ID: INVADED – 05 – Kiss or Kill

Hondomachi may not be a superhero who got her deductive powers from a hole drilled in her head, but that bizarre injury offered her unique perspective into someone like Kazuta Haruka, whom she meets in the street and who kisses her before fleeing.

For her, everything suddenly points to Haruka, a former victim of the Perforator, being the Gravedigger. Their equipment hasn’t been able to detect his killing intent because when he has a sudden urge to kill he reacts with a gesture of love instead—a kiss—and would therefore kill those whom he loves.

Sure enough, cognition particles are found an an Id Well is opened, into which Sakaido is injected. He enters the well in the middle of the sky falling at great speed, but manages to land on a floating island containing a house later identified as belonging to Kazuta.

Once Sakaido’s memory is activated by the sight of a murdere Kaeru, he looks under her carefully-spread pool of blood to find a girl hiding who has shifting features and voices—a composite of the Gravedigger’s victims.

Sakaido also finds shards of a photo also found when Kazuta was a victim, and Hondomachi and Matsuoka are dispatched to meet with those in the picture one by one while Nishimura and a SWAT team head to the site of Kazuta’s house, now a soy sauce brewery.

The composite girl said her boyfriend went out of the house to fight the “monster”, and when Sakaido heads out he quickly learns that monster is John Walker, who kills the “boyfriend”, dodges Sakaido’s attacks, and flies off with that trademark tip of his hat.

As Hondomachi diligently interviews the “cutest” of the people in the photo, Inami Nahoshi, Nishimura and his team discover vats that could contain victims, but are blown up in the brewery—it was all a trap. Meanwhile Hondomachi is unafraid to pry as far as she can with questions relating to Inami’s love life. Inami also seems all too happy to clean her head wound when it suddenly starts bleeding.

By the time Matsuoka gets word of the trap, Hondomachi has Inami cornered, revealing her to be a sadist using Kazuta’s scrambled romantic and murderous urges to her advantage by having him commit the murders for her. Hondomachi moves to arrest Inami and demands to know where Kazuta is; meanwhile, he’s lurking nearby with a knife.

It’s interesting to see how both Hondomachi and Sakaido have been elevated in their deductive ability by their respective marks (the former, her head wound; the latter, his crime) In the Id Well, Sakaido is the Brilliant Detective, as well as a Mission Impossible-style action hero.  But in the real world, the ace detective is without doubt the recently wounded but no-less-relentless Hondomachi.

ID: INVADED – 04 – Hiding a Leaf in the Forest

We begin with one of the worst things that can be done to a person: high schooler Kikuchi Keiko has been buried alive. She is the seventh such victim of the “Graverobber”, and is aware of the past victims because like her, they were all livesteamed on the internet to a morbidly fascinated audience. Once again, the police are fighting against a ticking clock to prevent a seventh death.

Worse still, their most reliable “pilot” drove another criminal to suicide simply by talking to him about the furthest reaches of their psyche, which of course he saw when in their Id Wells. He’s in solitary while they try to use the Perforater as a substitute pilot, but his survival rate is too low to make any progress. It has to be Narihisago. He’s the best they’ve got.

And yet, even the Brilliant Detective Sakaido finds that the Id Well they were able to create from the perp’s cognition particles has a high level of difficulty. He’s trapped in a massive, undulating apartment block that is currently on fire and full of burnt corpses.

The stange thing is, he finds a burnt-to-death Kaeru above the flames, suggesting they weren’t the flames that killed her. He spots a ten-year-old Keiko on the other side of a huge gap between blocks, and wants to rescue her, but solving Kaeru’s murder must come first if they’re to find the real life Keiko.

As Narihisago is killed and re-injected again and again into the Well, he gets more exhausted and makes mistakes. Momoki decides to give him a break, but neither he nor his colleagues are interested in taking a break themselves, even if it means staying up two straight days. There’s a girl buried somewhere who is slowly running out of air. Rest can come once they find her.

This episode has an air of urgency and desperation that surpasses the previous episodes (with the possible exception of the one in which Hondomachi was kidnapped). And even though Narihisago is a murderer who has driven five other inmates to suicide while in captivity, the officers still end up rooting for him to survive and “win” in the Id Well, because if he wins, they win.

Sakaido finally makes it to the other side and climbs up to the unburnt apartment where the young Keiko is waiting. She even says something that helps Sakaido crack the case wide open. Kaeru wasn’t killed, i.e. Keiko wasn’t buried by the Graverobber at all, but by a copycat.

Young Keiko even points out by name the “failure” of a man responsible, and the police move quickly to locate and apprehend him (it comes down to the pattern of the rug under Kaeru’s corpse matching the one in the suspect’s lair, under which Keiko is sealed in an airtight barrel.

