Wonder Egg Priority – 13 (Fin) – Deus Eggs Machina

Instead of being represented by an angel and  a devil perched on her shoulders, Neiru works through her indecision by giving voices to her bunny slippers. She determines it’s time to be “selfish”. She encounters Ai, and they have a listless conversation about the weather before going their separate ways.

Ai returns home to find Neiru’s pet rat Adam by her door, and a text from Neiru asking her to take care of him. That’s all Ai gets; she calls and the phone rings and rings, but Neiru never answers. In a way, Ai is a good part of the audience of Wonder Egg Priority who waited three months for some kind of definitive conclusion.

Unfortunately, this is not really that. Oh, it takes a turn or two in new directions, but very few loose ends are tied up. Indeed, the first half of this special is a recap. Like Ai listening to those droning tones on the phone, we never should have expected answers would be forthcoming. Instead, we get more questions; fresh avenues for contemplation.

After the frankly obnoxious recap (the second, as the first was a necessary evil when the pandemic and time constrained production could not keep up with cruelly unrealistic deadlines), we learn that Ai and the others actually did bring their dead people back to life, only now they have no connections to them. Koito treats Ai coldly and even joins in bullying her.

Worse, when Ai calls Neiru’s office and meets her on the ground floor, Neiru tells her she won’t be her friend and walks away. Ai is so frustrated she tosses her phone, shattering the screen, and even buys a pack of cigarettes…though one sniff of one and she reconsiders actually smoking one.

It’s little moments like that, and all of the angst and depression and panic that sets in as Ai realizes the people closest to her have suddenly drifted away, that reminds me of the best this show could offer. Those painstakingly rendered quiet moments that really brought Ai, the others, and their world to vivid life. Ai decides to vent her frustrations into the mic, singing the ending theme (badly) at karaoke with Rika and Momo

Rika doesn’t like how Neiru just up and left, and suggests they return to the Accas to investigate. Momo doesn’t want to go. She, quite justifiably, doesn’t want to be hurt (anymore than she already has, of course). Rika calls her a coward, but Ai tells her how sad she’d be if Momo got hurt. Rika then says she’d just go and save her all over again.

It, and the scene of the three on the train, exemplifies the highs and lows of friendships. Sometimes we get on each others’ nerves, or have fundamental disagreements, but the bonds endure. Then Ai gets a call from Neiru’s secretary admitting that the cold, dismissive Neiru she encountered earlier wasn’t really Neiru, but Neiru’s sister Aira.

They are invited to Neiru’s house, which was once Kotobuki’s before she died…and becomes Kotobuki’s again when she is revived. Or, to be more precise, she and the other girls’ dead people aren’t the same people because they came from alternate timelines.

That whole can of worms has always been a hard pill of magical realism to swallow, and the more detail given to it, the more it starts to fall apart, so it’s to WEP’s credit they mostly wave their hands and say “it’s fine, just go with it.” Ditto Ai and Rika watching the last dream Neiru recorded, and essentially learning that Neiru…was never human, but an AI???

Rika, always quick to anger and saying things she might not mean, says she’s not willing to “risk her life for a machine.” But what is a sophisticated AI but an infinitely less complex version of the Real McCoy? We are just machines; machines we’ll probably never be able to perfectly replicate no matter how many shows and movies explore the possibility.

When Neiru does finally call Ai, Ai decides to be the one not to answer. She throws her phone over the balcony of her apartment building, then cries into her loving mother’s lap. Not all friendships are forever, and even when turning the page is in one’s best interest, it’s often far more difficult and painful than simply ripping a band-aid off of a hairy arm.

Time passes, and Ai not only leaves Neiru, but drifts away from Momo and Rika as well; sadly we don’t get to see them again. Ai changes schools, since Koito isn’t her Koito anymore, and seems to be adjusting and adapting just fine.

But then one day she walks past a familiar storefront with capsule dispensers, and suddenly all the memories of her friends and of Neiru rush into the foreground of her mind, and she decides to do what Rika wanted to do back at Karaoke: return to the Accas and get cracking. Not all friendships are forever, but not all friendships that end necessarily stay over forever.

Yuru Camp△ – 12 (Fin) – Campvengers: Tentgame

The final episode of Yuru Camp’s first season ends somewhat confusingly with flash-forward that starts exactly how the previous episode ended: with Rin on a bike. Only this time instead of a moped it’s a motorcycle (possibly her grandpa’s), and ten years have passed. Rin meets up with Chiaki, Aoi, and Ena at Asagiri campground, which has presumably become a Christmas tradition ever since the first time.

It’s mentioned that Nadeshiko founded a camping equipment company that really took off, and just when I’m expecting her to arrive by helicopter, she arrives instead by rocket-powered tent instead—like the one in the OP! Turns out Nadeshiko of the present is merely musing about what the future might hold. Then Rin returns with the gas, ginger, and no alcohol for Toba-sensei, and she’s welcomed home.

While Aoi, Ena, and Chiaki take their baths first, Rin and Nadeshiko wonder why Toba-sensei isn’t with her boyfriend for Christmas, referring to the capable young lad who helped them start their fire on Lake Shibire. Turns out that wasn’t her boyfriend or her brother, but her kid sister, who is often mistaken for a boy. Their father instilled in them a love of camping, just as Rin’s gramps did for her.

