SSSS.Gridman – 04 – Truly Vexing to Watch

Akane is pretty sure Yuuta is Girdman, but not 100% sure. She wants to investigate further, which includes questioning Rikka when the two take the bus to school on a scorcher of a day. The two also end up joining Rikka’s friends Namiko and Hass on a group date with the Youtube group of college boys called Arcadia, despite the fact neither Rikka nor Akane are really into group dating…or any dating at all.

Yuuta doesn’t really like the idea of Rikka going on any kind of date that doesn’t involve him, and Gridman can sense he’s troubled about it (though Yuuta tells him not to worry about it). Yuuta and Shou decide to basically shadow the group date, as it involves two women they’re both emotionally invested in (in Shou’s case, Akane; in Yuuta’s case Rikka).

Neither really ever had anything to worry about; the only two women remotely  interested in Arcadia are Namiko and Hass. Akane is far more interested in learning why Rikka is spending more time with the guy she suspects to be aligned with her arch-enemy Gridman.

Akane also ditches the other girls at her earliest convenience, and succeeds in killing all but one of them with a kaiju. Rikka later catches on to the fact three of the four members of the group were killed and erased from the collective memory of society (including her friends), so she meets with the last surviving member, Yamato, to warn him of his impending doom.

She’s almost too late, as the fog that serves as the precursor to the latest kaiju attack envelops Yamato. It’s Samurai Calibur who ends up saving them both from the kaiju. Yuuta and Gridman deploy, but they end up having to fight not only the insectoid kaiju that killed the other members of Arcadia, but Item as well, who is singularly interested in defeating Gridman and nothing else.

All four members of Neon Genesis decide to sortie at once, but when combined with Gridman’s deployment, the computer they’re all working through basically freezes, freezing all of them in turn. Rikka scares the shit out of Shou by unplugging the computer, then plugging it back in and rebooting it, but doing so actually solves the problem, as the whole of Neon Genesis simply isn’t able to sortie simultaneously.

Instead, only one of them, the tank from last week, sorties, combining with Gridman into Gridman Max, defeating the insectoid kaiju. Item then reaches his time limit and reverts to his human state. It’s another victory, albeit a close one.

Later, at the shop, Yuuta works up the courage to ask Rikka out to grab something to eat, but she misinterprets it as a suggestion for the whole group to have a meal together. Mind you, Yuuta could mend the misunderstanding with two words: “just us,” but of course he doesn’t, mimicking Wile E. Coyote in the “trying something only once” strategy.

This was an episode in which the large-scale battles between Gridman and kaiju took a backseat to the high school romantic drama unfolding between Yuuta, Rikka, and Akane. Yuuta has proved pretty inept at getting Rikka to notice him in the way he’d prefer, but he should have plenty more opportunities, especially since she doesn’t have the slightest interest in Arcadia’s Yamato.

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SSSS.Gridman – 03 – Gridman, I Hate You!

It’s a rainy day in Tokyo when the newest kaiju appears, and this one seems different, because Akane isn’t making a model, but interacting with a small silver-haired boy named Anti who can transform into a kaiju. Why does he eat like he does, and why does hate Gridman so much? We don’t know. For that matter, we don’t know why Akane hates Gridman and wants him dead so badly, aside from having lost to him twice.

In any case, the Gridman Alliance is collected by Calibur, and before Rikka can apologize for not answering Yuuta’s phone call, Yuuta heads into action—and once again has his ass handed to him. Combined with Yuuta’s worry that he may be fighting/killing a human inside his opponent, he doesn’t fight back, even with Calibur by his side, and the two LOSE to Anti, much to Akane’s elation.

Rikka and Shou are stunned. They fear Yuuta and Calibur are dead, and in lieu of knowing what to do next, they wait in the shop and snipe at each other out of frustration. Their quarrel is broken up by the arrival of the “Neo Genesis Junior High Students” a team allied with Calibur and Gridman (and whose name is an homage to Evangelion). They tell Rikka simply to call Yuuta, and to her and Shou’s great relief, he is alive, and Gridman is simply regenerating. Before long he’s back in the fight.

One of the members of Neon Genesis joins the battle in the form of a battle tank, and combines with Gridman to form a new set of extra-chunky arms and fists with which to defeat Anti, who “runs out of time” in kaiju mode and reverts to human form, after which he’s basically disowned by a furious Akane.

