Iroduku: The World in Colors – 11 – Suddenly, Out of Time

The club is putting the finishing touches on their photography, art, and magic exhibition (I love how the principal asks Kohaku to define “event”) as the day of the festival approaches, but the impending joy of sharing their gifts with classmates, friends and family is suddenly, jarringly preempted by a new and bizarre development: Hitomi is starting to experience “time gaps” as a result of the future Kohaku’s magic wearing off.

At first, Asagi thinks she was just mistaken in not noticing Hitomi in the room into which she’d just walked. But it only takes us one look from Kohaku to realize that something very wrong is occurring, and it can spiral out of control fast if not dealt with immediately. All of a sudden, all of the interpersonal problems that have occurred among the club so far pale in comparison to the very real threat of Hitomi permanently vanishing into oblivion.

Kohaku contacts a scholar and expert in time magic, as well as a fellow mage at a bookstore, to confirm her suspicions: whatever time magic she used sixty years in the future, it must be used again to return Hitomi to her proper place in the timeline, lest the universe excise her by force. For as much as she’s fit in and become comfortable, the fact is she is the kind of space-time abnormality the universe abhors.

There is no easy way to break this to Hitomi, and as a result of the suddenness and finality of the news (You gotta go, ASAP, The End) she’s just not sure how to process it, what to do or what to say. It’s sobering to know there doesn’t seem to be any time magic Kohaku of the present could perform on Hitomi to stabilize her presence in the past.

The next day’s weather reflects Kokahu and Hitomi’s moods, but the rain reminds Hitomi of the night Yuito offered her an umbrella, and she takes comfort in the belief it’s a memory she’ll always recall whenever it rains. Unfortunately, she also disappears right before Yuito’s eyes, and her umbrella depressingly falls to the ground.

When Yuito reports the incident to the others, Kohaku comes clean about the extent of the danger Hitomi’s in. She and Yuito find Hitomi where she vanished, sleeping in a bed of flowers in a disturbingly funereal scene that shakes Kohaku to the core. Back home, she sits vigil for her granddaughter, but her own grandmother tells her to get some rest herself. After all, Kohaku’s future self tacitly trusted her past self to pull off the time magic that will bring Hitomi back…but she won’t be able to do it if she’s exhausted.

Hitomi wakes up the next morning literally tied to Kohaku with a string, and  ends up staying in for the day. Still, she gets up and leaves the house and ends up finding Kohaku on the beach with the others, gathering star sand for use in the spell that will return her to her time. A lot more sand than usual is washed up due to the typhoon that just blew by.

While no one is happy about the prospect of Hitomi having to go, and so soon (especially Asagi and Yuito), when Kohaku asks for help, they help, for Hitomi’s sake. They collect enough sand and she gets it to her acquaintance, who assures her they’ll have it ready to go by tomorrow.

Meanwhile, back at home, Hitomi finally finds a way to reach out to Yuito from across the town: a magical homing paper airplane, which taps on his window. He flashes his lights on and off, as does Hitomi. When her second airplane seems to go off course, she jumps into her shoes and chases after it.

Turns out it’s still en route to Yuito; he’s just not at home anymore: he’s racing towards her just as she’s racing towards him, and they meet in the middle, under the almost-new moon, and embrace. It took the urgency of impending oblivion for it to happen, but the two have finally come together and are on the same wavelength. It’s just too bad the time they’ll have after reaching this state looks to be all too painfully short…

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Fate/Extra Last Encore – 13 (Fin) – Mankind’s Journey Continues

Twice H. Pieceman is done with humans, and he has been for a long time. On Earth, in life, he was surrounded by the death and suffering of the Vietnam War. After death, he was “reproduced” as an NPC within SE.RA.PH, but that NPC status meant the Holy Grail would always be out of reach, so he sought a successor who also felt the future was wrong.

When none came, and humanity grew stagnant, Pieceman stopped seeing the point of letting it all continue. That’s pretty much where we’re at when Hakuno, Saber, Rin, and Leo arrive at the doorstep of Angelica Cage and the Moon Cell Core, still shielded and guarded by Chakravaratin, the Noble Phantasm of Pieceman’s no-longer-around Servant.

Oh, and Pieceman is also a Dead Face; a remnant of his digital body that was destroyed when he sealed off SE.RA.PH. Killing a final boss that’s already dead will be impossible…but they don’t have to kill him; they simply need to get past him.