Then it’s Rin, Nadeshiko and Toba-sensei’s turn to bathe, and upon returning find that everyone is sporting a “Shimarin Bun” courtesy of Ena, hairstylin’ extraordinaire. Nadeshiko wants the same treatment, and then agrees to take a group picture without realizing that Ena actually gave her more of a Cactuar-esque bun.

It’s a bit too early to turn in, so on Chiaki’s suggestion, they avail themselves of the streaming service she signed up for prior to the trip so they could watch media to their hearts’ content. While I’d normally object to breaking out the technology when they’re supposed to be enjoying the untouched wilderness, it’s a cold night, and they’re basically running out the clock until they’re sleepy enough to retire, so I’m fine with it.

Rin and Nadeshiko officially share a tent for the first time here, first lying outside and watching the starry sky. They talk about Moped Journey, and how part of it took place where Nadeshiko is from. Rin thinks she’ll be working for new years, while Nadeshiko isn’t having luck finding a job. Before Nadeshiko nods off while smiling, she says they should go camping lots more next year. Rin in turn smiles and agrees. It’s one of many lovely, quite moments of friendship this series has so excelled at.

Rin wakes up to a 5:00 AM alarm, and wakes Nadeshiko, who is still so out of it she wishes Rin a Happy New Year a week too early. Before the sun rises over a very blue Fuji-san, Rin helps out as Nadeshiko prepares a traditional Japanese breakfast, using leftover meat and broth from the sukiyaki and the ginger Rin bought to make Yamato stew to go with grilled salmon and Rin’s veggie and natto miso soup.

Everyone gets up to break their fast together, and suddenly the sun emerges from behind Fuji-san. It’s as beautiful a sight as you will ever see—whether in this episode or in real life—as all sunrises call to mind rebirth, redemption, and new beginnings in general. And this Christmas Camping trip was certainly the beginning of friendships which could last well past Nadeshiko’s ten-year look forward.

After breakfast, the six young women break camp, Sakura arrives to take Nadeshiko and Ena home, Toba-sensei drives Aoi and Chiaki home, and Rin rides home herself. A bit later, while Rin is working at the bookstore, she’s approached by Ena to buy a camping book, having liked her first experience camping in cold weather.

Meanwhile, Chiaki tells Aoi and Nadeshiko that she tried to recruit Ena while they were camping, but Ena isn’t quite ready to quit the “Going Home Club”.  And so, expecting to remain in their mail slot of a club room for the foreseeable future the trio gives it a top-to-bottom cleaning.

While walking home, Nadeshiko’s worries about seeking employment are allayed by a text from Rin, who puts her in contact with Ena, who has a temp job writing New Years cards and tells Nadeshiko there’s a position for her. This…This is how Nadeshiko’s ground-up camping supply empire gets started! Roll credits.

After the credits, Nadeshiko makes a solitary journey by bike to the same seaside campsite where Rin soloed back in the first episode, when I all but immediately fell in love with this series. As soon as she’s all set up (complete with her retro gas lamp), she gets a text from Rin asking what she’s up to.

Nadeshiko says she’s soloing; so is Rin. Rin asks where; Nadeshiko decides to make it a guessing game based on the photos. Rin sends back a photo fo the exact same place, only with Nadeshiko in the shot—they went to the same place! It’s such a beautiful moment of friendship I’m not ashamed to say I teared up a bit!

It’s pretty much the perfect epilogue, and while viewers of Yuru Camp would have to wait three excruciating years for more Rin and Nadeshiko (including 2020, which was more like ten years), All I need to do is hit “Next Episode” to continue following their story in Yuru Camp Season 2!

Great Pretender – 23 (Fin) – How the Sausage is Made

In its penultimate episode Great Pretender pulled the wool over our eyes as well as those of con artists’ hapless targets. The finale opens with Liu, Chen, Suzaku, Ishigami, and a couple henchmen adjusting to their new reality: stranded on a deserted island with water and emergency rations.

There’s an absurd surrealism to seeing Liu, typically perched in his gaudy Shanghai tower, sitting on the beach looking defeated, or Suzaku lighting up a smoke in her ruined red throne, no longer surrounded by her lacquered and gilded office. They were well and truly conned like they’ve never been conned before.

The question is, how? After that quick check-in, we rewind back to the morning of the job. Before waking up, Makoto dreams of the time she gave her mom a wizard figurine, and she hoped it meant she’d see Seiji soon. Abby visits Makoto unannounced, urging him to hurry up and forgive himself, noting she was saved by doing the same.

From there, we follow Makoto as he clandestinely puts a sleeping drug in coffee he serves to Suzaku and Ishigami, while Laurent drugs the champagne he serves to Liu and Chen. This way, the targets are asleep while they are transported to the island where they’ll eventually be marooned.

We learn that while only Eddie Cassano is involved in this game as a favor to Laurent (they’re apparently on good terms now), the similarly reformed James Coleman and Sam Ibrahim also tagged along. Another character from a previous arc who plays a role is Shougo, who provides the air transport to the island.

On that island, Oz has led the construction down to the minute detail of a replica of Suzaku’s Tokyo HQ office. He had Makoto order the real thing re-painted recently so that the smell of fresh paint could be explained, while Suzaku herself is too woozy from her “nap” that she shrugs off the presence of cat sculptures Cynthia included because she thought they were cute, but weren’t in the real office.