Back at Junk, Rikka apologizes to Yuuta, which is something I think is way overblown in the grand scheme of things (I mean, people miss calls; she was trying to help someone she thought was in need), while her mom (who is voiced by the same actor who portrayed Haruka in FLCL) wonders where so many new people suddenly showed up in her shop.

While Gridman’s defeat was a nice change of pace, the fact it was resolved so easily—with Rikka and Shou simply sitting around until the cavalry arrived—kind of gutted the suspense. Everything is in a very bad way, and then moments later everything’s fine and dandy.

As for why Akane is doing what she’s doing, where exactly Anti came from, and other mysteries, lets just say I’m not holding my breath for satisfying explanations. Perhaps it would be best to just sit back and enjoy the action…it would just be nice if it meant more.

SSSS.Gridman – 02 – Keep Doing What You Can Do

When Yuuta, Rikka and Shou return to school, they learn that several of their classmates have disappeared and nobody has any memory that they ever existed, or of the kaiju battle. They decide to seek answers from Gridman on the computer in Rikka’s shop, which was going to be closed so Rikka could hang out with her two best friends. Meanwhile Akane takes an interest in what Yuuta is talking about and joins him on the roof for lunch, but doesn’t get far.

Turns out Shinjou Akane is very different from the perfect student Shou made her out to be. She lives in an apartment packed with trash and clay models of kaiju. Turns out she’s the one who’s made some kind of Faustian bargain with Gridman’s enemy, who turns all of her creations into full-size kaiju which then kill people she doesn’t like. She may be talented, but she’s not a good person, and must be stopped.

The suspicious-looking sleepy-eyed man eventually arrives at the junk shop, introducing himself as Samurai Calibur and failing to enter or exit a door without getting caught by his ridiculously long four katanas. He “optimizes” the computer so Rikka and Shou can hear Gridman and see the giant kaiju they’re not aware their cute classmate is making and deploying. Her latest creation is “brought to life” and starts wreaking havoc in much the same way as the first one.

As Akane watches the carnage unfold from the safety of her apartment, Yuuta, Rikka and Shou are nearly flattened by a stray steel beam, but Samurai Calibur demonstrates his prowess by slicing it in two, saving them. They rush to the computer, and because it’s now optimized, Gridman (who is nothing but energy in this universe and needs a human with which to collaborate) provides Yuuta with a “Primal Acceptor” bracelet that lets him customize Gridman to his specs and colors.

The new-and-improved Gridman is lighter and faster, but his Grid Beam is deflected; Akane makes improvements to each kaiju based on the failures of the former ones. Gridman gets beaten up again, but Samurai Calibur joins the battle in the form of a gleaming golden sword, with which Yuuta/Gridman uses to cleave the kaiju in two, destroying it and pissing Akane off royally.

Back at school, Akane’s intended target is unharmed and like everyone else, has forgotten all about the attack. But unlike when he bumped into Akane, sparking her ire, he apologizes after bumping into Yuuta, suggesting perhaps the experience unconsciously made him more courteous.

In any case, I’m sure Yuuta and Akane will be facing off a lot more with their respective weapons. The question is, will the Gridman Alliance ever find out she’s the kaiju-maker, will she reveal it to them when she’s ready to eliminate them once and for all, or can she be convinced to stop this evil, destructive venture? On I watch…

Just Because! – 03

Izumi’s entanglement with Komiya Ena proves all to brief, as she’s forgotten the photo that she wants permission to submit. Showing zero consideration for Izumi, she zooms off on her moped to grab it, and it’s no surprise when she returns, in the rain, to find he’s gone.

The next day is Christmas (?), and everyone seems a bit listless, mimicking the somewhat grayish day with their moods. Izumi and Natsume type messages into LINE, but delete them without sending, seemingly hesitant to make any forward motion that will evoke a response from the other. It’s a stalemate, I tellya!

Things are dreary at Casa Morikawa too, as Morikawa confides to Yoriko that her life plan after high school doesn’t include furthering her trumpet performance, but rather college, a job, and eventually taking over the family business. It’s all said with the enthusiasm of someone inspecting turnips.

Left unsaid is any discussion of starting her own family, and as Morikawa seems almost criminally oblivious to Souma’s feelings (mostly his fault, BTW), that’s not surprising.

When Komiya reaches out to Natsume for info on Souma, Natsume uses it as an excuse/opportunity to message and meet up with Izumi. When they meet up, they’re still very cold and distant to one another, and the energy completely changes when Komiya spots her elusive transfer student.