When a frontal assault on Twice and Chakravaratin by Rin and Saber fails (Leo is initially neutral and takes no action), Pieceman informs them even if they wish to save humanity, it’s too late; showing them images of what has become of Earth. Yet Hakuno is sure there are survivors he wasn’t able to eliminate—even after a millennium of trying—who will one day make their way to SE.RA.PH to continue civilization.

Having heard both sides, Leo abandons his neutral position and uses a barrier to shield the others from Chakravaratin’s lasers. He also summons Gawain and uses his final Command Seal to order him to use Excalibur Galatine on the wheel, damaging it and giving the others time to finish what he’s started.

Leo goes out as a proud leader fighting for the future of humanity, and Gawain goes out with a majestic bang, reforming Excalibur with the light of the sun.

Damaged but not stopped, it falls to Saber to fly up to the wheel and cease its turning so the shield over Moon Cell core will drop. Emperor Nero Claudius proceeds to prove her worth by achieving what is “no mean task”—stopping Chakravaratin as she promised. While she expected Hakuno to race to the Moon Cell core, he sends Rin instead, as the only true Holy Grail War Master still “in the game” (he’s not an official participant).

That allows Hakuno to come to Nero’s side near her end, which was the one simple wish she told the female Hakuno, since dying alone the first time was “harsh.” She gives Hakuno her sword and sends him off to Moon Cell.

Believing he’ll be able to manipulate a fellow Dead Face’s body and use it as a vessel, Twice is surprised to find his attempts are utterly ineffective as Hakuno bull-rushes Moon Cell, passing right through Pieceman. Despite being a Dead Face, Hakuno was able to go against his kind’s nature by expressing no hatred and not considering Pieceman a foe.

Hakuno shatters the shield and joins a somewhat flustered Rin right by the core. Touching returns Moon Cell to normal, but results in his disappearance. It’s something he does willingly, with a smile on his face: a being shrouded in death believing in life; and not shrinking from his duty, which led to his end, despite yearning for that life.

Down below at the ruins of Chakravaratin, Nero offers her congratulations to her Master and disperses in a cloud of rose petals, and Moon Cell is restored to normal, whatever “normal” is. The only person who appears to remain there is Rin, sporting a new dirty-blonde hair color, looking ready, willing, and eager to welcome the survivors of Earth, that they may begin rebuilding civilization.

And there you have it…FELE is at an end. Sure, at times things were a bit hard to follow and the jargon was a bit too dense for my tastes, but through it all Hakuno never ceased his dull optimism while Saber and Rin never ceased being awesome and fun to watch. Even Leo had a nice redemption here.

The setting of the final battle was appropriately sprawling, with intricate structures sticking out in a vast, austere void. The soundtrack delivered at every turn, just as it had throughout the show’s run. Shaft’s trademark closeups were on full display but not overused. It took a few months, but FELE came to a powerful and satisfying conclusion.

Tada-kun wa Koi wo Shinai – 11 – Decluttering

The sudden departure of Teresa and Alec for vague “family reasons” comes as a shock to all, especially when the reality of their absence sinks in via their now-empty apartment and desks at school. But no one is hit as hard as Mitsuyoshi, who is constantly encountering things that remind her of Teresa, and of the fact he had his chance to say something to her and blew it.

I don’t think Mitsuyoshi is mad at Teresa—nor should he be—so much as he’s angry at himself. He can’t hide his change in behavior post-Teresa from his best friend Kaoru, who quickly comes to suspect Tada liked Teresa and has been shaken by her disappearance. Kaoru wants to help him, but doesn’t have enough info, and it’s too sore a subject to broach lightly.

One friend who has no compunctions about broching sore subjects is Nyanko Big, who despite lacking thumbs is able to get into his closet and rifle through the box he filled with mementos of his time with Teresa.

Mitsuyoshi goes off on his own, and senses a great emptiness from all of the spots he’d previously visited on their last day together. Like the new tenants in the apartment, everything has changed, and there’s nothing for it but to move on. Mitsuyoshi tosses his Teresa Box in the trash.

That practical and emotional “decluttering” continues in the photo club, where he unceremoniously erases Teresa and Alec’s names from the whiteboard. Then they find an extra memory card filled with all of Teresa’s photos. They’re mostly of rocks, but the greatest treasure is the sole video file of their game of photo tag.