Alas, the livestream was never live to begin with, but a recording that gave the police a false sense that they still had time. In reality, Keiko has been dead of asphyxiation for nearly a week. After working so hard to find her, it’s a gut punch for all involved, including Sakaido once he hears the bad news from Momoki.

Pulling the rug out from beneath our feet, we the audience are similarly frustrated and that much more angered at the creature of a man that is the copycat Graverobber, not to mention the still-at-large Graverobber himself. The case wasn’t solved in this episode, but it did make the case for why, having spent time in their psyches, a once-righteous detective like Narihisago could develop sudden impulse to kill the suspects he helps capture.

Because of this, he’s not even sure he can call himself a person anymore, but Momoki assures him he is. And when Momoki asks if Narihisago still considers him a friend (they were once partners on the force), Narihisago tells him that friendship one of the only things he has left tethering him to reason.

Being dumped into the minds of depraved criminals is enough to drive anyone from reason, but somehow Narihisago has endured. He’ll have to continue to endure as the cops try to find leads to the real Graverobber’s whereabouts. The newly recovered Hondomachi may have found the first such clue in Kazuta Haruka, a missing person and one of the Perforator’s victims.

ID: INVADED – 03 – A Gawker Just Enjoys the Scene

I don’t believe we’ve been told who precisly Sakaido killed or how to land him in prison, but regardless of his crime it’s awfully hard not to sympathize with the guy. For one thing, he’s always dreaming of his wife and daughter, the good times always turning to bad before he wakes up. They weren’t just murdered, they also suffered terribly.

The pain and regret of not being there to protect them probably broke a sizable chunk of the Sakaido That Was. His investigative work within the Mizuhanome, psychologically invasive as it is, would seem to be not just a welcome respite, but a necessity for keeping what’s left of him intact and carrying on.

The things he did to end up with such a job are also the reason Matsuoka discourages Hondomachi from considering a similar line of work in no uncertain terms. When visiting her in the hospital. She’s missing frontal lobe matter but is already bouncing off the walls, desperate to get back to work, and romanticizes “The Great Detective” a pilot like Sakaido plays within Id Wells. But Matsuoka warns her: it’s a sacrifice tantamount to suicide.

As I said, one Sakaido went into this line of work, and another came out. Hondomachi doesn’t feel she’s loved or even valued by her family, while Sakaido’s family was murdered. Both detectives seek solace and purpose through work, creating their own value. Hell, Hondomachi could be a mirror to Sakaido’s past, when his work kept him away from the family he loved until one day they were gone.

This week’s Id Well is nothing like the previous two, demonstrating that we’re in for a new trippy psychological ride every week or so. This time he and roughly 70-80 random people standing on a giant turret surrounded by infinite waterfalls on all sides…very Myst Uru. This is the Id Well of “The Pyrotechnician”, who is responsible for very public, very meticulous bombings.

Kaeru is there too, already dead, while the others start falling one-by-one to rounds fired by a sniper hiding in the waterfalls. Like the stylized “Brilliant Detective” role Sakaido plays, Kaeru is a stylized version of his daughter, helping him remember himself, grounding him in whatever crazy dreamworld in which he ends up.

Sakaido is good, but not so good he doesn’t get killed a couple of times, requiring his handlers to quickly extract and re-inject him, resetting the scenario but allowing him to learn from the previous dives. But trial and error is only the start of his investigation. He eventually determines that there is only one sniper, but the turret on which his victims stand is turning, allowing the sniper to make quick successions of kills.

Sakaido eventually successfully hides from the shooter until there is only one man remaining other than himself—and it’s always the same man. He also happens to have a handsome but somehow artificial-looking face, which means the Pyrotechnician altered his face with plastic surgery. That is enough for the cops to track him down and for Mitsuoka to apprehend him.

In what seems like going a bit too far with the ironic punishment, the people Sakaido helps to apprehend end up his prison mates, occupying adjacent cells and enabling them to have a dialogue. The Pyro explains that his acts, which netted photos like the ones he took of people gawking and holding up their phones at the destruction and carnage, “exposed the emptiness of humanity” by showing that neither life or death matter.

Sakaido turns it around on Pyro. Just as he was in the Id Well, and in the bombing four years ago when he was a war photographer, Pyro always desired to be the Last Man Standing. He was the ultimate gawker, producing scenes of hell and watching the masses take it in, knowing humans can’t resist.

Then Sakaido tells Pyro his days are over, and that he’ll never see hell again, except in his memories, always a pale shadow of reality. The Pyro can’t really dispute anything Sakaido is saying, because the guy was in his unconscious, where truths are plain to see.

It’s enough to drive Pyro to suicide in the middle of the night. I’m not sure if Sakaido intended that, but he’s doubtless a man who abhors killers, and was none too happy about Pyro mentioning his daughter. ID:INVADED is proving to be a dense, nervy, and captivating depiction of crime-fighting from within the minds of the criminal.