The gun battle from which Liu, Chen, Suzaki and Ishigami escape was really just the “police” and Cassano’s “henchmen” firing their guns into the air, making enough noise to cover their escape down the elevator. As for Makoto’s “slashing?” The sword was real, but Oz only cut deep enough to break the blood bag inside Makoto’s jacket.

Fast-forward to the immediate aftermath of the successful completion of the job, the con artists party on what turns out to be Cassano’s boat. Makoto feels good about getting one over on Laurent (as well as following Abby’s advice to forgive himself), while Laurent tosses Dorothy’s ring into the ocean, satisfied she was properly avenged.

In the epilogue, Oz visits his wife’s grave, and we learn she knew what happened to him all along, but never told Makoto. Oz dedicates himself to finding homes for all of the rescued refugees, though Cynthia takes one of the older ones under her wing, giving him the choice of what to do with his life.

Abby reaches the top of a rock in Nevada’s Red Rock Canyon and sends a bird-flipping selfie to Makoto; I really liked how their relationship progressed, how they remain in touch even though they’ve parted ways as con artists. Laurent, meanwhile, is still in the game, and picks the newly inaugurated U.S. President as his next target. Four Seasons, anyone?

Finally, in a feel-good surprise ending, it’s revealed Dorothy is still alive after all, having apparently washed up in Taiwan with amnesia (she could be faking it, but then why did she never reunite with Laurent?). One of her adoptive parents presents her with a ring he found in the stomach of a fish—her old good luck ring, which Laurent tossed into the sea.

And that about does it. What a ride this was! Every arc of Great Pretender had its strong points and a distinct atmosphere owing to their varying settings and types of cons. It’s a show that seemingly got better and better, and this longer final arc brought everything together quite nicely, with its usual stylish cheekiness. I’d highly recommend GP, especially as a gateway show for entering the world of anime.

Deca-Dence – 12 (Fin) – A New Grand Process

When Jill tells Natsume that Kaburagi has connected with Deca-Dence to become Kabu-Dence, Natsume is momentarily bewildered by her Boss’ constant changing forms. But change is at the heart of this episode, and ultimately the salvation of free cyborgs and humans both.

Everyone rallies behind Kabu and Minato, with the Gears logging in en masse to participate in the game’s climactic “Final Mission” while Donatello fills in Kurenai and the Tankers.

Minato and Jill are concerned that despite a successful connection, Deca-Dence isn’t doing anything. That’s because Kaburagi first has to deal with something very similar to Neo in The Matrix Reloaded when he meets The Architect. In this case, it’s The System itself, telling him that even bugs are a part of the system, meaning anything he does will be within the System’s calculations.

But if that were the case, why try to stop him? Kabu doesn’t buy that cog-in-the-machine crap anymore; he’s living his life by the precepts gained through Natsume: push yourself to the limits in order to help create a better, freer world. With that declaration, and Natsume simultaneously smashing her arm to pieces “waking” Boss up, Kabu-Dence finally stirs to life.

With glowing tendrils it reaches out at all the hunks of debris throughout its surroundings, which were brought back to life thanks to the Gears and Tankers topping them off with oxyone. To Kabu’s distress, one of the people helping is Natsume, initially trying to push a huge part all by herself before being joined by Kurenai and her Tanker comrades.

With less than ninety seconds until total spacial displacement, Minato orders the now charged and upgraded Kabu-Dence cannon to fire upon Gadoll omega, the beam of which Donatello deflects by sacrificing his Gear avatar. It fires, and there’s a big boom but…it doesn’t work. The beam wasn’t strong enough to break through omega’s adamantoise-esque shell.

With under forty seconds on the clock, Kabu seems resigned to oblivion…until stored memories of Natsume’s best and most formative moments flash before his visual interface. Natsume herself was drawn within Kabu-Dence’s machinery, and her presence seems to snap Kabu out of giving up.

Kabu-Dence’s limiter is suddenly removed, enabling a far more powerful attack even with the oxyone stores depleted. The blast is enough to destroy Gadoll omega, but completes the destruction of Deca-Dence as a mobile fortress in the process.

Whether due to the strain of the limit break attack or damage to his body caused by falling debris, Kaburagi concedes that his time has finally come. The System was right about one thing—that he was going to die either way. Left out of that statement is the fact he wouldn’t die until after he successfully broke that system, with the help of his friends.

When Natsume finally finds Kabu’s cyborg body, his face is broken and the one light remaining behind is about to go out. Natsume lets some tears fall, but she doesn’t lose it; she merely expresses gratitude to her boss and assures him she’ll be okay on her own from now on. He gave her and every human and free cyborg a chance.

Three Years Later, and Deca-Dence is now a bustling city surrounded by verdant farmland, where humans and cyborgs peacefully coexist. Under “Supreme Administrator” Minato’s leadership and Jill’s scientific prowess, the game has changed: no longer a brutal battle in which Tankers were cannon fodder and servants, now cyborgs share in the labor and betterment of the new civilization beside their human friends.

Natsume has started a business taking cyborg tourists out on exploration and adventure trips. Her new arm can become a helicopter rotor, which is pretty awesome and also makes her a kind of unique conduit between the human and cyborg experience. As she promised, she made a life for herself and thrived without boss around. But that doesn’t mean when Jill eventually manages to bring Kaburagi back, using his backup data and a new avatar body, she isn’t glad to see him again!