That’s the day Teresa and Alec truly became two of the gang, and she also managed to capture Hajime and Hinako’s unspoken love. Those memories of Teresa laughing and smiling just keep rushing through Mitsuyoshi until he can’t take it and flees home to retrieve the box from the trash, only to find it’s already gone.

He sulks in his dark room until Kaoru confronts him, though not before showing him the photo he was looking for, which Hajime submitted for him, and which won an Excellence prize. In it, Teresa is beaming, her hair flowing in the wind, rainbows reflected in her eyes. It’s an absolutely gorgeous image full of love—the photographer’s love for the subject in particular. Kaoru says there’s no way such a photo could have been taken if Mitsuyoshi didn’t feel that way about her.

Mitsuyoshi finally opens up about how angry he’s been since Teresa left, and how stupid he was to stay silent and close love out of his life. All he wants is one last chance to see Teresa and talk to her so he can tell her how he feels—even if she rejects them. Gramps comes in with the un-tossed box, telling Mitsuyoshi that now that it’s “stopped raining in his heart” it’s time to search for the rainbow that comes after; i.e. Teresa.

Boku dake ga Inai Machi – 07

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As expected, shortly after Satoru is arrested he’s able to activate another revival (there wasn’t much he could have done in a jail cell), but despite knowing it was going to happen an infectious wave of relief still washed over me, just as it washed over Satoru upon realizing he was back in the museum with a very alive Kayo. This time he thinks out loud and means it, and starts responding to Kayo’s “Are you stupids” with “Yeah!”

This time Satoru is doing away with all pretense and restraint. If he’s suddenly acting strangely for a kid of his age to people around him, so be it. No matter what the consequences are for him, he won’t let Kayo die again…and he’s operating under the assumption this is his last revival, having already been given an unheard-of third chance.

As such, the relief soon washes away, replaced with the weight and suspense of everything he must accomplish in the next couple of days; a weight that never lets up.

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For a moment at school, I thought he was in trouble again, because I still can’t bring myself to fully trust Kenya, but again I was all but proven wrong for suspecting him of anything but the noblest of intentions. He’s simply a good enough friend to know when Satoru has completely changed.

When he asks Satoru “Who are you?”, Satoru gets to think out loud on purpose again: “A superhero.” He hopes to become one, anyway, but as far as Kenya’s concerned, he already is one, even if he doesn’t have the results yet.

I loved how Satoru’s plight is filtered through the prism of two kids talking about friends and heroes. It doesn’t feel like material that should be over the kids’ heads because we know Kenya isn’t your typical 10/11-year old, and Satoru is an adult.

Another tense scene was with Satoru at Yuuki’s place, where he probes Yuuki in preparation to give him an alibi, so that whatever happens, his life won’t be ruined by the events to come. What’s striking, and highly disturbing in its ambiguity, is Yuuki’s initial reaction to hearing that Kayo is in Satoru’s group of friends now.

This was the first time since siding with Satoru on Yuuki that I thought both of us might be being overly naive, and that Yuuki’s odd interest in Kayo could have been something going on for a while now.

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Regardless, Satoru takes Yuuki’s secondary reaction – one of joy – to mean he’s still good, so he proceeds to duck out on his birthday party to toss a rock through Yuuki’s dad’s window so that the cops will come, securing Yuuki’s alibi.

After that, Satoru spots Kayo’s mom, and seriously considers pushing her down a flight of steps to her death, but he’s stopped by Kenya, who has been following him. Kenya agreed to help him out, and he realizes he may have to get his hands dirty, but killing Kayo’s mom will only create new problems, and Satoru was too close to the situation to see that.

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From there, Satoru starts walking Kayo to her house as before, but this time, in another magical little back-and-forth, he announces his intent to “abduct” her, and she consents to let him. Satoru takes her to an abandoned bus hideout with a heater and blankets.

I understand the plan: simply keep Kayo out of the equation altogether; away from those who might kill her. But unless someone is with Kayo the entire time, it also looks like the perfect place to kill her where no one would notice. What makes it a great hideout also makes it a great grave.

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The first time she’s left alone, however, that doesn’t happen, allowing me to lower my guard just a little. She’s knitting away when Satoru calls on her, and they have a hot meal and fall asleep huddled together (something they’re embarrassed about upon being woken up by Kenya in the morning…they are kids, after all.)