ID: INVADED – 01/02 (First Impressions) – Some Assembly Required

When we meet the self-described “brilliant detective” Sakaido, he’s literally gone to pieces, as has the entire world around him. He soon calms down from the initial horror of such a status and puts himself back together, save a few gaps in his arm. He learns those are a boon, which allow him to fit the various pieces of his environment back together.

We’re in the same boat as Sakaido: a pile of pieces are spread out before us instead of a “whole” world. But it’s not really a world; it’s the unconscious of a serial killer Sakaido is investigating, and all of his victims (plus one little girl) dwell within that unconscious.

As we pull out to the real world, we see a team cops hard at work on the outside of the “Id Well” created by the Mizuhanome system led by Momoki, while Sakaido works within it. There are clues within the well for those clever enough to see them, and Sakaido is the man for the job. We also learn that only someone who has killed can enter such wells.

Once Sakaido finds enough clues as to the murderer’s whereabouts (literally piecing the world back together), field analysts Matsuoka and Hondomachi (a grizzled veteran and green rookie, respectively) head out to track him down. But their quarry, known as the “Perforator” due to his M.O. of drilling holes in his victims’ heads, uses his latest victim as a decoy to misdirect Matsuoka, then kidnaps Hondomachi.

When the Perforator threatens to drill a hole in her head, a defiant Hondomachi realizes the only way she’ll be located by her colleagues is to drill the hole herself, so she drives her head into the spinning bit, creating an Id Well of her own into which Sakaido is quickly transferred. It’s a reckless risk, to be sure, but it shows us that Hondomachi is willing to take those risks for the sake of Justice.

Unlike the puzzle world of the killer, Hondomachi’s well is a wasteland filled with mammoth drills, one of which kills Sakaido (or rather his avatar within the well) within 69 seconds. But that’s enough for HQ to determine Hondomachi’s whereabouts, and Matsuoka manages to rescue her and arrest the Perferator, who is so impressed by Hondomachi’s initiative he surrenders willingly.

But the Perferator is only a symptom. The disease this weird futuristic police force is pursuing is known as “John Walker”, who resembles the guy on the whisky bottle. His avatar appeared in the Perforator’s Id Well, and is believed to be the one turning people into serial killers.

Sakaido is extracted from the Id Well and escorted back to his spartan prison cell, decorated only by dozens of photos of his wife and daughter Muku—a very effective way to wordlessly humanize him. Every Id Well he’s dove into has featured a murdered girl in Kaeru, who may not look like Muku but still reminds him of her, and why he’s in this strange business in the first place (I’m sure we’ll learn the details of that later).

While there’s a bit of a learning curve with all of the jargon, and there are more than a few similarities to PSYCHO-PASS, the third season of which I didn’t bother with, ID:INVADED nevertheless scratches a future crime unit itch I wasn’t aware of until now.

Lord El-Melloi II Case Files – 11 – Going Once, Going Twice…

With its insistence on crafting the most intricate Swiss watch of a final mystery for Lord El-Melloi II to step in and steadily unravel, Case Files fell victim to its own self-indulgence this week, delivering what another possible owner of Kairi’s big rig truck would call “all hat and no cattle”.

That is to say, this episode is nothing but setup for a final reveal that seems to implicate Caules after El-Melloi reveals both the elements of the case Adashino had omitted so her deduction would stand up; the beginning of the presentation of El-Melloi’s conclusions, without following through.

In a show that has featured no small amount of pleasing spectacles, the whole damn point of the train, the Mystic Eyes auction, carries with it all the urgency and excitement of a rapidly deflating balloon. The auction room is nothing but an ornate but stodgy courtroom, where the bidding is arbitrarily paused not once but twice: once so El-Melloi can secure funding from Melvin; another so El-Melloi can state his case.

The murders in the past, as well as that of Trisha, were committed so the mastermind could collect the Mystic Eyes of the victims and use them at will. El-Melloi states that only one person could do everything the mastermind did and possess the all-important motive.

The credits roll just as Adashino moves to restrain Caules and the eyes in Trisha’s severed head, but there’s simply no time to revel in that revelation. After all, aside from caring for the injured El-Melloi, Caules hasn’t had much to do, and has been rather innocuously hiding in plain sight.

I’m glad El-Melloi knows who the culprit is, but this episode just confirmed that it wasn’t Karabo; it didn’t explain why it is Caules (if that’s who it ends up being). Thus the episode ends in an unsatisfying ellipsis, as the full measure of Lord El-Melloi’s conclusions will have to wait until next week.