It’s a fast, focused ending and the epilogue-over-end-credits is perhaps a bit rushed (I’d have loved to spend more time in this lush, just new world). But seeing Natsume’s face light up once more as she recognizes him emerging from the glaring sunset is as fitting image as any on which to close the book on the tremendously entertaining and unflinchingly relevant Deca-Dence.

Season Average: 9.17

Toaru Kagaku no Railgun T – 15 – Clones Aren’t Just People…They’re Some of the Best

Suck up to the researchers. Words Kozaku Mitori lived by while she was at the facility. Put on a happy face, be chipper, never show them you actually hate their guts and everything they’re doing. But even if it was an act, her secret rebelliousness was futile. As long as she was cooperating, she was giving in to their control.

This became untenable when her chipper attitude led the researchers to pairing her up with Dolly. Like Misaki after her, Mitori initially found the lonely sick girl to be a pain in the rear, but Dolly’s sad, beautiful soul eventually wore her down, until she was looking forward to their visits. More importantly, her smiles were always genuine.

More than anything, Mitori saw Dolly as neither a clone nor a lab rat, but above all, a human being, deserving of rights and care. So when she saw the condition of Dolly’s body as a result of the researchers’ merciless experiments, she used her ability to learn more about her, and became even more outraged.

Sadly, nearly every adult in a white lab coat is a psychopathic, redeemable monster who tortures and murders children without blinking an eye. So it’s no surprise that her protests don’t just fall on deaf ears, but mocking laughter, which fuel a smoldering fire of hatred for The System in Mitori’s heart.

For dropping the nice girl act and breaking the rules, Mitori is held in solitary for months, never getting to see Dolly again. But one day her cell door is unlocked and she finds the place deserted. She vows to wage a one-woman campaign of vengeance against the Governing Board who approved what was happening to Dolly.

Her attempts ended in failure, mostly because she was acting alone and even 10,000 of her wouldn’t be enough to tough the bigwigs. Enter Kihara Gensei, who puts his trust in hatred and thus in their aligned desire to bring Academy City to its knees. Again Mitori picked the losing side and lost, this time to the good guys”.

Following Kuroko’s beatdown, Mitori lies in the sewer having utterly given up…until Misaki pays her a visit. She still has every intention of turning her over to Judgment, but before that, she has a personal matter to attend to and could use Mitori’s assistance. You see, the Dolly they know may be gone, but her memories were transferred to her clone sister, who is still alive…and they’re going to free her.

Where as everything involving her researcher handlers at the facility was about bending to their physical and psychological control, Misaki spares the Mental Out remote and plainly asks Mitori if she’ll accompany her. Aside from Mitori not having much else going on, Misaki knows that if Mitori felt the same way about Dolly as she did, she’ll gladly tag alone of her own free will.

Thanks to Misaki’s ability, the pair are able to easily infiltrate the facility and remove “Dolly II” from her stasis tube. A tearful reunion ensues, where again Mitori doesn’t have to put on any act; she’s overwhelmed by emotion upon finding this girl who is for all intents and purposes the same Dolly who knew and loved her, and whom she knew and loved.

This episode and scene in particular are the perfect way to wrap up the arc of Kozaku Mitori, who started out as a shadowy, one-dimensional baddie but soon evolved into a full-fledged character beyond black-and-white labels. Her alliance with the geezer and resulting actions may have been misguided, but everything she did was out of a desire to hurt those who hurt Dolly, and you can’t argue with that.

Misaki too, gets a nice catharsis in this reunion scene. At first she’s so guilty about misleading Dolly and failing to learn the whole picture before it was to late, and feels like she’s not entitled to forgiveness or affection. Dolly, of course doesn’t care about what happened in the past; what matters is that she, Misaki, and Mi-chan are together again. It’s what she’d been dreaming about in that tube, and now it’s a reality.

Thanks to Dolly, and her clone, Misaki and Mitori not only became strong individuals capable of setting their own courses in life, but were able to endure the cynicism and cruelty of the villainous scientific complex and retain their humanity. As Mitori tried to make clear to one of those villains, Dolly is a person, not a clone of fodder.

She also happens to be one of the best people, with a warm and kind soul. But even she wouldn’t be who she was (not to mention free of captivity) without her two friends. Hopefully they’ll never be separated again.

In other housecleaning, Mikoto’s circle of friends celebrates Kuroko finally being 100% and out of her wheelchair, and then Mikoto visits a recovering MISAKA in the hospital. But Mitori, Misaki, and Dolly were the refreshing narrative and emotional core of this epilogue, and I was more than fine with that.

The effects of their reunion seemingly carries across the network of Sisters, as MISAKA has a vague sense of deja vu and a sudden desire to visit the ocean. She’s most likely glimpsing Dolly’s beautiful dreams—which can now be a reality.

Re:Creators – 22 (Fin)

With Altair, well, not defeated per say, but ceasing to be a threat to the world last week, Re:Creators can relax and do a leisurely victory lap. The five creators remaining on the battlefield accept their supporting roles in a story that ended up being primarily about Altair and Setsuna. The other creators congratulate Souta for his achievement, even if, especially for Matsubara and Takarada, it hurts that their heroines had to die in order to win.

But Meteora steps in to assure Matsubara that only one possible Selesia’s story ended there; there are countless others that remain alive, and more still as long as he’s committed to keep adding to her world…coffee, for instance.

After a celebratory feast at a down-home restaurant, Meteora also points out to the other creations that they will all have to return to their respective worlds soon, as her magic will eventually cease to work as the world restores its proper order (an order in which her magic doesn’t exist).