Komiya’s casual nature with Izumi doubtless irks Natsume even more, since neither she not Izumi know what the heck they’re doing or what they should do. And while Komiya’s mission to get Izumi’s permission or LINE ID fails, she doesn’t seem like the type to give up easily.

Meanwhile, Souma is invited by Yoriko to join her and Morikawa for a walk, and his resulting meandering bike ride to their location is a constant source of suspense…will he ever get to them?

He does, only to freak out when Morikawa’s dog barks at him, which he thinks is a deal-breaker where dating her is concerned. Frankly, he should be more worried about, you know, telling her how he feels about her and asking her out on a proper date…but who am I?

When Souma reports the dog incident to Izumi and begs him for help getting better with dogs, Izumi tells him he has no pets, but Komiya stealthily enters the frame and offers her help…in exchange for Izumi’s LINE ID, which he gives her.

Interestingly, Komiya makes it clear she’s “over” the fact Izumi didn’t give her permission to use the photo, but with his ID, maybe she’s playing a longer game. Heck, maybe she just likes the cut of Izumi’s jib and wants to be friends…or more, which would complicate the love polygon even further.

Speaking of complications, Souma, unaware of the deal Izumi struck with Komiya, messages Natsume about helping him with dogs, since she has one too. This basically puts Natsume in the friendzone area of helping her unrequited crush get along with his own crush.

Over the most mundane circumstances, and in the absence of direct, honest, face-to-face conversation regarding how people feel about one another, the web of conflicting or one-sided romantic interests grows ever more tangled.

Dimension W – 02

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Before her first job as a collector under Kyouma, we learn the rest of the conversation cut off last week. Mira shows Mary footage of the murder of Shido’s daughter and mother, not long after she was first activated. This is information that could get everyone killed, so Mary elects to keep Mira under Kyouma’s supervision, partly because he’s competent, and partly because he’s the one who brought Mira to them, along with all her dangerous baggage.

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Mira is determined to become a good collector, which will in turn help her achieve her father’s dying directive: follow the illegal coils. Kyouma wants the coils, Mira wants info about where they came from and who built them. It’s a mutually beneficial partnership. But you can tell Kyouma doesn’t like suddenly having to deal with a partner, especially one who embodies the very technology he rejects.

Their first target as a pair is to extract the illegal coils being used by the flamboyant celebrity criminal Loser, who is staging a very flamboyant public robbery of an art museum for his legions of giddy fans. This crime-as-entertainment is another interesting detail of this futuristic society.

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Kyouma tells Mira to find the jamming devices hacking the communications grid around the museum, and it should lead her to the coils, while he goes after Loser himself. Kyouma goes off on his own, while also putting trust that his new partner will get her part of the job done.

Loser’s son and partner in crime is in constant contact, and does some research on Kyouma in the middle of the chase. Loser shows just how useful illegal coils can be when put to good use, learning about his enemy as he flees from him.

Among that which Loser learns explains how Kyouma can keep up with him despite lacking any coils of any kind. Our boy was once a member of Grendel, a kind of elite anti-coil assault squad. Kyouma is now using his skills and training from his dark past to pay the bills.

Then Loser tells him a bit abot him self, showing him his horribly burned, disfigured face, mentions his lost legs and wife, and blames New Tesla for all of it. He’s on a quest for revenge, and Kyouma would do well to stay out of it.

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But Kyouma will do no such thing. He’s on the job, and he’s not leaving without the illegal coils he came for. The museum curator inadvertently helps him lose the police, locking the place down to prevent them from discovering he himself uses illegal coils to power his sexy twin bodyguards.

What the curator doesn’t know is that within his most cherished work of art lies one of the “numbers”, special classified coils that are Loser’s true goal with the heists. He busies himself extracting the coil while Kyouma very easily dispatches the bodyguards.

Meanwhile, after racing to the highest point she can, Mira finds the devices she was looking for. They were disguised as pigeons flying amongst live ones, but her extra-human vision discerned differences in their patterns. After collecting the illegal coil-equipped robotic birds, she makes her presence known to their controller, Loser’s son, who can’t believe she’s human. But considering her sentience, I believe he’s mistaken. Though she is more than a human, she’s definitely a human.