Lord El-Melloi II Case Files – 10 – Deduction, Not Delusion

In a clever narrative device that could have probably sustained an entire episode within the unconscious El-Melloi II’s mind, past merges with present as Waver is back in Lord Kayneth’s class at the Clock Tower, only the Lord is asking him about things going on now, like his desire to participate in the next HGW, and Hephaestion’s rejection of him as a worthy subject.

Meanwhile, left behind by the Rail Zeppelin, Gray waits out the blizzard with Hephaestion, who warms to her a bit after she determines the two are alike; both “living incarnations of a distant ideal,” both “counterfeit”, yet still unique and autonomous due to their own personal ideals, without which Gray could not have fought Hephaestion.

Since she deems them to be alike, Hephaestion understands Gray’s desire to stay by El-Melloi’s side to the bitter end, but warns her that loyalty and glory can be contradictory; if the time comes when Gray has to choose, and chooses glory, both she and the Lord could be destroyed.

Luvia and Kairi’s investigation continues with an interview with Mary Lil Fargo, though frankly they feel almost distractingly distant from the more pressing matters aboard Rail Zeppelin. Still, Mary was friends with Trisha, and last met with her a month ago.

Mary tells them that Trisha was trying to connect the serial murder case seven years ago, the investigation of that case by Lord Aminusphere and someone known as the “man with no heart,” and the Lord’s abandoning of Olga-Marie. Luvia knows of that heartless man, and that he has a younger sister-in-law aboard the train: Adashino.

Gray gets back to Rail Zeppelin in pretty much the most bodacious way possible, another reminder that however serious and stodgy this show can get, it doesn’t forget to include fun little moments of levity like Gray using Add as a snowboard, even pulling a couple tricks before landing into the caboose before Caules and a very amused Melvin.

Miss Adashino brings an end to the lighthearted fun by gathering everyone to the dining car to deliver her deductions, since Mr. Master Detective is still asleep. She reveals that Policies was looking into a serial beheading case seven years ago, but so was the Holy Church, and their investigator was…Karabo.

She also has Olga-Marie present Trisha’s head, which Trisha herself made sure would fall into the dimensional pocket she created after foreseeing her future murder with her Mystic Eyes. When Olga found the head, it had been frozen in time, and thus Trisha had one more breath with which to say one word: “Karabo.”

Adashino believes Karabo possesses eyes that can not only see the past, but make past visions the truth, and that his Mystic Eyes enabled him to bring a killing slash made through the air in the past into the present, just as Trisha’s head inhabited that space. While this is all conjecture, Adashino believes it’s enough to warrant certain measures be taken against Karabo.

Then an awake and recovered Lord El-Melloi II is wheeled in by Gray, and he immediately calls Adashino’s conclusions into question.

For one thing, Adashino never mentioned Karabo’s motive, and he’s of the mind that there can be no crime without motive. After all, what with Mages and their ability to manipulate individuals, motives aren’t always directly tied to the actual perpetrators of said crimes.

Just when El-Melloi voices his doubts about Adashino’s surety that Karabo’s Mystic Eyes can project elements of the recorded past into the present, Rail Zeppelin’s ethereal deputy manager comes, on schedule, to extract Karabo’s eyes. Karabo is restrained, but El-Melloi still isn’t convinced of his guilt.

Indeed, Karabo only just remembered he was even involved with the serial murder case seven years ago. His Mystic Eyes could see the past, but at the cost of his memories. But if he can get them back, he believes he can determine the truth of things. To get them back, he’ll need to win them in auction. Melvin offers to help them place a bid, but El-Melloi would rather not get involved with him.

Instead, he vows to solve the case on his own.

Boogiepop wa Warawanai – 10 – Keep Calm and Scary On

Boogiepop and Others is hard enough to follow without having surplus episodes piled atop one another, but the day after last week’s conclusion to the Imaginator arc, that’s just what happened: four episodes dropping at once, comprising an entire arc. Because this first of the four had its own OP, ED, and self-contained story, I’ve decided to watch and review them each separately, as if they aired on different days.

This is the story of how Boogiepop got her admittedly bizarre name. She’s responding to a question from our favorite benevolent alien, Echoes, while the two are wandering a ruined, post-apocalyptic landscape. A stuffed animal that crumbles in his hand suggests it’s Earth of the distant (or not-too-distant) future. Wherever and whenever it is, it’s super creepy.

Boogiepop’s name origin story starts with a detective named Kuroda, AKA Scarecrow. Like Orihata Aya/Camille, he’s a synthetic human working for the Towa Organization. His colleague Pigeon gives him his next mission: checking up on fellow member Teratsuki Kyouichirou, suspected of betraying Towa. We learn from Kuroda that Towa is a vast network primarily dedicated to unlocking the mysteries of human evolution; both how we got to where we are, and what comes next.

