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.

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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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Tiger Mask W – 01 (First Impressions)

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The Gist: imagine a world where WWF from the 1980’s was really real and the absurd backstories of its actor/wrestlers were harsh and traumatic. Now imagine that world is crudely drawn, quickly (but incoherently) paced, and you have Tiger Mask W.

The plot is about two boys who enter wresting to take revenge upon the man who destroyed their father/ father figure. Each boy ends up wearing a tiger mask, but for different organizations and will, probably, have a show down with each other at some point in the season.

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bad figures, color pallete, composition and scale… at least it has a picture of a motor cycle in the middle of it…

The verdict: Tiger Mask’s plot is almost terrible enough to be funny but it’s too convoluted to engage. The whole Global Wrestling Monopoly Conspiracy is weird and distracts from the initial thrust of the story, and I’m not even getting into the whole gym of under dogs that somehow get rolled into ‘Monopoly’s plan to take over Japanese wrestling.’

Maybe I’m too old for this? But, even if I liked wrestling, animation this ugly and narratively slapped together would probably be a turn-off.

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Orange – 08

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This was not the strongest Orange—indeed, it’s the weakest yet—but it’s still pretty damn good; hardly a dud and still very recommendable. But despite the revelations contained in this outing, it still felt a little slower than I’d like, and that it was covering already-tread territory.

Azu and Taka don’t unreasonably assumed that because Naho and Kakeru made their love for each other, they’re now officially “dating.” But neither Naho nor Kakeru believes this is the case, as both are worried that going out would somehow “hurt” the other. I’m not really a fan of that line of thinking.

Also, considering how closely Naho has follows the letters, it seems a little arbitrary and shortsighted to start questioning them after Kakeru faints during soccer. And abandoning the rest of the letters altogether borders on reckless.

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And yet, that’s what Naho does: she puts the letters away and starts acting in the way she thinks is best for Kakeru. The letters tell her and Suwa not to let Kakeru anchor the class relay, since he’ll twist and ankle and lose, but instead, all five of Kakeru’s friends stand up to share the relay duties with him, since he wants to run, but is also worried he’ll let everyone down if he fails. This way his load is lightened, but the letter isn’t being followed to the letter.

A letterless Naho turns out to be a nearly rudderless one, as each time Kakeru holds out his hand to hold hers, she has no idea what he’s doing, and ends up frustrating him. I know the two aren’t used to physical contact, but the gesture he’s making could only mean so many things, especially when she knows he loves her.

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This latest “problem” with Kakeru almost leads Naho to go back to the letters, but instead Suwa is found out by Azu and Taka, who ask Naho what the trouble is and laugh when they learn how simple and easily solved the “problem” is: just hold hands with the poor guy!

Suwa encourages Naho to tell them the rest of the truth, about the future letters, and as expected, they respond by revealing their own. All five friends wrote to their past selves. All five regretted what went down with Kakeru, and all five are committed to saving him.

Now it’s all out in the open…except for Kakeru himself. Even if they all have the best intentions, the fact they all have this secret they’re not sharing with him could have serious problems down the road, no matter how hard they try to hide it.

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Orange – 07

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Orange continues to be a particularly hard show to assail, which explains all the 10s I’ve been doling out. It is without question First in Feels, that ahs affected me like no show since AnoHana.

Like many mysteries in fiction, I believe like my RABUJOI comrades that less is more in terms of explanation. To that end, Orange has kept away from explainin how the future letters work. What matters is that they are a means for Kakeru’s salvation, and now Naho is no longer alone in that struggle, and never was.

Suwa suggests they coordinate their moves in order to share the load of saving Kakeru. They do so by finding out his birthday and then asking him what he wants. Not only to Suwa and Naho do this, but the others as well who (as far as we know) are unaware of the letters.

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But because Kakeru and Taka want to support Naho’s pursuit of Kakeru, even being out of the loop doesn’t stop them from helping the cause. Taka finall gets to directly threaten Ueda, but stops short of assault and instead promises the school will know of the scorned girl’s continued bullying if it persists.

It’s still troubling that Ueda continues to pop up on the edges, since she still represents a wild card in the grander scheme of saving Kakeru, but good to see the united front against her. I daresay I’m also starting to feel bad for Ueda. Awful a person as she is, it’s true Kakeru dumped her pretty  fast, and if she’s going to be dumped, then Naho needs to—and forgive the crude metaphor—piss or get off the pot.

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Back in the old future, Naho, Suwa & Co. are still visiting Kakeru’s room, and the others reveal to Naho that Kakeru always loved him. Naturally, Naho’s instinct is to blame her inability to give a response contributed to the spiral of depression that led to his demise.

This time, they remember his birthday, Naho gets him a flashy sports bag—to replace the one his mom threw out in an act of possessiveness, an important symbol of moving on. Suwa gets Kakeru flowers, like he jokingly asked for, but just as Suwa does in his place in the future, Kakeru immediately gives the flowers to Naho, as an even stronger symbol of his feelings.

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Their friends file out and allow Kakeru to properly confess his feelings for Naho, though he doesn’t expect an immediate response. That’s just as well, because it takes some nudging from her friends for Naho to summon the courage to answer him.

