3D Kanojo: Real Girl – 21 – What About Us?

I’ve never been particularly interested in 3DK’s longstanding ticking clock on Hikari and Iroha’s relationship. It’s a two-dimensional source of drama and dread on a show that’s proven itself capable of developing nuanced solutions to conflicts that rise organically from its cast of 3D characters.

Case in point: 3DK invested so much time and loving care to bringing Ishino and Takanashi together, yet the biggest threat to Hikari and Iroha’s relationship remains frustratingly murky.

There’s nothing unclear about the statuses of their friends, however: Ishino x Takanashi is very public, while Itou confirms to Hikari that he and Ayado made love. It’s quite on point for Itou to cry tears of joy afterwards, as well as to tell Hikari that it probably has changed his world, but a lot more changes are to come as he and Ayado share more experiences.

I kinda wish we’d gotten more of Ayado’s perspective—perhaps telling Ishino or Iroha about it—but still, kudos to the show for being both unambiguous and tasteful in the portrayal of a very common milestone in young people’s lives.

As their final year in high school begins to draw to a close, Takanashi, Ishino and Itou are all thinking about their futures…while Hikari hasn’t. Why would he? The future, to him, is just a place where there’s no Iroha.

Better to make the most of the present lest he come away with regrets. For Hikari, this means blowing off career surveys, studying and even some classes to spend maximum time with Iroha.

A side-effect of all the dating is a precipitous drop in his grades, something he keeps from both Itou and Iroha until the former hears it from the teacher. Like any best friend as kind as he is, Itou is concerned about Hikari, and urges him to be mindful of finding a school/romance balance.

However, Hikari doesn’t want to tell Itou why he’s neglecting his studies. He doesn’t want to tell Itou that Iroha is moving in a month, because that will only make that move—that future without her—more real.

Instead of getting back to his studies, Hikari takes Iroha out on more and more dates, even as she gets increased pressure from Mabuchi (the doctor) to stop what she’s doing presumably due to an undisclosed medical condition…but we just don’t absolutely know for sure!

One thing’s for sure: frolicking on a frigid beach in October isn’t going to help that condition…and I’d be very surprised if one or both of them didn’t come down with a cold next week.

But fine: Hikari doesn’t know the truth, and neither do we. Iroha doesn’t know about his bad grades until Itou tells her, and when she pulls out what she thinks are his notebooks for studying, they’re filled with things he’s planned for them to do together.

Seeing this note makes Iroha cry, because Hikari is planning a future for them that may not be possible. When he comes back with warm drinks, she tells him she lied: she’s not going to transfer schools. But that still doesn’t explain if and why they’ll separated in a month’s time.

Then again, perhaps Hikari’s request to his mom to loan him a large sum of money from his mom, and both his and Iroha’s reluctance to “go home” means they’re going to run away together, finally taking charge of their future.

But if Iroha’s real circumstances are so serious she’s yet to breathe a word of them to the man she loves, out of a reluctance to hurt him, what if those circumstances worsen, and there’s no longer any way to hide them…or avoid hurting Hikari anyway?

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3D Kanojo: Real Girl – 20 – Opening The Door To A Frightening World

“Never mind, I don’t care,” Takanashi lied. That’s where he finds himself at the beginning of this week: in denial of his feelings for Ishino and the feeling that he’s letting her slip away in his friend Sakurada’s arms. This week Sakurada is revealed as less of a character (or viable love interest to Ishino) and more of a catalyst for Takanashi to stop playing games.

When his mom ends up in hospital with a mild concussion, Takanashi hits the supermarket so he make hijiki for Anzu, and on his way out, he runs into Ishino, who can just tell something’s up. Takanashi resists the urge to tell her to butt out of his business (in fact she’s the one to bring up her meddling), but does tell her he doesn’t need her pity.