Teratsuki kinda fades into the background as Kuroda finds someone more intriguing at one of his sprawling medical facilities: a young Kirima Nagi (younger than the previous episodes in which we’ve seen her). She notes that her somewhat unusual first name is based on the sentiment of “keeping calm no matter the situation”, and her personal situation is not optimal: diagnosed as “growing pains,” she has fits of pain so intense she can’t even describe it.

Nagi is also very much like the young woman we’ve seen in the present thus far: gorgeous, upbeat, direct, intensely curious, and dedicated to the truth: a natural detective in larval form. Once Kuroda gets past her guard (Naoko), he presents the results of her request for him to investigate her: he discovered her agent was embezzling her money and got him fired.

But despite all the qualities that make our Nagi Nagi in the present, this past Nagi is deeply uncertain and apprehensive about who and what she should become, if and when her condition is healed. Kuroda asserts that everyone feels that way on the road to coming into themselves. He himself dreamed of becoming a superhero who, unlike a detective, didn’t have to worry about all of the peripheral crap that comes with solving crimes. Just rush in, get the job done, and call it a day.

This perks Nagi up, and she says Kuroda should definitely become a superhero. Their visit is cut short when she starts having fits of pain, but when she grabs him, it leaves a raw mark, almost like a burn. That clinches it for Kuroda: Nagi is one of the “NPSLs” its his usual mission to locate. She’s evolving to the next stage…but it’s a rough gestation, which is keeping her in a hospital bed, unable to realize her own dreams.

Thus Kuroda—”Scarecrow”—decides to make a grand, superheroic gesture to Nagi, whom he’s decided to be the recipient of his heroism. He ransacks a Towa facilities to find a serum that would normally act as a catalyst for human evolution. Because Nagi is already evolving without it, administering it offsets the “possibility” that is tearing her apart from within. With one injection, he enables her to live the (relatively) normal human life she enjoys in the present.

While his act was both heroic and kind from the perspective of those of us rooting for Nagi to survive and thrive, it also broke a lot of Towa rules, and they send an assassin to eliminate him for his treachery against the organization. That assassin, Sasaki, is lightning quick of foot and deadly with a knife, but Kuroda demonstrates he can be pretty fast himself. While the two may look like a couple of regular-looking schlubs, they move like superheroes.

While Kuroda gets away, it isn’t before Sasaki gives him a wound from which he knows he won’t recover. That’s when a “reaper” appears, in the form of Touka, offering a chance to judge him favorably for doing something heroic for someone, even if it led to his demise.

Kuroda wonders if he’s speaking to a near-death delusion, but we know she’s really there. He calls her “creepy bubble”—like a boogieman that pops into and out of existence. Thus the title “Boogiepop”. When Sasaki finds Kuroda’s body, the Scarecrow is smiling, and why not? It may have cost his life, but he saved Kishima Nagi. For one night, he was a superhero. And one night was enough.

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.

Ace Attorney – 03

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I enjoyed David E. Kelley’s legal “dramedy” Boston Legal, despite that fact it could often go off the rails of what was reasonable legal procedure, (particularly courtroom conduct) because it was goofy and funny. Ace Attorney is also goofy and funny, but I find myself unable to constantly overlook its cavalier attitude toward the sacred institution of the law.

Mayoi’s trial is a damned free-for-all from the start, when Mitsurugi Reiji calls a witness in the middle of his opening statement, before Naruhodo even gets a chance to say his part. The witness is Det. Itonokogiri, whose testimony is so full of holes a mouse could mistake it for cheese.

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Oh, and the cheese is laid on thick here, when after Naruhodo rather easily exposes the good detective’s inconsistencies, Mitsurugi changes “died instantly” to “died pretty much instantly.” That said, he also makes the mistake of calling another unreliable witness to the stand.

This witness is apparently meant to titillate the men in the courtroom and little else, while Mitsurugi is concerned only with theories he can prove with facts in the courtroom, regardless of whether those theories point the finger at the entirely wrong person, i.e. Mayoi. It’s all rigged!

Wen Naruhodo breaks the pink bombshell (her transition sex kitten to fist-pounding harridan is hilariously abrupt) and Mitsurugi calls for an adjournment so he can go over all the evidence Naruhodo keeps pulling out of his pockets (real professional, that!) things get even more ridiculous, when Naruhodo tracks down the witness’s boss.

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Konaka Masaru is a grotesque joke of a character, with his flamboyant wardrobe, goofy office, and constant use of Bad English in his speech. This guy also happens to be the kingpin of a massive empire of blackmail at every level of society with the front of an IT company.

He also has the motive to be Chihiro’s true killer, since she’d been investigating him for years. And with one phone call, Konaka gets Haruhodo arrested as the new prime suspect in her murder. Hwhaa?

With lawyers going around acting like detectives, detectives acting like judges, and absurd circus trials with no semblance of order, this is a dark, fallen, poorly-animated world, and I feel bad for anyone with pure justice in their heart who has to live in it. Fortunately, I don’t, and so I’m checking out.