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It worked for a day…but so did Satoru’s first plan. And that crushing weight I was talking about didn’t go away just because Satoru brought not just Kenya but Hiromi into the hideout. Kayo makes a neat little adjustment Satoru hadn’t though of: that she was the one who instigated all of this, thus absolving everyone involved of blame whatever may happen.

Rather than pick Satoru’s Joker, she takes an Ace to match her last card. She wins here, but the foreboding at this point is almost unbearable. I couldn’t help but wonder why the guy smirking under the umbrella in the present was so emotionally invested in Satoru’s downfall, or Yuuki’s bizarre reaction, or the ominous scenes of Yashiro noticing Kayo gone in class, then making a phone call in the faculty lounge.

It’s also just the seventh of twelve episodes, so it’s clearly not all smooth sailing form here. Sure enough, when an adult with a backpack pays a visit to the bus, not knocking the way Satoru would or saying a word, but just entering, Kayo under her blanket already looks like a body under a shroud, and the bus a cold, dark tomb.

Once again, the show mercilessly cuts to credits just before confirming that Kayo has in fact been lost to us once more. That leaves us simmering with a tiny shard of irrational hope for another week, knowing we know that hope is irrational, but not being able to let it go.

In reality, all I can realistically hope is that Satoru can engage revival and try again. Because if I put my heart aside and use my head, this isn’t going to go well for Kayo.

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Boku dake ga Inai Machi – 06

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The events of this episode reveal that the antagonist of BokuMachi doesn’t have any particular desire to erase everyone in Satoru’s life before erasing him. If he did, he’d have made sure Airi was killed. Instead, Satoru manages to rescue her, only to find he’s too weak to carry her out. But he only foils the enemy temporarily.

Enter the pizzeria manager to take over (and claim the credit), though this time he lets Satoru leave rather than screw him over again. But in a crucial moment of consciousness, Airi sees who really saved her – Satoru – and slips her phone into his pocket.

So begins the first episode of BokuMachi that didn’t totally bowl me over in rapt awe (hence the 8), but did begin the necessary work of establishing the basics of what’s going on, who’s doing it, and why – much like a detective starts piecing photos together on a cork-board.

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The phone shows that the arsonist meant to frame Satoru for the crime. When he contacts his mother’s colleague Sawada, a bigger picture takes shape than a simple comprehensive destruction of Satoru. He’s only the latest in a string of innocent men framed for the crimes of the criminal who killed Kayo and the other two youths.

His M.O. is to manipulate the crimes in order to divert police suspicion on those innocent men. The more they investigate, the further from the truth – and from the actual culprit – they get. This is a very intriguing crime story, though I did feel the show lag a bit as a lot of information was dispensed in very straightforward fashion.

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When talk moves to Airi, who is in the hospital under somewhat incompetent guard, Satoru suspects she wasn’t targeted just to strengthen the case for his guilt in his mother’s murder. Instead, the culprit was someone who know both his and Airi’s schedules – someone who was at the pizzeria. Obviously, not the manager, but the suited fellow whose face we didn’t see is the obvious choice.

Meanwhile, Airi is upset about how things have turned out, and wastes no time breaking out of the hospital to continue helping Satoru. It’s clear she’s being watched, and when a hand comes down on her shoulder from behind, we expect nothing good. But then Sawada visits Airi in the hospital, only to find her mother, who was the one who grabbed her.

Her mom, still inspired by her daughters faith in her dad, is willing to believe in Airi here as well, and takes her place in the hospital bed to allow her to move freely. What a cool, nice mom!

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Airi meets Satoru, and Satoru says his embarrassing thoughts aloud not once but twice. I liked this little detail because it shows that even if he’s not a 29 in a 10-year-old’s body, he’s still an introverted guy whose communication skills aren’t the best.

However, the name Airi suggets could be their man – Nishizono – doesn’t match the list of suspects from Sawada’s files. He’s hit a roadblock, and at the worst possible time: turns out Airi was followed without her knowledge, and the police surround and arrest Satoru.

But before they do, Satoru tells Airi about an idea he had for a manga: a Grim Reaper who made a clerical error and killed a young boy. He resolved to fix his mistake, but only ended up drawing more and more people to their doom. When he compares himself to the reaper, Airi objects: both the reaper and he should have more faith in themselves, and not focus too hard on their subjective impressions of how their actions affect others.