That grinds Ishino’s gears, as it should: forget never giving her the time of day: Takanashi has a serious habit of acting cool to hide his emotional struggles. He relents and asks Ishino to join him at his house, since she knows how to make hijiki.

Ishino also has a problem: it’s virtually impossible for her say “no” to Takanashi, no matter how selfish or mocking his request. But this isn’t about him playing games; it’s about him actually making some kind of effort, in his way, to let her know that her help at the house would be tolerated, appreciated…even preferred.

Meanwhile, someone who would prefer it if Hikari were to fall into a ditch and die is Iroha’s brother Chika, who has heard about the two of them going on an overnight trip. Hikari insists nothing will happen (which isn’t exactly fair to Iroha, if she wants something to happen!) and that the trip had to be postponed anyway; Chika gets his lick and death threat in anyway.

That feels like the first real ripple in Hikari and Iroha’s relationship in ages, and even then it’s due to a third party, not any conflict between the two of them. Back at Takanashi’s it’s pure domestic bliss—complete with spousal bickering, something Anzu probably isn’t used to considering they have a single parent.

Their argument is over whether Takanashi is justified in limiting Anzu’s exposure to Kaoru, or whether he’s just being  overprotective and even petty. Ishino and Takanashi make up in front of Anzu to calm her, but it isn’t long before they’re at it again, and this time it’s when he brings up Sakurada.

He asks, and almost orders Ishino not to go on the date with Sakurada, a serious request that he treats with his usual teasing jocularity (doesn’t want anyone taking his “pet”). While Takanashi is again trying his best to say what he wants to say, the fact is his best isn’t quite good enough. He has to be better.

He runs after a crying Ishino to apologize, and also properly explain his feelings: he feels like she’ll be an important part of his life, and if he lets her go on a date with his friend, he will regret it. So he asks if she’ll be his girlfriend, a question Ishino has been waiting for so long it barely feels real.

It’s been a recurring joke for him to immediately reject her when she asks him, but when he finally asks her, she’s just as quick in saying “yes.” Then he kisses her, daring to open a “door to a frightening world”, but opening it nonetheless. I have no doubt he’ll still tease her (and she’ll tease him back) but at least now there’s no doubt about his feelings.

Shifting from Newly-formed couples to Recently-formed couples, Itou ends up alone at Ayado’s house when something “comes up” with her parents. After four hours of wholesome video game-playing, Ayado can’t take it anymore: she wants to make out.

Itou worries that he’d be betraying her parents’ trust in him if he did anything with her, but Ayado disagrees. Ayado wants him to do something, and will be dejected and miserable if he doesn’t. You’re good, dude…Carry On. And carry on they do…though the episode is somewhat coy about how far.

Back to the couple that inspired all these new doors being opened: Iroha comes over for dinner with Hikari’s whole family again and has an absolute blast, as always. She loves how kind his family is, and how it explains why he’s so kind. Case in point: he offers to walk Iroha home, but she declines.

I can’t have been the only one to think that slightly awkward goodbye was foreboding, and what do you know, the next day Iroha is at the hospital talking with the doctor Hikari thought she was dating back in the beginning, telling her “it has to stop,” presumably due to her undisclosed health condition.

While new doors have been opened for the others, it looks like Iroha and Hikari’s is going to start closing. It’s something both of them have known would eventually come to pass. I just wish we had more of an explanation about why there’s such a seemingly firm clock on her life expectancy. At least Hikari deserves to know, even if it crushes him.

3D Kanojo: Real Girl – 19 – Tabasco In The Orange Juice

From Iroha slapping her brother with a wet towel when he accuses her geeky boyfriend of dragging her down to his level, to Hikari showing that he’s grown into a far better boyfriend than Iroha’s boyfriend could imagine, I loved every minute of this episode.

It was full of instances of friends leaning on one another in times of need, quickly sorting out misunderstandings, and, of course, Ishino gettin’ some legit attention from a guy other than Takanashi! The only major mark against this episode is that there’s no Ayado, but that allows the episode to maximize its time with everyone else.