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Ace Attorney – 02

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When he arrives for a dinner date with Chihiro and her sister, Naruhodo finds Chihiro dead, the sister cowering in the corner, and the Thinker clock and broken glass strewn around the floor. Just then, the police burst in, led by Detective Itonokogiri Keisuke, and the sister Mayoi (Yuuki Aoi) ends up locked in jail, suspected of murdering Chihiro.

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So Naruhodo has another mystery on his hands (including who called those cops so fast!) despite the fact he is a defense lawyer, not a detective. In Law & Order, you have two separate groups doing those two jobs, but Naruhodo does it all, and quite haphazardly.

What he isn’t—at least not initially—is Mayoi’s defender. That job falls to some mustachioed bigwig lawyer Chihiro told Mayoi to contact if she ever got in trouble. He seems willing to take on the case…until the prosecutor is announced: the intimidating, Undefeated Mitsurugi Reiji; he of the incredibly tacky office. Little too much crimson there, sport?

Detective-wise, Naruhodo finds Mayoi’s phone with her last conversation with Chihiro recorded on it (for some reason), and gets the actual detective (who seems a bit of a dolt) to reveal the name of his witness, the hotel room of which Naruhodo visits for a hot minute (and finds a suspicious bedazzled screwdriver).

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Anywho, virtually no one wants to defend poor Mayoi now that Mitsurugi is the prosecutor, so Naruhodo searches his soul and determines despite his personal ties to the murder victim and the fact it’s completely improper, he’ll be the one to defend her.

That’s fine with Mayoi, because that’s what she wants too after noticing how hard he worked to find her a replacement for Mustache, getting soaked in the rain and covered in sakura petals. They both have a cute little flirtation in which they ask at the same time, then both bump their heads on the glass.

So now we’re set up for Naruhodo’s second and by far most important case of his life, and Mitsurugi isn’t going to go easy on the rookie. We still know little of the case but small clues here and there, but I wonder if Mayoi’s spirit medium training will come into play.

What isn’t in doubt at all (at least for me) is that Mayoi will be exonerated and Mitsurugi will be handed his first loss. I’m willing to swim in this clunky sea of mediocre animation at least one more week to see how he pulls it off!

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Boku dake ga Inai Machi – 12 (Fin)

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Well, have egg on my face. Just when I thought the show had already reached its main resolution, just when I wasn’t in love with the direction I thought it was taking with Satoru’s new future, and just when I was a little impatient that last week seemingly ended in the same place as the week before, ERASED didn’t just ignore and then subvert my expectations; it pushed them off a school roof with gusto.

It all starts with a little necessary backtracking. Satoru isn’t calm and cool up on that roof alone with Yashiro because he’s content with the life he’s lived and the good he’s done for those around him. It’s because he has a plan. It’s a plan that we can only speculate about until it happens, but it was made with the help of Kenta and Hiromi, who are committed to helping Satoru again, if that’s what he wants.

They feel that way because when he, the superhero, needed help, he believed in them, and so they believed right back. Without that mutual belief in one another, the amazing things he achieved wouldn’t have happened…and Satoru would have likely been murdered up on the roof.

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Call it “One Last Job” for Satoru & Friends: the job that even their nemesis doesn’t see coming, because he’s so consumed with putting Satoru in a box with either jail or death as the escape routes, like a rat in a maze. He uses a fatal muscle relaxant IV on Kumi (with Satoru’s fingerprints on the bag) to create that awful choice, and keeps grinning with glee about finally besting the one who ruined all his plans.

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This is as superhero-y as you can get: the Villain thinking he has the Hero, his Nemesis, in his clutches and at his mercy, and just when victory as he sees it is in sight, the hero wiggles out. The hero wins, with a move way out of left field and yet deliciously awesome in its precision and timing.

Satoru says Yashiro the one who has lost, not only because he was able to save all those victims from him (including his mother in the future) and thwart all his attempts to frame him (including this one), but because for fifteen years—only an instant for him, but an agonizing crawl for Yashiro—while he slept, Yashiro didn’t kill him.

He couldn’t, because Satoru was the only one who knew who he was; that something that fills the void everyone has and needs to have filled. He can’t kill him because of that.

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And Satoru means that quite literally. Sure, Yashiro could let go, which he does, but if Satoru dies then, so does the one thing in his life that’s made him feel anything. The void returns. But Yashiro doesn’t die even when Yashiro decides to let go, because his friends arranged a cushion for him to land safely on, and they also serve as witnesses for Yashiro’s attempted murder.

Yashiro lost because he was alone; because the only person that could fill his void was someone he was committed to ruining; tormenting; erasing. And yet, Yashiro, who truly took fifteen years of Satoru’s life away from him, may have actually been doing him a favor, for the life Satoru lived when we met him was one of dark repressed memories, dead classmates and friends, and most importantly, a life where he had ceased “taking the bull by the horns”.