After the creations and their creators spend one last day together, saying what they want to say and suggesting what they want to suggest, Meteora opens a return gate.

One by one, the Creations say their final goodbyes and walk through the gate, disappearing from the world in physical form but not in the hearts and minds of their creators and fans. I was kinda wondering where Magane was in all of this, and I really wish we’d been able to see more of her…did she de-coalesce off-camera after using her ability to help Souta?

In any case, Meteora has one more plot twist in store: she’s staying. I mean, even if she wanted to go back, she can’t go through a gate she is keeping open any more than she can pick up and throw herself. But she loves this world, and has always seemed quite comfortable here. So while she loses the rest of her magic as soon as the gate closes, I have no doubt someone as strong and brilliant and charming as she will land on her feet.

A bit of time passes, marked by the emergence of several new advertisements around the city promoting new seasons of the creators’ creations, each with new stories that reflect their experiences during the Chamber Festival: Shou and Yuuya fighting side by side, Blitz with his daughter by his; Hikayu’s new martial-arts master alter-ego; Magical Slayer Mamika meeting Aliceteria.

Everyone continues to create. Whatever problems people had with the story of the Chamber Festival (and it did kinda go all over the place, if we’re honest), creators can’t look up to a standard they worry they’ll never approach; they can only keep moving forward, and keep creating. That’s the surest way to achieving happiness not just for themselves and those who consume their work, but for their creations too.

I’m also heartened to see Souta and Meteora exchanging texts in much the same way Souta used to do with Setsuna, only now he’s a little older, a lot wiser, and more importantly, confident enough in his ability as a creator in his own right, to be anything but proud and supportive of his friend’s efforts.

Meteora has pivoted to creation herself, and has decided to name her first work Re:CREATORS—the very work we just spent 22-plus weeks watching.

Fate / Zero – 25 (Fin)

Did the Holy Grail know Kiritsugu would reject it? Who can say? But even if it initially chose him to be its bearer, his order to Saber to destroy it flipped the script. It also flipped the cup, as the Grail’s destruction means the black ooze it contained falls upon Fuyuki, destroying everything in sight, to Kiritsugu’s great despair. Even trying to do the right thing at the right time would seem to have backfired on this exceedingly unlucky and tortured soul.

Speaking of tortured souls, Kariya is still barely alive when he returns to the Matou basement, but while his senses tell him he is reuniting Sakura with Rin and Aoi, in reality Sakura is abandoning him to the Crest Worms and accepting the fate he tried in vain to keep her from.

Perhaps it was the contents of the Grail, not the Grail itself, that mattered most, as those contents fell on Archer, but rather than destroy him along with everything else, it gave him physical form (though not clothes). And because Gilgamesh still had a pact with Kirei, it resurrected him, albeit with no heartbeat.

That literal lack of a beating heart is indicative of his departure from humanity, as is his apparently Grail-fulfilled wish for death and destruction around him, and a hunger to “learn more” and explore the depths of his inhumanity. But as I said, the Grail will never fully satiate; at best it can only lock people—Servants and Masters alike—in a perpetual state of searching.

As for Kiritsugu, he’s done searching. Indeed, he seems to be just about done with everything, owing to the curse bestowed on him by a scorned Grail and his entire life’s work burning before him. The last thing he searches for—a single survivor among the scorched rubble—is something he ironically finds immediately.

By saving that single life—a young Shirou—Kiritsugu himself is saved. It’s a concept a sneering Kirei can’t possibly comprehend enough even to envy.

With that, the clock on the Fourth Holy Grail War reaches…Zero and comes to an end, with the official winner in doubt, though more-or-less claimed by Kirei, since the Grail seemingly brought him back.

Back at his “grandparents”, Waver announces he’s going to set aside his magical studies for a bit, get a part-time job, live with them, and save up enough to travel the world his king once conquered a good chunk of.

Kirei has upheld his promise to his master to look after Rin after he’s gone, likely so that he can observe and absorb all of the grief, pain and suffering Rin is likely to experience on the long, hard road all heads of great families must walk.

Rin maintains a stoicsm beyond her years at her father’s futural, even as she wheels her brain-damaged, delusional mom around. What gets her to crack and shed tears is the Azoth dagger; Kiritsugu twisting the blade like the piece of work he is.

And Saber, poor Saber, is back in Britain, on a battlefield strewn with corpses, having led everyone nowhere but to their own deaths. She remembers Lancelot’s last words to her, about how he only ever sought her righteous judgment for betraying her and falling in love win Guinevere.

Arturia considers herself a failed king who never understood anyone, and considering her surroundings it’s hard to argue with that assessment.

As for Saber’s former Master, he is banned from Einzbern Castle forever, having failed to secure the Grail for them, and never sees his daughter Ilya again. So he adopts Shirou, fixes up the old safe house, and spends the next five years raising his adoptive son and living a quiet but happy life.

One night he tells Shirou how he once wanted and tried to be a hero, but ultimately failed. Shirou confidently promises his dad he’ll become a hero in his place. A heavenly light suddenly shines above Saber; a ray of hope.

Clearly contented by his son’s words, Kiritsugu starts to peacefully pass away, with an answer for his friend Shirley’s question about what he wanted to be when he grew up: he wanted, and still wants, to be a hero.