First, a brief rift between Itou and Hikari emerges when Itou asks Takanashi for advice on how to proceed with Ayado. Hikari knows he’s not the one to go to for advice of that nature, but is still embarrassed enough to avoid Itou, until Itou himself calls him out and they sort it out together.

Itou assures him every couple goes at its own pace, and that if Hikari doesn’t even intend to go all the way with Iroha (as Itou suspects he will with Ayado, very soon), Itou respects and will support him. It’s some very mature conversation between best mates, clarifying that this isn’t a race!

Speaking of early bloomers, Kaoru comes to Takanashi’s house to apologize for keeping Anzu out late, but manages to pierce Takanashi’s innate distrust and loathing for All Things Tsutsui with a heartfelt monologue about why he loves Anzu and wants to help her big brother keep her safe. Still, Takanashi is frustrated enough with Kaoru’s shrewdness that he decides to take it out on Hikari, who after all only wants some of the same advice as Itou.

While heading back downstairs from the roof, Takanashi very clearly tries to get the attention of Ishino, and ask her if she’s free for…something. But his friend, who met Ishino at the maid cafe, asks her out first, having already gotten a half-hearted okay from Takanashi to pursue her. It’s clear despite his aloof attitude, Takanashi doesn’t like his friend spending all this time with Ishino. Sometimes you don’t know what you’ve had until you’ve lost it!

Hikari and Ishino have been just humming along, but with another three-day weekend coming up Iroha wants to go on a trip…an overnight trip—to eat and see the sights in another town. But Hikari is overwhelmed by the possibility that they may end up doing it, and gets so stuck in his head he appears outwardly opposed to and stressed out about going on the trip, and Iroha drops the issue and heads home.

For her part, Ishino told Hikari before he met with Iroha to just get fucking laid already…though at the same time no one reinforces Hikari’s own insecurities and sense of non-worth than Ishino, even though she’s just messing around.

But Ishino now finds herself in a bit of a love triangle. I doubt this new guy (I didn’t even hear his name) is anything other than a means to show Takanashi that he actually does requite Ishino’s feelings, at least to some degree, whether it’s true love or he’s simply pleasantly accustomed to having her around.

Ishino assumes the worst; that he’s some kind of playboy just trying to get in her pants. I’m not 100% convinced that’s not the case either. Good luck, Ishino! As for Takanashi, he should take after his friends and reconcile his feelings.

Hikari, good man that he is, doesn’t spend days worrying about what a shit he is, and corrects himself almost immediately, actually taking the time to look at the travel books Iroha marked, then running after her, embracing her from behind, and agreeing that it will be a fun time. He just had to get out of his own head, and put himself in her shoes: she must have been excited to tell him about the trip, and was looking forward to it since the last three-day weekend.

Unfortunately, due to Iroha’s poor test scores, she has to take remedial classes over the weekend, but Hikari assures her they’ll go the next time. Here’s hoping there is one—it would be a great step forward for their relationship.

Mahou Shoujo Site – 01 – NOPE (First Impressions)

In the episode’s first couple of minutes, the protagonist Aya is already ready to throw herself in front of an approaching train. I’m not going to pick the low-hanging fruit and say this episode made me feel like doing the same when it was over…but yeah, this was pretty fucked up. And it gets worse.

Aya’s life is hell. She gets cut by tacks and razors in her school shoes. She’s forced to sit in a puddle of glue. She’s punched and kicked and plunged into the toilets, then goes home and gets severely beaten and choked out by her frustrated older brother, pleading in vain for him not to keep her from getting her period by doing too much damage.

She takes a tiny measure of solace from taking care of a stray cat, but her tormentors at school find out and promptly kill it. Oh, and they describe how it died while the senpai they brought in to rape her starts closing in.