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It took more struggle to get there, but Satoru was, with his mom and his buddies, finally able to bring Yashiro to true justice. He was able to live on once his deep sleep had ended, and both his memories of heroic deeds, and the dramatic one he performed on the roof to put Yashiro away, filled a void in him that was present in the original timeline, before any Revivals.

This older Satoru keeps taking the bull by the horns. After being a real hero, he became able to write about heroes, compellingly enough to have anime made about them. He’s by all rights a great success, but when he returns back to the city after visiting all his old friends in Hokkaido (and I liked how they teased Misato as a possible love interest), a void still remains in him: one shaped like Kitagiri Airi, the wonderful soul who got lost in all the time-shifting…

…Or so we and Satoru thought. Or maybe he didn’t think that. Why else would he return to the bridge where he and Airi parted, with him in handcuffs and she in tears? Kayo was never meant to be the girl Satoru ended up with after all. When Airi appears, asking brightly if she could share some shelter from the snow with him, everything comes full circle.

It’s a bit cliche, but it’s true: believing in people leads them to believe in you; that’s how you gain allies and friends. It’s one big loop of believing and void-filling. And there you have it: a very nifty and moving ending to my favorite anime of the Winter! I hope you enjoyed it as much as I did.

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Boku dake ga Inai Machi – 11

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Last week really wiped the show’s slate clean, as I truly had no idea what was going to happen after seeing Satoru about to drown in a freezing lake. Part of me expected another time-jump, but unlike the last time it happened, young Satoru was in mortal distress. He couldn’t very well jump back to his future self if his past self was drowning.

But at some point between then and this week, Satoru survived Yashiro’s attempt on his life. In fact, it seems to be Yashiro who saved him, because no one else was around. However, when he presumably returned Satoru to his mother, he was fast asleep, and when we rejoin him, he wakes up for the first time in fifteen years.

Wait…what?

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Satoru’s generally excellent physical condition in spite of that long slumber is credited to his mother, who spend four hours out of every day keeping him clean, well-fed and exercising his joints and muscles, all while making ends meet with a convenience store job. If I didn’t already consider Sachiko a Super-Mom—before this act of selfless devotion and hope absent any indication Satoru would ever wake up—I sure would now.

However, when he wakes up, Satoru’s memories are scrambled, and he has no idea what put him in the comatose state in the first place, though he does remember Kenya and Hiromi, and wastes no time trying to walk again as a young cancer patient watches. However, Satoru can’t shake the feeling (as his older self narrates, suggesting even this isn’t the present day of the show) his old friends are being kept from bringing up certain things, perhaps at his mothers’ request.

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I harbored pretty neutral feelings about this situation, and the fact that Yashiro may have well let Satoru live only to wait for him to wake back up so he can finish what he started. But for some reason, it just didn’t sit right for me when an older Kayo appeared with an infant in her arms, and we later learn she married Hiromi and they started a family while he was asleep.

Satoru takes this a lot better than I do, and I say that knowing it was silly to think Kayo and Hiromi would put their lives on hold—the way Satoru’s mom did—in the off-chance he woke up. But it still stinks—a lot—that Satoru missed his shot with Kayo because he saved her, and that she ended up with one of the other two kids he saved. An unavoidable but still raw and frankly pretty disappointing deal to the shipper in me.

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But Satoru, happy he was able to save Kayo and Hiromi (along with Aya, the older version of whom we don’t see), is content to be the honored hero, and knows he still has vast stores of motivational power for the young cancer patient, Kumi, who is as amazed by everyone else by his quick recovery.

Satoru proves he’s his selfless, loving, heroic mother’s son, by offering Kumi advice on how to have courage: starting with simply picturing the people you care about in your head.

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Then Yashiro shows up, and it’s only a matter of time before he says or does something that triggers Satoru’s memory of who he really is and what he did to him fifteen years ago. I’m not that sure why Yashiro befriended Kumi (another victim?), but he actually seems to enjoy how his relationship with Satoru returns to the way it was, if only briefly.

Satoru seems to recall everything when Yashiro starts tapping the handle of his wheelchair, and now we’re right back where last week left off: a virtually helpless Satoru all alone in the clutches of Yashiro. Only in this timeline, Kayo had no choice but to pass Satoru by and choose someone else. Not saying that will be undone, but I wouldn’t rule out another time-leap back to the past now that Satoru is conscious and knows the score.

Nor would I mind such a development. I know, one shouldn’t push their luck, but surely he could create a future where he (and his mother) don’t have to sacrifice a significant chunk of their lives and happiness so that Kayo, Hiromi and Aya could be saved. But first thing’s first: Satoru has to somehow survive his latest encounter with Yashiro.