* * * * *

And that’s it for Fate/Zero! Boy, what a ride it’s been these past five weeks. That was a far better show than I could have imagined…which is why it took so long after UBW to watch it. Burned by previous prequels to beloved works, I was worried knowing pretty much how everything would end would make it difficult for the stakes to matter.

Yeah…I was dead wrong about that. Not only was I far more emotionally invested in Zero, it was a lot more approachable, had a lot more heart, and took a lot more risks than the smoother, shinier UBW. It’s not that UBW is bad, it’s simply a matter of Zero kicking ass in virtually every aspect of the game. It wasn’t just a great anime, it was great television; great storytelling, full stop. So thanks to everyone out there who recommended it to me. It was well worth a look back.

Saekano 2 – 11 (Fin)

Megumi and Tomoya go on a date, not just because it seems like the thing to do after the rest of the harem has cleared out, but to cheer one another up. It’s clear it’s not a one-sided case of Megumi cheering Tomoya up from the look of a soundless flashback in which she reacts dramatically to Eriri’s news she’s moving on from the group.

Megumi also seems to take great joy in shopping for clothes and shoes with Tomoya around. Even if he has no fashion sense or money to speak of, his company is appreciated and their instincts—like the one to hold hands in the crowded section—are often in sync.

By the end of the trip, Tomoya is feeling much better, as is Megumi, and the former makes sure they stop by a hat store so he can get her the same white hat she was wearing when he first envisioned her as his main heroine, as thanks both for her company and for getting him glasses last time.

Megumi is touched by the gesture, and when they return to that fateful hill, she tells Tomoya “she’s not giving up”. It strikes me as having dual meaning, as she intends to move forward with the doujin group even without Eriri and Utaha…and intends to make Tomoya fall completely for her.

Tomoya agrees they should move forward, but when his laughter turns to tears of loss, she reaches out to embrace him, only to then pulls back.

Now sufficiently cheered up, cried out, and ready to move forward, Tomoya takes it upon himself to see Eriri and Utaha off, surprising them both on the platform of their train to Osaka. Their looks say it all; Eriri in particular can’t believe he’ll forgive them.

But it’s not about forgiveness at all for Tomoya; it’s about wishing his two dear and wonderfully talented friends good luck on their exciting new venture. And I don’t think he’s putting on airs—one doesn’t turn down something like Fields Chronicle, and he thinks their “god-tier” talent can make it the best ever.

This sendoff, complete with a Megumi phone call with the same positive, concilatory intent, is enough to bring Eriri, Tomoya, and even Utaha to tears. It’s a bittersweet moment, one perhaps made a bit more silly when after Eriri removes Tomoya’s glasses, intending to keep them, then leans in to kiss, it’s Utaha who steals a big, long smooth with Tomoya, and Eriri is forced to whip out her twintails for the first time in a long while. They also miss their train in the excitement.

But no matter; they’re on their way. Post-credits, Tomoya and Megumi are both on first name terms, now seniors in school, chattering away with their usual excellent chemistry and bonhomie. Then, to their surprise, Hashima Izumi appears, a recent transfer, and Tomoya understands Iori’s words about sending his sister to a place where her talents can be put to best use.

Will Izumi be the artist for Tomoya and Megumi’s game? Perhaps, but it’s a certainty that Michiru will score the music once again. Hey, remember Michiru? The show makes sure to let us know it’s in on the joke regarding her absence for the back half of the season (which, frankly, was fine).

But notably, Michiru is conversing with Eriri and Utaha, who are watching Tomoya from afar. Eriri is still enrolled in the school, but the graduated Utaha is there because “it’s a free country.” The more things change, the more they stay the same!

Ao no Exorcist: Kyoto Fujouou-hen – 12 (Fin)

With the Impure King defeated and the Kyoto Saga all but in the books, I was up for pretty much anything Ao no Exoricst wanted to do in the post-battle epilogue episode. It turned out to be chock-full of nice character moments, and felt like a thank you to the audience for watching. For instance, there’s no such thing as too much Mamushi, and her lovely scene in which Juzu comforts her kicks things off nicely.

Rin comes to in a room with Kumo resting beside him, but he soon spots Shiemi lying right next to him. They have a nice exchange, until she seemingly permanently friendzones him, and we learn that Renzo, Izumo and even the ventriloquist kid are also in there. It’s a need little gradual reveal.

After Mephisto has a chat with Yaozou (who gives all credit for the victory to Rin), a seemingly tipsy Shura comes onto him, but he sniffs out her intent, and soon she has a kunai at his throat, wondering if the Impure King was yet another test for Rin (which it most certainly was). Mephisto isn’t forthcoming with details, but his polite threat sends Shura flying off him, then warning him she has her eye on him…from a safe distance.

The next morning, Bon is headed to the room where his dad is resting, only to find him in an inn uniform sweeping the floor. It would seem Master Tatsuma has hung up the sutras, and wishes to live a simple life helping out around the inn. This irks Bon, who thinks it’s up to Tatsuma to re-unite the Myoda sect.

Turns out, neither Tatsuma nor Bon had to do anything for that to happen, as Juzu announces his intention to marry Mamushi. I’ll admit I wasn’t really shipping these two, but I can’t deny they work as a couple, and the scene in which he convinces her to agree to the marriage represents a nice melding of tradition and modern sensibilities. The protesting from Mamushi and Juzo’s siblings are also delightful, while Mamushi’s eyepatch is very chuunibyou.