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When the police start banging on the door to the chamber, the curator tries to fiddle with one of the illegal coils and sets it off, and we see for the first time just how terrifyingly awful a “dimensional collapse” can be, and how dangerous illegal coils are in the wrong hands. The curator is caught in the rift, which then hardens into a horrifying mass of duplicated robogirls mixed with pieces of the curator, who is still alive and conscious for it all. Yikes!

Illegal illegal coils are no joke. And while Mira doesn’t get any info from Loser, who is determined to get his revenge and so won’t recklessly reveal his sources, she did show that she’s collector material, and can work in concert with Kyouma even without supervision. This was another thrilling, stylish romp. Two eps in, Dimension W is looking…very good.

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Dimension W – 01 (First Impressions)

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Aesthetically, Dimension W has a lot in common with previous frenetic, detailed, stylish high-concept anime such as Rolling Girls, Classroom Crisis and Comet Lucifer. What DW has that those shows lacked is a certain maturity and focus to its world and the characters who inhabit it. Some proverbial meat to go with the candy.

In a world about fifty years from now when expensive gasoline is being quickly phased out for clean and infinite energy from the titular Dimension W, Mabuchi Kyouma kicks it old school: keeping his too-cool-for-school vintage Toyota 2000GT on the road by asking for half his pay in gas.

That pay comes from a job that’s become necessary in this new energy economy: he’s a “collector” of illegal coils, from which energy is drawn from Dimension W, getting them out of the hands of unsavory characters in the more shadowy parts of town.

Mabuchi wades in one side of the world to maintain his way of life while ostensibly working on behalf of the other, the imminent energy monopoly of New Tesla Corp. (Shinra, anyone?) which could well destroy that way of life someday.

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Mabuchi doesn’t seem to be thinking that far ahead; he works or money and gas, and has a good thing going. He’s also very good at his job, easily taking down his coil-using targets with good ol’ fashioned steel. But one variable is present at his latest job that he didn’t expect: a young girl one of his targets took captive.

Demonstrating what a consummate pro he is, Mabuchi doesn’t even care when his target has a gun pointed at the girl’s head, because rescuing her isn’t the job; collecting the coils is. So when the girl, who turns out to be an android who can pack a punch in a pinch, frees herself, she slaps Mabuchi for being such an uncaring jerk. This emotion, plus tears, from an alleged “robot,” throws Mabuchi off.

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When he’s woken up from unconsciousness by Albert Schumann, an acquaintance working for New Tesla (who looks forward to the day Mabuchi becomes “his”), he has to leave without the coils he came for, but then realizes he must’ve been had by the robot, using simulated emotions and tears to lower the guard of those she interacts with, making off with the coils.

What he doesn’t know, but we do, is that the girl, Mira, is gathering coilsfrom everywhere she can for her “father”, the reclusive and apparently dying former CEO of NT, Yurizaki Shidou.

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But Mabuchi can’t know that, so he assumes she’s the puppet of a rival collector, tracks her down and captures her. As he’s doing this, Schumann and his men have cornered Dr. Yurizaki, who activates some kind of elaborate coil “bomb” that blows out all the coils in the vicinity (including Mira’s).

The blast also apparently kills Yurizaki in the process, apparently to prevent his knowledge from ever being attained by the company he believes killed his wife and daughter and stole his research. Schumann tries to blame the incompetence of the past executive regime, to no avail.

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With all the excitement of the night givign way to the morning, Mabuchi takes Mira to his boss Mary, whose tech determine’s she’s far, far more than some other collector’s toy: she’s the most advanced and lifelike android he’s ever seen; something that could only have been built by Yurizaki.

Sure enough, when they plug new coils into her, she reacts to her half-nudity with shock and embarrassment (the camera is particularly interested in capturing every line and curve on her body). She even refers to herself as a girl, and it’s hard to argue with her. Finally, she prostrates herself and begs Mabuchi to take her on as his partner in collecting illegal coils.

With her father dead and leaving the implementation of his plans up to her, perhaps Mira sees Mabuchi as a skilled and useful partner in her mission, the particulars of which we’ll surely learn later on. And I’ll surely keep watching.

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Hibike! Euphonium – 05

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That’s right, Sapph-er…Midori and Kumiko…hold your heads up high, ’cause this was one great episode of Hibike!. It built on the band’s steady improvement, and the fact that its members want to get better as a matter of pride, both personal and collective.