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Boku dake ga Inai Machi – 10

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With Kayo safe in her new home and Hiromi hardly ever alone, Satoru has successfully taken two of the serial killer’s potential victims off the board. All that’s left is Aya, who Satoru confronts with Kenta and Hiromi.

When Kazu jumps in to defend boys’ hideouts it only seems to make things worse, but turns out he charmed her enough for her to come visit them not long after their first meeting.

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Aya befriends the boys, Kazu in particular, and suddenly she’sno longer alone, making Satoru 3-for-3. But when Hiromi notices Misato (the girl Satoru blew up on for accusing Kayo of stealing) is now a class pariah and often alone, Satoru catches up with my thinking last week: depriving the killer of his original choice of victims will make him seek out a substitute.

In his thought process, Satoru is careful not to make it the same thing as Yashiro-sensei using candy as a cigarette substitute. Little does he know at the time that he’s on to something with that comparison, and that I was on to something with all those nagging suspicions about the young educator.

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Satoru follows the lonely Misato to the hockey rink, pondering how to approach her (which will be tougher since he’s could be considered partly responsible for her ending up ostracized). When she goes to the bathroom, and takes a little too long, Satoru starts to worry.

Then Yashiro appears from the back door, sucking on a lollipop. And that was it; I knew something was wrong, and there’d be no more explanations that would dissuade me from the truth: Yashiro is the killer. Satoru finds out far too late, after he’s already willingly in Yashiro’s car, having asked him to follow Yuuki’s father’s truck, believing Misato was kidnapped by him.

Before the truth hits Satoru (and boy, does it pack a wallop), he and Yashiro have a somewhat innocuous conversation about the nature of Satoru’s recent acts of heroism, and how they “fill a hole” in the hearts of those he helps, as well as his own. He’s doing—and done—something he’d always yearned to do: fix things from the past that were broken and haunted him since.

The discussion then turns a bit darker when Yashiro says the essence of good and evil deeds is the same, and that he and Satoru share the need to fill a void in their heart; to make up for a defect in himself. But “evil” is the operative word here; Satoru is good; Yashiro is not.

Satoru finally gets it when he sees Yashiro tapping his finger on the steering wheel more and more forcefully, and reaches for the glovebox to get him some candy…only there’s no candy in there, only laxatives he gave to Misato, who he used to bait Satoru into entering his clutches willingly.

Once they enter the tunnel and reddish flashing lights adorn Yashiro’s true face, it’s as if Satoru is in the presence of the devil himself.

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Satoru taking the bait was the last thing Yashiro needed to confirm they were enemies. And yet, Yashiro is amazed and impressed, not bitter or angry, that Satoru managed to anticipate his thinking and destroy his plans for Kayo, Aya and Hiromi. Of course, he’s also driving Satoru out into the middle of nowhere, so it’s not like he’s just going to let him go.

After the wheels start turning in Satoru’s head, he laments he couldn’t see the glaringly obvious. It’s just that he let both his past, present, and future trust in Yashiro blind him from all of the factors that incriminated him. I too was kept in a state of ambiguity about Yashiro in the end, since the various evidence was never incontrovertible until this week. It was only hinted at through little gestures, glimpses, and asides.

As we’re given glimpses of the fruits of Satoru’s labor—his mother alive; Aya and Hiromi with friends; Kayo in her new safe home with her grandma—the only thing left for hi to do was to find and stop the killer. Yashiro simply got to him first, exploiting his blind spot to the hilt.

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So just like that, by trying to go beyond saving the three original victims, Satoru ends up in the clutches of The Killer. The man who not only killed those three kids in a previous timeline, but also murdered his mom and framed him for it. The same carefulness is on display here in 1988 with his multiple cars and fastidious preparation.

That preparation leads them to a half-frozen stream at a campground, where Yashiro uses a basketball on the gas pedal to send the car into the drink with Satoru strapped inside with a seatbelt that just won’t become un-stuck. Yashiro concedes defeat in terms of the the kids Satoru saved, and the peace he won for the town. But he’s still going to kill Satoru; by “my hands and for my sake.” And then he’ll go to another town and start anew.

Even when Satoru tells him he can see Yashiro’s future, Yashiro doesn’t jump in and pull him out of the car. The episode ends with Satoru, as far as we know, drowning, and there’s a finality to the fact that even the abstract visualization of the various timelines shatters and breaks down. Of course, everything can’t be over for Satoru yet, since this whole show is from his point of view, and there are two whole episodes left…right?

Regarding the unambiguous confirmation that Yashiro is the show’s Big Bad, in all timelines: On the one hand, I’m a little sad now that one the central mysteries is over. On the other hand, I’m glad that it was the most logical choice based on the evidence provided. Anyone other than Yashiro would have been too far out of left field.

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