Have you had enough yet? I certainly did. Aya is pointed in the direction of the titular “Mahou Shoujo Site” which gives her powers to exact revenge—revenge she is overwhelmingly justified in using against the sorry excuses for demons in human skin that gnaw at her day after day.

Two of her bullies and her would-be rapist are gone, but because Aya’s a decent person, she thinks killing is wrong, to the point of keeping plenty of the remaining beasts alive, who will no doubt dole out more punishment in the coming weeks.

I won’t be there to watch it. I can appreciate the message the show is trying to send—somewhat—and it’s to the show’s credit that Aya is as reluctant to kill as she is despite how much she’s suffered; despite her new powers her basic morality remains unassailable. But MSS has all the subtlety of Stone Cold Steven Austin giving a promo while on PCP. It’s just a bit too much.

 

Itsudatte Bokura no Koi wa 10 cm Datta. – 02

“Summer, Fireworks, Color of Love” is this week’s title, and it pretty succinctly sums up what we get. If you’ve heard of these themes in romance anime before well…you’re not alone! But what this show lacks in original themes, it makes up for in solid execution and attention to detail, and variety.

We get looks not just into the budding romance of Miou and Haruki, but see how close Yuu and Natsuki are without officially dating, as well as Souta’s attentions towards Akari. The plot of making one last film together, starring a character who is an art student in love, is pretty hoaky, but super-charming if you can switch off the cynicism.

In her desire for her art (and not Akari’s) to be chosen by Haruki, Miou puts undue pressure on painting the perfect canvas, and ends up unable to paint anything at all. Haruki seems to get a bit jealous when he overhears that Miou will soon meet the man who saved her from drowning.

But they largely set aside those issue when the six friends gather for a fireworks festival. Natsuki sets things up so Miou and Haruki are alone, while Souta’s in the right position to catch a stumbling Akari, breaking the ice. All three couples have great chemistry and it’s fun to watch them interact.

Everything seems to be ruined when Miou faints and she and Haruki end up with an obstructed view of the fireworks, but they find a platform to get a better view. Haruki tells Miou he’s looking forward to seeing what art she comes up with (adding to the already high pressure of that project).

When he awkwardly offers to grab something for them to eat, Miou bravely, finally closes the 10cm distance by grasping his shirt. The two come this close to kissing, but are lamely interrupted by a couple of yappy dogs. LAME, I say. At least they can laugh about it.

Then the next day the thing I knew was coming came: Miou learns the man who saved her life is dead. Not only that, he’s Haruki’s big brother, Chiaki. She goes home, and rather than paint what love looks like for Haruki, she defaces the painting of her memory of being saved, ashamed that he lost his life, and Haruki lost his brother, all for her sake.

Itsudatte Bokura no Koi wa 10 cm Datta. – 01 (First Impressions)

What’s this, eight weeks into the season? A new high school romance comedy-drama from Studio Lay-duce (formed from ex-Bones members) that, at least for the moment, does not involve love polygons or an obsession with communication through the LINE app.

Instead, we have a built-in compatible couple in Aida Miou (Toyosaki Aki) and Serizawa Haruki, both creative people born in the spring. There’s mutual attraction, but due to the contrast between Haruki’s flashiness and popularity and Miou’s modesty bordering on self-loathing, the two find it difficult to get any closer than ten centimeters together.

Gimmicky title aside, this first episode efficiently establishes both Miou and Haruki as good decent people who are novices when it comes to romance, and the dynamic between their different outward personalities and a kind of inner connection that draws them closer together.

The fact that coming closer happens so organically, before they realize it, a friend of Haruki plasters the chalkboard with playful slogans. Miou does not like the spotlight, or even appearing in Haruki’s camera lens, but Haruki wastes no time telling his buddy that this kinda thing is not okay, while telling Miou not to let it get to her.

The network of friends, which consists of three girls and three boys, doesn’t seem ripe for any kind of conflicts. Miou’s friends assume she and Haruki are already girlfriend and boyfriend, even though they just go home together most afternoons because they’re “headed in the same direction.”