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After all, Airi is still alive and unhurt. As Satoru is taken away and Airi’s cries of protest go ignored, Satoru turns around and says what he thinks a hero would in such a situation: that he can keep fighting because she believes him. Then everything freezes and goes black-and-white as Satoru spots the same suited fellow with red eyes who he saw on the balcony the night his mother was killed.

Considering there’s little Satoru can do in jail, I imagine this is a Revival. Assuming it is, I wonder when he’ll end up as we enter the second half of the season, and what he’ll be able to do differently in that time now that he has a much firmer handle of the situation, but also knowing his adversary is an extremely crafty son of a bitch.

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Boku dake ga Inai Machi – 05

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Boku dake ga Inai Machi has made it sparkling clear that it has absolutely no intention of going easy on Satoru or the audience. He may be mentally 29, but that doesn’t blunt the devastation of losing Kayo one bit. He sees suspicious footprints by the shed, but nothing else. In an immensely disturbing cut, we see Kayo’s mother and her male friend inside, Kayo’s badly beaten, lifeless body lying on the floor.

Ultimately, it doesn’t matter right now who killed Kayo or how. All that matters to Satoru is that he failed in his mission to save her. His mom tries to comfort him by saying it’s not his fault, but she’s not aware of her son’s journey to this point, nor the pain of having come up so short.

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To add insult to injury, both the school and media keep the disappearance under wraps or outright lie about it (to avoid traumatizing the other children). When a second girl goes missing, the story kinda goes away, as if swept away by the wind.

The last straw comes when Satoru sees Kayo’s mom take out the trash, and for one horrible moment I thought she might just be crazy enough dispose of Kayo’s body in such a fashion. It isn’t that bad (though one shutters to think what really happened to her body), but for Satoru, it’s pretty bad nonetheless: it’s a translucent bag, and through it he can see the gift Kayo promised to give him: a pair of knit gloves.

Seeing those poor gloves sends Satoru into a fit, and before he knows it, he and we out of the letterboxed past and back in full-frame 2006, only moments after he fled his apartment after finding his slain mother.

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Satoru is dejected to be back having accomplished next to nothing, but remains determined to discover what the heck is going on. But he initially doesn’t have the luxury of moving around freely like his past self. He’s a person of interest in a murder investigation, and while he’s a mangaka, he’s not incredibly imaginative when it comes to being on the lam.

His cheerful, supportive pizzeria manager lets him stay at his place, but one click of the remote is all it takes for Satoru to learn the crime and his framing in it is already public record. He doesn’t begrudge his manager apparently turning him in, but he doesn’t give up, either, and his desire to stay free bears fruit in the form of a timely encounter with…Katagiri Airi!

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I wasn’t alone in my almost instant love of the character upon her introduction, as well as my hope we’d see more of her. The show is not usually forgiving, but in this it seemed willing to cut us a little slack. Airi isn’t infatuated with Satoru or anything, she just trusts he didn’t and couldn’t possibly do what’s been reported, and wants to help in any way she can.

Airi provides Satoru a place to crash, and even a ray of hope when she pulls out the crime book he left at work with the bookmarked entry on Kayo. Turns out his actions in the past had an effect on the present after all: Kayo went missing March 3, after turning eleven. If Satoru can get back armed with more knowledge, he may be able to save her…or at least keep her alive longer and longer with each attempt, which could quickly turn into a Steins;Gatean obsession before long.

How she acts on her belief in his innocence contrasts sharply with the more pragmatic manager. No sooner is he meeting with a suspicious suited man whose face we never see (another one of those guys…or could it be the same guy who killed Sachiko?) thanking him for political favors, then he’s catching up toe Airi (whom he likes) and telling her he doesn’t think Satoru did it, and to help him if he approaches her.

Did the suit cut him a deal in order for his cooperation in one small part a larger conspiracy?

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If so, the manager probably believes the kind, naive Airi will do as he says and in doing so, get Satoru into a place where the police can nab him. But he’s foolish to lie about believing in Satoru, and even more foolish to be slinking around her house about to call the cops when she confronts him from behind.

Here we see a wrathful, fiercely loyal, and oh yeah, quite strong Airi, destroying the manager’s phone and punching him in the face with authority. Despite the potential danger, she’s staying on Team Satoru, and is committed to protecting him with everything she’s got.

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When they meet under a bridge, she admits she’s not doing this only for him, but for herself as well. She tells the story of how her dad was accused of stealing a candy bar in her hometown’s store, and while he always claimed his innocence, he lost his job, got divorced, and was basically ruined.

