with Shuu exchanging pleasantries and preparing to tell Yuu and Nao Everything, but this episode had done more than enough already, completely changing the complexion and expanding the scope, stakes, and very reality of the show. This is no longer just about a school club that rescues kids one at a time. This is about saving them all, including Ayumi. I’m always suspicious of un-killing characters, but in this case I’m very intrigued to see how they do it.

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Charlotte – 08

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Charlotte follows its best episode (and one of the best episodes of the Summer) with another powerful outing, though not quite packing the same punch. It has Yuu returning to school and to the routines he had abandoned after Ayumi’s death. It’s all here, from Joujirou’s fanboying and bleeding, Yusarin’s spells and music videos, Tomori’s standoffishness and drop-kicking.

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But just when Yuu (and I) think the wet guy is going to show up with the next ability user, Tomori says he’s not coming. Instead, she has a second ticket to a ZHIEND show tomorrow, and wants one of them to go with her. Citing their honest ignorance of and disinterest in post-rock (look it up on Wikipedia), the process of elimination makes Yuu Nao’s “date,” and when she says it’s nice to have a breather now and then, he agrees and accepts.

Later that day while walking home, he bumps into a fuchsia-haired blind woman who mixes English in with her bizarre accent and is on a quest for “modern-yaki.”

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Yuu takes her to a okonomiyaki joint for some hiroshima-yaki instead, and learns that she’s none other than Sala Shane, the lead vocalist for ZHIEND. Not only that, Sala is a remarkably down-to-earth person who picks up instantly on Yuu’s still-raw wounds of grief, and decides to spend the whole day with him.

Yuu calls Nao to join them, but she seems utterly disinterested, which I took to mean she might have somehow arranged this, because the fact of the matter is Yuu benefits from hanging out with Sala, even as he still reflexively pulls out his phone to tell Ayumi he won’t be home for dinner.

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Sala once had the use of her eyes, and was once far bigger and more popular than she is now with her “dull” little post-rock band. But when things got out of hand with the fame and the money and the way the people around her changed, she gave it all up, making a deal with God to take her sight in exchange for a smaller, more peaceful life.

I couldn’t help but notice the similarity of her sitting in a dark, trash-filled house with nothing but the light of the TV to similar sights of Yuu in the same position. She remarks that the day may come when he too has to make a deal with God, and tells him to “handle it well” when it does.

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We learn where Yuu is taking Sala when we see the rest of his phone call with Nao, in which he tells her he’s bringing Sala to her brother’s hospital, betting she might be able to help bring part of him back from the fog. Where Nao almost seemed annoyed earlier in the call that she’d jump at the chance to see her heroine (in stark contrast to Joujirou, who worships the dirt beneath Yusa’s feet), here she expresses gratitude as the sun sets before her.

The highlight of the episode is Sala’s stirring solo a capella performance to an audience of Yuu and Kazuki. Sala is old enough that she would no longer have a power, and yet there she is, soothing the soul of a fellow adult, as someone who still has their power listens intently.

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Kazuki does come back; Yuu wins his bet, at least for now. Nao rushes to her brother’s side, then calls Yuu back to thank him from the bottom of her heart. Yuu doesn’t need Sala’s other heightened senses to detect Nao’s sincerity.

As for Yuu, he takes what Sala said to heart about him knowing good people, which have changed him without him knowing it. Last week, Nao straight-up saved him from falling off a cliff of despair. This week, without even thinking about it, Yuu repaid Nao’s kindness by helping her brother. Thanks to his experiences in these first days back in the post-Ayumi world, Yuu can see the light, and himself, and is happy with what he sees.

But he still gets nostalgic when he hears ZHIEND. Will he reach another breakthrough at the concert with Nao?

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