Of course, as we watch their chemistry unfold together, it’s clear it’s not just practicality that drives their after-school walks. Haruki likes Miou and Miou likes Haruki, but Haruki wishes Miou wouldn’t criticize herself so often, using the phrase “somewhat like me” like it’s going out of style and having no confidence. Yet for all his bombast, Haruki isn’t any closer to drawing nearer than 10cm from Miou. It’s something they’ll have to figure out together.

While hardly a groundbreaking or risky show, 10cm is thoroughly competent and enjoyable, with a minimum of the teen angst that tends to sour these kinds of shows. It also has the benefit of a totally stacked all-star cast including Toyosaki and Suzumura Kenichi, Kamiya Hiroshi, Tomatsu Haruka, Kaji Yuki, and Asumi Kana.

I don’t care what you’re making, if you get this amount of talent behind it it’s bound to be good. Looks like this will be only six episodes total, so I don’t see the harm in checking it out, late in the season though it may be.

Uchouten Kazoku 2 – 05

If I had to pick a single episode from last season that sold me on Uchouten Kazoku’s magical setting and ability to project care free fun, it would be the flying tea house battle. While I have mixed feelings about this season’s episode being about the same thing, there is no doubt that the format works tremendously well. The event pulls many characters into one space, the inevitable fight between Yasaburou and Kinkaku and Ginkaku provides enjoyably silly action, and fireworks (and flight) make for a lovely background for many introspective and contemplative scenes.

In many ways, the festival and action is secondary to a great deal of character development. While Sensei has always shown a soft spot for the tenuki (under his gruff old man treatment) this week puts him at the center of their lives as a wise figure deserving of the respect they always show him. Simply, he makes the older siblings get over their hesitation and confess their affections for each other. It’s gruff but also kind, and includes a brief telling that he did this for Yasa’s parents too. Cast in the warm light of the train car, surrounded by food and family, its a lovely scenes.

Speaking of the train, it was great to see Yajiro’s ability to change into a train looped back to. Not only is it great to see a throw away joke pay off, but it gives Yajiro a vehicle to participate in the narrative when he otherwise would be restricted to the well.

It was also a good choice to have Yajiro totally screw up the beginning of the event, by blasting off too quickly and spilling much of the meal inside his belly. Nothing really goes right for the tenuki. Not even when they are trying to be classy or show their power. It’s a great reminder of their place in the pecking order.

But the big loud emotional turn was Benten’s fight with Nadaime. Having stolen his couch for her own amusement and having never had anyone stand up to her, Benten really went into this with a target painted on her back. Yasaburou even remarks that he knew she would lose the second she lunged at Nadaime. (and it was foreshadowed by the mid episode card, showing ‘where Benten fell’ on the city map)

And as loud as that short fight was, Uchouten Kazoku immediately returns to the quiet, tender, introspection it does so well. Yasaburou and Sensei go to find where Benten has landed and sensei gives her a stern but fatherly speaking to. You are angry. Use it to get stronger. That is all.

The Verdict: Finally, a must watch week! It loops so many threads in together and it does so elegantly. So elegantly I’m not even sure I can put my finger on any one character dominating the story. So elegantly that I’m not sure there really is a antagonist in a traditional sense, as Benten is as much at fault (if not more) than Nadaime. (and in his own way, Nadaime is a far nicer person than she)

The formula is setting in, too, with a repeat of last week’s fake-out ending conflict opening as a non-conflict. (Everyone sucked into the Shoji board just ends up in sensei’s closet) While a strict formula isn’t necessary for a good show (or even good for most shows) having a rhythm is, and that was something Uchouten Kazoku has been sorely lacking.