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With SunFes fast approaching, marching uniforms are distributed, and they’re appropriately adorable. Kumiko is initially worried that she hasn’t yet grown where she wants to, but the fact she’s not the only one cheers her up. She also manages to lock gazes with Reina, continuing the good vibes from the progress they made last week.

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With the inner turmoil among the members resolved, it’s just good to see the band out on the athletic field practicing their marching, which really is tougher than it looks. As Kumiko & Co. walk home you can see the hard work that they put in, and how well they’ll sleep. Then boom, Kumiko and Reina lock eyes again, this time on the train.

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Kumiko is as nervous as ever, and her attempts to start conversation are all shot down by one-word responses by Reina. It’s not until Reina herself asks Kumiko what she thinks of Taki-sensei.

Kumiko starts beboping about everything from his capabilities as a teacher to his good looks, and even mentions the bronze the school got last year, and Reina, gorgeously backlit by the city lights, presents her widest smile yet, which is both bemusing and heartening to Kumiko.

Reina probably has the hots for the handsome young conductor. (This probably won’t go well), but more importantly, Kumiko may have been wrong all along about Reina holding a grudge.

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When the morning of SunFes arrives, Kumiko goes over the dizzying array of logistics deploying a marching band to a festival entails, from arranging transport of the instruments (the bigger of which are helpfully handled by the larger lads) to the students themselves (by bus) and all the documentation and P.R. therein. The attention to details (like Hazuki practicing her steps) really lend a sense of occasion and professionalism and reality to the whole event.

Kumiko also ends up sitting next to Shuuichi (they’re meant for each other!), and is standoffish as usual, but he breaks the ice by professing his wish that both of them do their best today. She may outwardly resent his presence there, either as a sign of the past she left behind, but it’s still nice that he’s there; they can support one another just with their presence.

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It’s just Kitauji’s luck that they’ll march in between the top-ranked Rikka “Light-Blue Demons” and another elite band. Some of the returning members immediately worry they’ll be trampled. Then Kumiko goes over to a Rikka musician she knew from high school, who is glad to see her but has no idea why not only she went to Kitauji, but why Reina turned down Rikka to go there as well.

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Kumiko doesn’t know…at least not until the Rikka girl tries to lead her to some other friends from middle school. She realizes she’s about to fall into old habits and her old casual, half-committed attitude with the band, and realizes she should be with her bandmates, preparing to march. Then she knows why Kitauji: a clean break; a blank slate; a new start. And she doesn’t regret it.

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With that, Rikka starts its ridiculously elaborate, technically perfect, and disgustingly charming performance, which immediately intimidates and demoralizes Kitauji. They all snap out of it thanks to Reina, who breaks taboo by making noise during a march. But hey, it worked!

Taki-sensei didn’t really have any inspirational or motivational words for his band when they first arrived, but rather chooses to give them those words just when they’re about to march out there, sandwiched between two powerhouses:

Music is not something you do to show off your abilities to your rivals. But the many spectators and students of other schools still don’t know what Kitauji is capable of. So I believe today is a good opportunity for them to learn.

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He says those words as calmly as everything else he’s said to his band, but they make a powerful impact. You’ve shown me what you can do, he’s saying; Now show everyone…make them remember. And doggone it, they do. Kitauji shows they’re not a joke or a footnote in the high school band world anymore. It’s a powerful scene.

This is their coming out party, and they don’t screw it up. They have a beauty at drum major and a rookie on trumpet who rejected the mighty Rikka. They’re a motley bunch made up of students with all manner of reasons for being there, but they march and play as one, defiantly, purposefully, strutting their stuff, turning heads, and changing minds. Kumiko, Reina, and Kitauji are on the march.

This was a gorgeously animated and felt episode, in the finest tradition of KyoAni. Keep it up, Hibike!

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P.S. This episode was directed by Miyoshi Ichirou, one of KyoAni’s finest talents, who is responsible for standout individual episodes in Free!, Hyouka, Chu2Koi, Haruhi, and Tamako Market…and that’s just what I’ve seen.

Hibike! Euphonium – 04

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Things couldn’t get much lower than they got last week, with the band unable to play together and various factions disputing whether to continue complaining to Taki or give in to his very new way of doing things.

Perhaps demonstrating her future as a diplomat, Haruka manages to work a weeklong ceasefire, during which time they’ll practice and attempt to get to a point where Taki will at least call them an ensemble, and only complain if he still doesn’t allow them to go to their precious SunFes.