The students have the day off, so they spend it together, this time not fighting for their lives, but sightseeing in Kyoto, the city they all helped to save from turning into the toxic forest from Nausicaä. It’s mostly a montage of stills, but they’re pretty stills that contain a lot of nice little character moments. I also liked how Rin’s friends did a running gag of having to do what the “son of satan” says, or else he’ll fry them.

Finally, Yukio meets Rin by the riverbank so Rin can tell him he’s still committed to becoming an exorcist and leaving his little brother in the dust, despite being the son of satan. Yukio doesn’t approve, and he has lots of good reasons, but Rin’s going to keep training nonetheless. So he tells Yukio he can go ahead and keep having his back, and he’ll have Yukio’s in return. With that, the brothers return to the group and they continue their pleasant, and well-earned, day off. Not a bad way to end.

Kuromukuro – 26 (FIN)

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With Ken planning to leave Earth to help Zell and Muetta fight another battle, Yukina is forlorn, but she regains the will to do something about it thanks to her supportive circle of friends, who have always served as a kind of Scooby Gang, performing impressive feats by utilizing and pooling their individual talents. Akagi in particular takes one for the team, as ultimately Yukina’s happiness is more important to him than being her husband.

 

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When it comes time for Ken, Zell, and Muetta to make their move, trying to open a wormhole to Zell’s world with the Pivot Stone, Yukina and her friends descend on Kurobe lab armed with their wits, the press (so there are eyes on the military’s actions), and Yukina’s unyielding determination to accompany Ken on his journey, lest he go and get himself killed.

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Sebastian also lends Yukina, Sophie and Kaya a hand, while we learn with shock that Dr. Hausen is Kaya’s dad (good for a chuckle). It’s understood that Ken, Zell, and Muetta, along with Yukina and her friends, are violating international law through their actions, but neither Graham nor Scully are quick enough to stop them.

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Even when Scully corners Ken, Zell and Muetta, Yukina manages to pilot Medusa, bursting through the wall and giving Ken an open path to the Kuromukuro. And when she grabs a hold of Kuromukuro and Ken demands she let go, Yukina…doesn’t. She’s in this for the long haul, whether he wants her in danger or not. Ken accepts that Yukina (whom he calls his “wife”) won’t take no for an answer.

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Unfortunately for Yukina and Ken, Tom and Shenmei have orders to stop them at all costs, and while Ken ultimately succeeds in going through the wormhole, it isn’t with Yukina, and they are in an instant separated by perhaps thousands of light-years.

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Cut to a few years later, and thanks to the technology lifted from the Efidolg mothership, mankind has developed interstellar flight, and have built a spaceport a slightly older Yukina, Sophie and Sebastian utilize to finally meet up with Ken (whom Yukina knows is still alive thanks to a bauble given to her by Dr. Hausen).

After a tragic separation, this epilogue paints an optimistic future for Yukina as she says a temporary goodbye to her family and strikes out in the vast expanse of space to join the man she fell in love with. Like him, like the samurai, she is always going forward.

And that finally does it for Kuromukuro. The ending episodes weren’t quite as good as when all shit hit the fan and everyone had to deal with the aftermath in episodes 6-8, but they were still solidly entertaining.

P.A. Works took an offbeat, novel approach to the sci-fi mecha genre, but with lovable characters above-average animation and taut action, and a good helping of the all-important “not taking itself too seriously”, the studio churned out another winner.

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91 Days – 12 (Fin)

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With Avilio’s grand revenge plan all but complete (but for Nero), this final episode is not a lot more than an extended epilogue in which the remainder of the Vanettis are wiped out, Avilio is captured by Nero, and the two kind of dance around each other until Nero finally does what he needs to do.

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I’ll be honest: I’ve never been fully emotionally invested in any of the characters, even Avilio, and was never all that big a fan of Nero, so watching all of the underlings, whom I often couldn’t tell apart from each other, was a bit of a bore. Not to mention the tommy guns in this show were way too reliable (not a serious criticism, just sayin’).

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I’ve also expected for a while now that Avilio would eventually end up succeeding but feeling utterly unfulfilled, in the same way Vincent was when he killed the Lagusas seven years ago, so the campfire confrontation isn’t all that impactful. These are two people who have been set up from the start to be unhappy and alone, and they’ve done too much to each other for there to be any outcome but one or both of them ending up dead.

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The bottom line: any and all hope this show had was wiped out back when Avilio killed Corteo, believing that last shedding of his humanity would be worth it, but it wasn’t. Avilio and Nero have a pleasant final road trip to the seaside, but only Nero gets back in the car and drives away, and we have no reason to believe he’ll be alive long with the new Don Strega and the long arm of the Galassias after him.

As their two pairs of footsteps are washed away by the waves, the lesson of 91 Days is clear: if you’re going to kill a family in a mafia coup, make sure you get all that family’s members. Nero can blame Avilio all he likes, but it was his nervousness/mercy that kept Angelo alive, leading to a life spent—wasted—planning only revenge.

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Sidonia no Kishi 2 – 12 (Fin)

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We left Nagate in a very bad, but at the same time very sexy way, with placenta in the precise form, sound, and probably even smell of his first love Shizuka, whom he’d once shared a very meaningful period of time while stranded in a cockpit. But the senses are deceiving; this is not Shizuka and never was, it’s a predator, and she looks primed to eat him.