Uchouten Kazoku 2 – 04

The Gist: Benten stomps on Nadaime’s freshly ironed shirts, but otherwise leaves without incident. Yasaburou’s older brother’s love interest is revealed and a bit of backstory unfolds revolving around Shoji. Tousen nudges Yasaburou to help his brother hook up with the girl, which he does, and all ends well… except that the love interest is magically sucked into a Shoji board right at the end. Dun dun duuuunnnn.

The Verdict: Despite being a mostly contained ‘drop’ in the story bucket, and not carrying over anything serious from the week before, Uchouten Kazoku brought the magic this week. All the build up to the Shoji tournament, and the final match itself, just worked nicely side-by-side with the character building. I don’t have much else to say I’m affraid — just go watch it!

Uchouten Kazoku 2 – 03

The Gist: Benten returns and crushes Tenmaya, who is both obsessed with and terrified of her. Yasaburou and his mother Tousen visit Tousen’s mother, an ancient white fluffy tanuki, and ask for help turning frog-brother back to normal. The grandmother is blind, kind, and cryptic, but offers some medicine.

Later, Yasaburou and his little brother visit Nadaime’s new location, which is a lovely roof top mansion, and share some afternoon tea. Benten shows up and completely fails to dominate Nadaime. Major magical conflict can not be far off now…

As is often the case, Uchouten Kazoku wandered us through several lovely, dialogue-heavy scenes that straddle the line between inconsequential and deeply magical. However, because Uchouten Kazoku treats its magical settings and characters as everyday occurrences, exposition is kept to a minimum.

What is grandmother’s place in tanuki culture? What are the other tanuki doing around grandmother? Is it a ceremony simply because she is old or is she part of the shrine or something else? Leaving us with a heavily detailed but unknowable scene renders it dreamlike. Captivating.

The rise and fall of Benten is more or less the defining arc this week. As with Nadaime, she abruptly falls from the sky full of power and crushes Tenmaya. While we learn no details about their rivalry, and Benten is almost as interested in Yasaburou’s moon (stolen by Tenmaya) as she is in Tenmaya himself.

Here Benten is full of power and flaunts it. Yasaburou has no course but to ask very nicely for his moon back and Tenmaya has no choice but to shed his fake skin and flee. Benten casually rolls the moon around her fingers and, when she tires of it, simply throws it back into the sky before demanding even more courtesy from Yasaburou and wandering off to visit her master.

That domination comes to a quick end when Benten arrives at Nadaime’s new house and arrogantly lays down on the couch Nadaime had planned to use for his afternoon nap. Always polite, Nadaime asks her to leave and when she will not, he spreads a sheet on the floor and dumps her out. Paying her no mind, he thanks everyone for their visit and gets ready to nap.

The contrast between Nadaime and Benten is rather interesting. Both are powerful and throw their weight around but it is hard to figure out which is ‘good’ or not. Despite her malice and abuse, Benten seems to care for Yasaburou. (At least she cares enough to want his attention) Where as Nadaime, despite being generally polite in dialog, is obviously dismissive of Tenuki in general. He’s tolerant of them, but does not especially desire to have them around.

The Verdict: Despite the masterful craft poured into Uchouten Kazoku, it is not always an exciting nor engaging show to watch. Again, as last week, episode three was full of action, characters and conflict, but it lacked a sense of purpose. Nadaime’s shirt ironing, Yasaburou’s grandmother, and Benten playing with the moon were all interesting curiosities but, not counting Nadaime and Benten’s cliffhanger showdown, nothing consequential actually happened.

Uchouten Kazoku 2 – 02

The Gist: Akadama and Nidaime’s top-dog Tengu fight ends before it even begins, with Akadama falling off the building and Nidaime not seeing his father being worth the effort to fight. For whatever reason, Akadama takes this as a victory, which Yasaburou thinks is patently absurd.

Though perhaps that’s Nidaime’s point in not calling himself a Tengu? The very definition of Tengu may project an arrogance that he finds unnecessary and unproductive.