Not only that, it takes a letter dated September 23, the day Kakeru attempted suicide after his friends from Tokyo visited and laughed off his stated desire to die. Neither Naho nor Suwa are going to let that happen. Suwa joins Naho and Kakeru for one of the tensest and most emotionally intense scenes in the show so far.

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In it, Suwa tells Kakeru no to hang out with his Tokyo friends, but with them, and goes further, saying he doesn’t want to just laugh with him. He, and Naho, want to know what’s really troubling him. Suwa’s firmness gets Kakeru to admit he wants to die all the time because he regrets breaking his promise to his mother and thinking her texts were “pain.”

As Suwa rightly puts is, Kakeru did nothing wrong. Everyone at some point feels the way he felt. It wasn’t his fault his mom died, and they don’t want him to continue blaming himself for everything. Not only that, Naho chimes in at the right time to deliver her unequivocal response: she loves him, and doesn’t want him to go away.

Kakeru’s joyful tears and smile are still tinged with melancholy, but Naho is in. She did what her past self could not, and she and Suwa, with their friends’ help, changed the future once more for the better. Now that Kakeru and Naho know how they feel about one another, the question becomes what comes next, and how to keep the good going.

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Orange – 06

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This week, as Naho and Kakeru grow closer and Naho learns more about the future, the enormity of her “mission” begins to weigh on her once more, and she again starts to doubt her ability to make the changes that needs to be made to save Kakeru. After all, she’s already failed the letters twice: when she invited Kakeru to hang out the day his mother died, and when she let him start dating Ueda-senpai.

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Since those failures, and the extra problems they created, Naho has been careful to carefully follow the bullet points in the letters. They are saying she has to watch the fireworks with Kakeru alone by the pool, and so that’s what she aims to do.

Knowing that these two are gradually becoming a couple and eager to help them out when they can, Azu, Tako, Hagita and Suwa all work to assist the two in getting together in the ideal time and place. Kakeru brings up his past regrets when asking Suwa if it’s really okay to be in love with Naho and to pursue her.

Suwa’s answer is that it has to be, because being in love isn’t a choice (and also because he has a pretty good idea how Naho feels).

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The consequences of Naho’s second failure almost derail the entire op, but Azu and Tako thankfully find Naho on the steps lugging Ueda’s contest prizes and take over the task, while Suwa and Nagita keep Ueda away from the pool in a way that will surely mean Ueda isn’t done fighting with the group. If she can’t have Kakeru and be happy, no one can. That could prove deadly to Kakeru later on.

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But we’re allowed to forget about Ueda and all her bullshit for a few wonderful, beautiful moments, as Naho and Kakeru are united before the fireworks end. In the courageous mood her future self told her she’d be in, she answers his question about which boy she’d most want to as her out (him), and he in turn answers hers (via Azu): that he’d want her to ask him out. The night ends as one neither will forget for the rest of their lives.

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Future Naho asserts that Kakeru’s regret stems from being unable to save his mother, while her regret comes from not being able to save him from the accident. Wondering why she can’t simply save Kakeru on the day of the accident, Naho reads ahead, and learns it wasn’t an accident – Kakeru rode his bike into a speeding truck on purpose, so he could go to where his mother was and apologize.

Knowing when it happens is irrelevant. Naho can’t save him from something his mind is set on anyway. Her true mission is to save his heart. That means learning more about his regret, which means asking about his mother. When Naho and Kakeru’s friends again arrange it so the two are alone for the Matsumoto Bon Bon, she gets plenty of opportunities, while also enjoying each other’s company.

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Despite their ongoing denial about not being a couple (at least not yet), the two look the part, and the camera captures them in a number of gorgeous isolated shots. Most affecting is when they pray to the shrine, which gives Naho her in.

After he evades her question of what he said to his mother at the shrine, Naho resolves to get him to answer her properly, even if he ends up hating her. Saving his heart is more important than preserving their romance, underscoring Naho’s role as a reluctant heroine.

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Turns out, Kakeru doesn’t hate her for pressing, though it’s clearly a painful subject to discuss. Indeed, he was worried she’d hate him if he told her the truth: that his mother, psychologically unstable, committed suicide the day he blew her off to hang out with Naho. That makes Naho’s first failure the reason Kakeru carries the regret that will ultimately destroy him if unchecked.

It’s an overwhelming blow for Naho, who can’t muster the words to comfort him. Suddenly, saving Kakeru’s heart seems like an impossible feat, especially all on her own. So she boldly reaches out to Suwa about her mission, and he seems to already be in the loop. You see, he also got a letter. BOOM.

That’s an explosive revelation right there, delivered with impeccable timing right at episode’s end. But it’s not so shocking, because we’ve seen Suwa and the others working so hard for Naho and Kakeru’s sakes.

I wouldn’t be surprised if everyone had letters, but it stands to reason if Naho could write a letter to her past self, she’d also write one to her future husband. It also explains why Suwa isn’t challenging Kakeru. In any case, now Naho knows his isn’t a mission she has to undertake all on her own. Everyone wants to save Kakeru’s heart.

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