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Or…well, do something with him. The French kiss she/it initiates, and the whole slow pace of her attack on Nagate, suggests something other than mere feeding. She’s taking her time with him, restraining him, and about to become one with him; I wouldn’t be surprised if this is Benisuzume either conducting an experiment of her own or something built into her genetic profile.

In any case, Beni didn’t count on Izana being inside Nagate’s frame. She’s able to use her bionic arm to activate aux power and close the neck airlock, separating the Shizuka placenta from the rest of Beni and releasing Nagate, who stabs her in her core, causing not one but two of those sweet, sweet bubble disintegration sounds that tell you a Gauna’s gone for good.

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That’s not the end of this decisive battle, however; Planet Nine remains a battlefield, and Nagate, the crippled Tsumugi, Izana, and whatshisname are soon surrounded by seemingly all the Gauna on the planet. Nagate prepares for another last stand, but he’s bailed out by a cavalry of Hayakazes led by Samari, who have finally arrived in orbit, one hundred strong (grouped in 25 Hayakazes). As Nagate and Tsumugi serve as bait, the rest of the planet’s Gauna are mopped up with overwhelming firepower.

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It’s a great feeling when that last Gauna disintegreates, but due to the nature of this show, it never felt quite right to let my guard down until everyone was back aboard Sidonia, and even then, there could have been some ginormous ship-to-ship battle in space to close us out.

Instead, Nagate (with a still-alive nude Placental Shizuka in his arms) carries Tsumugi and launches away from the planet to join the Hayakaze squad, and they return to the mothership without incident.

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With the titular Battle for Planet Nine won, the balance of the episode, and perhaps the Sidonia series, is spent in Epilogue Mode, similar to the last episode of UBW. Nagate is awarded a medal (the first awarded in decades) by Kobayashi in order to continue building him up as the Great Hero to inspire the rest of the soldiers; there’s a party where the Honoka clones cluster around Nagate to Izana’s disapproval.

Nagate asks what’s become of the new Placental Shizuka, and Kunato tells him she’s being treated as a valuable specimen for further research, citing “important things must have a spare.” The march of “progress” goes on, and I imagine it also entails one day creating a spare Nagate.

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The series then ends where it began, which I thought was a nice touch (though my one major gripe about this finale is that we didn’t get to see any more Izana after that awards ceremony). Nagate hadn’t just come a long way in becoming a decorated, respected, and fawned-over pilot and war hero; he also came a long way geographically, as the same journey through the bowels of Sidonia from his cloistered domicile to the rice thresher is played in reverse, only instead of an urchin on the run for theft, he has an entry pass and is welcomed with salutes once the staff knows who he is.

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Nagate inspects the simulator his grandfather and him used to learn how to fight Gauna, giving him the tools to make a contribution to society should he leave the confines of his sheltered home. He did, and he doesn’t regret it. He’s seen and done amazing, extraordinary things with a host amazing people of all stripes.

Yes, he’s still technically a pawn of the junta, but that doesn’t change the fact that he’s a Knight of Sidonia, who will keep fighting to protect his home and its inhabitants until he draws his last breath—or at least until his new-and-improved Chimera replacement takes over for him!

As for me, I shall deeply miss Sidonia’s dark, gritty, sexy, terrifying, and always gorgeous and impeccably-rendered sci-fi milieu. From the start it’s reminded me of the rebooted Battlestar Galactica, only it managed to maintain the mystique of its primary foe (the Gauna remain alien and terrifying by the show’s end; the Cylons, not so much). Sidionia told and showed us a lot,  but never too much; it’s deepest mysteries remained so through to the end.

I really wouldn’t mind a third season, or failing that, a Blame! anime, a peek of which we saw on Nagate’s TV. I want this style of anime to continue.

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Fate / stay night: Unlimited Blade Works – 25 (Fin)

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UBW’s epilogue drops us in London two years after the end of the Holy Grail War, with Shirou tagging alongside Rin as her pupil at a Hogwarts-like magical college. It would also seem they’re living together, and are quite happy about it.

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After we’re shown some glimpses of their new life—home-cooked breakfast for Rin (still not a fan of the morning), an English love rival who spars with Rin in a kind of magical MMA bout; Shirou nursing Rin’s wounds after her defeat.

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The couple takes a day trip to Glastonbury to visit King Arthur’s tomb, a trip Rin plans so Shirou can properly say goodbye to Saber. It’s a nice touch, and the English countryside and ruins are lushly rendered.

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While on the bus ride home, with Rin asleep on his shoulder, Shirou reflects on the events that got him here to this point, by her side. A month after the war, Rin tells him of her plans to move to London and attend the mage’s university, inviting him to come along; an invitation he gladly accepts. Rin’s primary postwar goal is to make the man she loves happy, which means keeping him by her side.

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Back in the present, in an encounter I’m sure had more resonance for those more familiar with the franchise, a tall, stern man questions why Shirou is there, and remarks that it’s a “small world” when he hears of Shirou’s desire to be a HoJ. My guess is this guy knew Kiritsugu.

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Shirou has been invited to join the Mages Association and eventually Clock Tower, but he declines. Rin isn’t particularly surprised, but is more than willing to follow him as they see the world they saved. Lots of great loving smiles from Rin in this epilogue.

Shirou and Rin’s indications, along with the post-credits sequence, suggest Shirou will never be able to escape the same path as Archer, but until then, he and Rin are going to have as many good times as they can. When the time comes, she hopes her positive influence in his life will enable him to move a little further forward and get “the right ending.”

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