Meanwhile, a noodle shop opens on the roof of the shopping arcade and the owner wont take it down. Apparently, he can extend his chin as a whip, amongst various other illusions and even Yasaburou’s foolishness is not enough to win the day. Actually, Yasaburou ends up a hypnotized bear, and is nearly shot by the police…

This conflict leads to a few passing confrontations between Yasaburou and his formerly betrothed, who’s angsty at him for a variety of things but, most obviously, that they are no longer engaged. Even though Yasaburou is the only one who doesn’t realize there’s no reason for them not to be engaged anymore…

It also leads to the introduction of a painter who doesn’t want to sell his paintings and reveals the name and identity of the noodle shop owner. Tenmaya, who appears magical but is also consistently referred to as just human, apparently climbed out of a painting of hell because the painter illustrated a Buddha holding a spider’s thread out to the damned… it’s unclear who the painting belongs to or what the significance of all of this is. (Tenmaya doesn’t seem to want anything from life except amusement)

What is clear is that Yasaburou probably shouldn’t have tried to scare Tenmaya by turning into a demon, which is where the episode ends. A shotgun pointed right in our poor foolish hero’s face…

The official theme this week is that we are in the age in which Man plays tricks on Tenuki. However, for me, the story was more about the world not being able to move forward. (or not being aware of its lack of forward development)

Akadama is not only stuck in the tradition of Tengu, but also stuck on his conflict with his son. Despite his rejection of Tengu, Nadaime hasn’t moved ahead himself, which is evident from his characterization of Akadama being pathetic because he interacts with Tenuki, and Nadaime’s somewhat vaguely contradictory like/disrespect of Yasaburou throughout their encounters.

Yasaburou is stuck in last season’s position of servitude to the community, pranking around without purpose, and with not advancing his relationships with family and his love interest. He doesn’t exactly have a strong narrative reason to have changed, but he hasn’t changed regardless.

The Verdict: Uchouten Kazoku takes a casual approach to narrative. It just sorta wanders all over the place, touching on many different story threads, but without any sense of specific purpose. This very much fits the nature of Tenuki, and the experience is enjoyable enough due to the odd and specifically weird situations, but it does risk becoming so whimsical as to lose my attention.

It’s already somewhat hard to follow, due to the gigantic cast, many of which can shape-change and many others who simply don’t get enough story time for me to remember who they are or what their objectives may be.

For now, the magic has me under it’s spell. However, like Akadama, I too miss Benten and the sense of specific adversarial focus she brings. Hopefully, we’ll see her sooner than later…

Uchouten Kazoku 2 – 01 (First Impressions)

The Gist: the stage is set some time after the events that closed the first season, with the cast serving mostly familiar roles. The Shimogamo brothers are an eclectic, often disrespected, but equally relied upon members of the Tenuki community.

Yasaburou continues to take care of the elderly Akadama-sensei, who appears a bit depressed now that Benten is on an extended vacation. Yasaburou’s older brother is still vying for the position of leadership amongst the Tanuki, the youngest brother is immersed in books and his own world, and the second brother is still a frog at the bottom of the well. Fools’ blood all around but fools’ blood where we would expect it.

One day, while Yasaburou is searching for a mythical snake, a couch falls from the sky. Eventually, this leads him to meet Akadama-sensei’s son, who’s returned after over a hundred years in exile. While their exchanges are guarded, the two wayward sons seem to bond over clever and polite banter. However, it’s obvious that Akadama’s son will be a source of major conflict.

Sure enough, by the end of the evening, Father and son stand on a roof ready to duel…

At it’s core, this opening episode is a leisurely exploration of nostalgia and the challenges of tradition (or, perhaps, generally grappling with the past).

Yasaburou’s snake-hunt is something his father own father played at long ago. It’s even how his father and mother met, which Yasaburou attributes as the singular reason he and his four brothers exist.