Yet Airi has always decided to side with her dad, because she loves him, and was there with him, and she though him a good person who’d never steal. She wants to believe Satoru in the same way, without him even having to beg her to believe him.

Unfortunately, the parties at work trying to ruin Satoru’s life at every turn are more sophistocated and diabolical in their methods than either Satoru or Airi are prepared for. Tough and careful as she is, she ends up trapped in her room when her house is set ablaze, and when she opens her door she gets knocked out by the smoke.

Is it “Airi, we hardly knew ye” so soon after her reunion with Satoru? I doubt it. But what comes next, I have no idea. She may survive. She may die, and trigger another “revival”. But if that happens, it means one more life he must try to save, even as he only managed to forestall Kayo’s death by two days.

The tide, in other words, is very much against Satoru. Everyone close to him is being killed; he’s being slowly erased. I sorely hope he can find a way to turn that tide.

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Nagato Yuki-chan no Shoushitsu – 14

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Nagato Yuki-chan’s last episode was so awesome, it would have made a fine end to the series, and part of me kinda wished it was, as I’ve got a full Summer plate. This week didn’t reach the dizzying dramatic highs of last week, it did make me glad after all we got three more episodes.

It was worth it just to see Ryoko welcome Yuki home, with a blend of joy and sadness in her eyes even a dope like Yuki can pick up on. Indeed, she doesn’t remember anything about the time her other self took over, or even the dream in which her other self explains things to her.

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But Kyon remembers, and he hasn’t been able to help but act differently around Yuki ever since. He also stares at the call log entry, as if it’s the entry of someone deceased. In a way, it is; Kyon wants to be able to believe New and Old Yuki were separate people with separate sets of feelings, but he can’t. Like Ryouko, he’s found he likes both equally, and the more they think about it, the more confused they get.

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New Yuki’s words let something in Kyon out that he can’t put back in or compartmentalize behind his stoic surface. It’s plain to see, especially from the newly-returned Haruhi, whose return I thought would be a pain but turned into a wonderful change of perspective, a marvelous use of Haruhi’s character beyond mere comic relief, and a resumption of the love triangle. Haruhi, like Kyon, is dealing with feelings she has for someone who doesn’t remember the same things about him that she does.

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The day they hold Tanabata celebrations is the fourth anniversary of Haruhi meeting Kyon, helping her paint messages to aliens in the schoolyard, and telling he he has no reason not to believe aliens are out there somewhere. He came into her life at a time when she was starting to feel the “senselessness” of her earlier youth give way to more and more common sense, leading to despair.

And he saved her from that despair. She hasn’t forgotten, but he has. People don’t need random car accidents to forget moments that are important to the ones they love. All it takes is time. It’s kind of heartbreaking: even if Haruhi brought up that day to Kyon and he remembered, it wouldn’t change the fact that he forgot in the first place.

But here’s the thing: that past Kyon wasn’t in love with Haruhi. Both Yukis love/d Kyon, and Kyon loves/d both Yukis. They’ve got two episodes to figure out what to /do about it!

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Nagato Yuki-chan no Shoushitsu – 13

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As she sleeps and dreams in Bossun’s Concentration Mode, New Yuki seems to resign herself to the fact that as much as she doesn’t want her time in this world to be limited, it is, and there’s nothing she can do about it. As she sleeps, “Old Yuki”‘s memories come into greater focus and reorganize. Her dysmnesia resolving. Time, and neurology itself is against her.

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New Yuki may have the personality and mannerisms of a new person, but she was never meant to be one; not permanently. Her body belongs to another, one who was injured in the accident, and as her brain heals, the temporary nature of her existence, along with the dread of her impending “disappearance” suffuse every moment she spends “on the outside.”

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But what continues to amaze me is that despite New Yuki treating these final days as a kind of requiem for who she is, and an opportunity to disappear with no regrets, the show doesn’t rule out the possibility the very title of this show is a misnomer. Is New Yuki really disappearing, or is she merely changing…or to be more precise, being changed by external stimuli, i.e. her friends?

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New Yuki is, after all, pretty much identical to Old Yuki; their difference lies primarily on the ownership of memories: If New Yuki believed those memories were her own and not Old Yuki’s, she’d probably act a lot if not exactly like Old Yuki. Furthermore, while Kyouko picks up on the fact Yuki is treating these like her last days, she is the one who posits the theory that it’s Yuki’s exposure to her and Kyon that’s causing this change in her, and therefore not a bad thing.