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While all the negotiating takes place, Reina pretty much floats above it all, blasting her trumpet for all the school to hear. As narrator Kumiko puts it, this is Reina’s way of expressing her apathy for all this political bullshit…and I’m with Reina! They’re a band, for crying out loud; not a social club. If they want to go to SunFes, they need to be good enough to go, and the only way to do that is to knock off all the nonsense and get playin’.

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The accord thus reached, the more whiny of the band members are subjected to more of Taki-sensei’s abrasive tutelage; having them run laps before playing to build up their hearts and lungs; giving them semi-meditative breathing exercises, and singing solfège prior to creating overtones in group practice. In spite of their resentment for the man dishing out all this work, the band steadily gets better.

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Did I mention how much I love the relationship between Kumiko and Shuichi? She’s surly with him on the surface as usual—especially when he gets a dig in about her being cynical…which is true, by the way!—yet she still goes with him and hears him out about Reina getting into trouble with the seniors.

They do this in a very romantic spot, like that bench in the first ep, and even if the content of their conversation will never be accused of being lovey-dovey, the simple fact they can interact so casually and comfortably speaks volumes. There’s something there, but unlike other things this week, it’s left unsaid; whether it will remain unsaid all season remains to be seen.

Then they get in trouble when Shuichi blames Taki for not defending Reina—just when Reina is passing by on a bike on her way home. This is a bit of a coincidence, but I’ll allow it, because Kumiko realizes she made the same blunder she did back in that flashback that started her “rift” with Reina. She knows she can blame Shuichi for stating the behind-the-back talking, but she can’t deny that she agrees with his doubts about Taki.

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Kumiko’s fresh error vexes her during her parent-teacher conference (where we learn she followed her older sister into concert band, but her sister eventually quit), and when Reina asks Kumiko to join her in a dark and secluded corner of the schoolyard, she’s afraid of vicious retribution for that error.

Thankfully, Reina isn’t that kind of person. She apologizes, in her curt way, for saying too much. But that simple honesty broke the ice, allowing Kumiko to come out and say a lot of things to Reina she could never get around to saying until that moment: she’s sorry; she won’t say things about people behind their back; she’ll practice hard; she was inspired to work harder and aim higher by Reina’s Dvorak.

Kumiko saw the opportunity to say these things, and while she fears Reina will think she’s creepy now, she still feels good about saying them. For her part, Reina seemed moved by Kumiko’s sudden torrent of spoken feelings. Two episodes ago she made initial contact; now a dialogue is open, and they’re on their way to something resembling friendship.

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Kumiko decides not to keep quiet again in practice, encouraging a sleeping bandmate to join them in playing together, and surprised when she agrees. The rest of the band is able to channel the energy from their mutual dissatisfaction with Taki-sensei into becoming a better band, which may have been Taki’s intention all along.

When their week is up, the ensemble doesn’t sound perfect, but it does sound like an ensemble. They’re playing together. They can hear each other, and they’re playing like they have something to prove. The school hears them too, and are impressed. So SunFes is on, complete with a grueling, no-holds-barred practice schedule. I know it won’t be smooth sailing from here on in, but the progress both Kumiko and the band showed this week was very heartening. And hey, no one’s dying of an unspecified illness!

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C³ – Cube×Cursed×Curious – 01

High school lad Yachi recieves an unusual metal cube in the mail that laters turns out to contain a small girl named Fear, who was sent by his father to take advantage of the positive, “orderly” energy of his house. She is a “tool” that has been given human form by a curse. The curseproof Yachi leaves her alone when he goes to school with his friend, and she wreaks havoc on his house. He forgives her and assures her they’ll be able to break her curse.

We can’t say why we had high hopes for this series – after all, we knew next to nothing about it, but man, that was hard to sit through. Let us get the good out of the way first; it won’t take long: the series has very nicely-textured background, bright, vivid colors, and liberal use of light. That’s about all. The rest is just terrible.

Where do we start? The horrible character design? The 15 millionth petite, blue-haired, bratty girl? The goofy fanservice? The bafflingly bland lead and his blander childhood friend? The fact that Fear is a useless idiot, whose antics are played for gags that aren’t funny? The mustache-twirling femme fatale at the end? A first impression is an important one when it comes to anime. This first episode was nothing but dull cliches. It just wasn’t our cup of roasted tea.


Rating: 1.5