Meanwhile, Yasaburou’s older brother is attempting to revive the town’s shoji tournament, which has not been run since their father was cooked in a hot pot. Not only does this repeat the shadow of the father motif, but it reinforces the older brother’s need to retain the family place as an upstanding leader in the community. It’s strongly implied this will let him tanuki-bang the wide eye’d girl at the clinic too.

Double meanwhile, Akadama and his son have an unavoidable need to battle, due to their traditional pride as tengu. However, neither seems up for that tradition (Akadama physically and his son emotionally). It’s comical to see the modern tengu, a classless lot, dressed like dime store mobsters, egg them on from afar. As Akadama’s son says when he first meets them: if you’re tengu, at least put some pride in it.

You should probably watch Uchouten Kazoku’s second season because the first was a lovely, whimsical tale of weirdness. While the narrative buildup and payoff, and the tension along the way lacked the emotional impact of other weird-genre shows (Tamako Market, Tatami Galaxy, Mr.Despair), Uchouten Kazoku absolutely rules the roost for world-building. Only Durarara!! comes close.

You may choose to skip Uchouten Kazoku because it’s destined to be a slow build with an all-too-uneventful finish. While the high concepts appeal to me, and pose a creative challenge to tease out and express via review, I must admit that academic focus creates a barrier between the story and emotionally resonant action and conventional drama.

The Verdict: Uchouten Kazoku is solidly enjoyable to look at and confidently cool. Despite being a slow burn, it presents a lot to absorb; at times, too quickly for me to read without pausing.

But that’s hardly a complaint, as re-watching and rewinding lets me revel in its wonderful camera angles, solid color work, imaginative facial expressions, character designs and gestures. The music choices haven’t stuck with me but that also means I have no complaints about them either.

Gantz:0 Review

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The Gist: a feature-length CG movie covering the Osaka Arc from the Gantz manga. This arc is between halfway and two-thirds through Gantz’ 383-chapter long story, which means the movie had to shed several characters and a ton of build-up to present a manageable story. For example, the manga’s co-protagonist Katou gets a modified introduction right at the beginning of the arc, which serves as a brief introduction to the rules and world of Gantz for the viewer.

Generally, the changes ‘function,’ from the standpoint of making a coherent movie, but that movie is not very compelling. Despite cutting characters, the arc requires introducing the Osaka team, which is huge, even if its only there to be blown apart. The arc also pits our heroes against a massive challenge, with no room for that core cast to build-up credibility for taking on that challenge, nor an emotional connection with the viewer should they fail.

The result is somewhat like asking the third Lord of the Rings movie to work as our only ‘movie’ adaptation for the novels. The viewer will probably understand what is going on, but why would they care?

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The Verdict: From a technical standpoint, Gantz:0’s character models, lighting, and sets are decent but not mind-blowing. The lip sync isn’t spot on, the lighting and framing don’t feel like they highlight scenes clearly, and the shakey-cam is oh my god stop it! Overall, it lacks thought or style.

There’s some irony to this because Gantz’ weapons and vehicles were already CG-rendered in the manga, and the manga did a great job framing out scenes and conveying what was going on.

Unless you are already a Gantz fan, it’s difficult to see a reason for you to watch this. Unfortunately, if you are a Gantz fan (especially if you’ve read all 383 chapters of it like myself), you’re not going to get much out of this either.

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Haikyuu!! Third Season – 01

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If you’ve watched Haikyuu!! before, you know what this opening episode has in store: side characters talking about the stress, strengths and weaknesses of everyone while the new opponent’s team is introduced, one by one. In 24 minutes, 1 serve is sent over the net and, as you would also expect, our hero’s lose the first point.

It’s a formula but it works, in large part due to its charming cast of goof balls.

But there’s no way I’m going to review it. Not when the lions share of a season will be dedicated to a single match of 5 sets — and it will go to 5 sets if the formula is to be believed. There simply is not enough for me to say.

Oh the screen capture of that huge arse camera? That was the most unexpected thing in the whole episode…

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