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But this discussion about whether there’s erasure or change going on is moot: erasure IS change. Also, New Yuki isn’t going back to Old Yuki; not really. I’m not sure the coinidence is intentional, but this episode has a “III” in it; the Yuki that results from her memories and personality being restored will be a third, new Yuki. New Yuki or “Yuki II” may only end up as synaptic scars, but that’s still a difference.

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The final scene is exhilarating, because we know Yuki will be “back to normal” soon, but heartbreaking, because it’s in her state as New Yuki, on the precipice of oblivion, that she has the courage to say what Old Yuki never could: that she loves Kyon. These are words Kyon really had to hear directly from Yuki, and when he does, it’s over the phone, and he knows he has to hurry to her side to properly respond.

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It doesn’t work out. By the time he finds Yuki, she’s dozed off, and just as she told him, she’s slightly confused by her surroundings when she wakes up. She also would seem to have no recollection of having just confessed to Kyon over the phone, though we’ll have to wait until next week to confirm this.

But who’s to say Yuki’s decision to confess right then and there, triggered by the knowledge Kyon knows her so well and cares for her so much, triggered her own disappearance, and the restoration of her old personality? If that’s the case, then it’s as if the Yuki created by accident accomplished a very important feat for her more easily-flustered counterpart.

Will Kyon believe the Yuki that confessed her love for him is gone, or will he understand that the back-to-normal Yuki feels the same way; that the accident was the finally learning her feelings? Here’s hoping.

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DRAMAtical Murder – 05

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Aoba wakes up from his fist nap face to face with Mink, leader of Scratch and the guy who punched him…only to get beaten again for protesting the situation. I was right there with Aoba in his combined confusion and rage: damn it, show, what’s going on here?

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The show eventually relented, but only partially: Mink wanted information from Aoba; information he has now acquired. Mink agrees to help Aoba find Grams if Aoba agrees to do what he says. Mink is not the sort of guy you want to try to haggle with, and Grams comes first, so Aoba agrees.

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Returning home to find a worried Clear and Koujaku, Aoba has to play peacemaker between Koujaku and Mink, which is fine; it’s not as if opposing gang leaders are supposed to get alng. When Mink discovers Noiz has the house under surveillance, they invite him to join them in the operation to save Grams.

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The operation that follows is the first time the show has gathered so many disperate actors in a loose coalition, all helping Aoba out. Koujaku, Mink, and even Clear prove quite capable of dealing with the Morphine foot soldiers sent at them, many of whom are former members of Dry Juice.

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When Aoba arrives in the parking lot where Grams is being moved, there’s another surprise: Mizuki is the one shoving her into a truck. He clearly isn’t himself from Aoba’s perspective. Things get a little bit weird when Aoba suddenly involuntarily enters a virtual world where the “real” Mizuki describes how Morphine betrayed him.

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Then Aoba’s head starts pounding again, and an evil-looking “inner-Aoba” says “Destroy” again and again, causing Mizuki intense pain. Not sure what’s up with all that, but I will say this episode was never boring.

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DRAMAtical Murder – 04

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I said I might have to drop this show now that I’ve discovered AGK, but I haven’t done so yet. That could be because there isn’t another show this Summer that has me as much in the dark about as many things. I’m eager for some answers, but only get more questions. And yet, on I watch.

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The unfortunately named Platinum Jail; its developer, who ends up in the same limo as Grams earlier in the episode; the disappearance of Dry Juice, and the painting over of all their tags with Morphine tags; Trip and Virus’ involvement; Clear and Noiz’s obsessions with Aoba; it’s all just floating around in one big cloud of mystery.

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I hope something gives soon. I don’t mind lingering mysteries, as long as something comes of them, but the show could throw us a bone here or there. After a police patrol cuts Koujaku and Noiz’s fight (ostensibly over Aoba) short, Aoba comes home to find his Grams gone, replaced by a couple of unconscious Morphine members and Mink.

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Whether Mink is a friend or foe, and what if anything he has to say to Aoba that might shed some light on all of this stuff, we’ll have to wait another week. But with all these elements listed above in play yet presently isolated from one another, I imagine at some point some dots will be connected. Some point soon, hopefully!

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