Boogiepop wa Warawanai – 13 – The Bug

Both the wills of individuals and the collective will of humanity can usually be likened to a swarm of bugs around a light; moving chaotically without coordination. But a majority of the bugs that comprise Nagi’s will are aligned towards a a confrontation with the serial killer, for which she is diligently preparing but may still be woefully overmatched.

That certainly seems to be Sasaki’s opinion on the matter, as the bug within him can’t simply let her be, lest she end up hurt or killed simply for following her own will and sense of justice. If anyone is going to protect her, he figures it should be the one who deprived her of her father, the person who would otherwise be responsible.

Sasaki’s supicions are confirmed: Kisugi has set a trap for Nagi, whom she suspected would show up in superhero guise (Nagi’s jumpsuit is indeed totally badass): have her tranquilized via sniper rifle, then proceed to explore her delicious fear.

Sasaki delivers a killing blow before he notices it isn’t Kisugi, but Pigeon, who stabs him right back as revenge for killing Kuroda (her own bug she couldn’t ignore). But Pigeon distracts Sasaki from Kisugi, who puts her arm through his chest.

Just like that, the backup both Sasaski and I believed would be crucial to Nagi’s survival has been taken off the board in gruesome fashion, a sentiment reinforced when Sasaki tosses his corpse out the window, then leaps out herself and lands on her feet far too close to Nagi for comfort.

But true to her name, Nagi keeps calm and carries on. She starts to flee Kisugi, first on foot then on bike, but the Kisugi’s personal flirtation with evolution has made her as fast in heels as Nagi can pedal, and it isn’t long before she’s caught her up.

Yet still, there’s something about the deliberate manner in which Nagi flees—constantly looking back to make sure she’s being followed—that suggests the chase is unfolding precisely how Nagi planned. Even when Kisugi loses her temper and starts dunking Nagi’s head in a pond and kicking the shit out of her, there isn’t a trace of panic on Nagi’s face.

Kisugi finally visualizes Nagi’s weakness—someone she loves dying before her, like her father—while her actions confirm to Nagi that she’s someone who preys on those perceived to be fearless. Kisugi is right that no one is truly fearless, which means there’s no one she can’t feed off of.

But Nagi’s fear in that moment is less that she’s about to be killed or worse, but more worry that the intricate plan she’s set up might fail. That she will fail to become the superhero she thought she could be. But it doesn’t fail, because Kisugi is part of the circuit of the pond, while Nagi in her thick insulated suit isn’t…and has a weapon that shoots electrical arcs.

Thus Nagi does the equivalent of drop a giant plugged-in toaster into the bathtub, zapping Kisugi with thousands of volts and doing significant damage to a body already taxed to the brink by all of her DIY “evolution.” When Nagi puts her in an arm hold, the arm pops off, and Kisugi flees.

It’s then when an ally far more powerful than Sasaki appears, only to voice their surprise Nagi didn’t need them after all. The situation was always under control, though Nagi could rightly say she relied on some luck in everything going perfectly.

Now Kisugi is the hunted, and full of fear. Turns out she’s a fear ghoul, and definitely an enemy of humanity, which means Boogiepop has popped up to finish her off. But they give credit to Nagi for defeating Kisugi and making the kill so easy.

Nagi manages to be with Sasaki before he dies, and his last words are of relief that she’s still alive, and that “the bug” within him isn’t so bad. Boogiepop then determines it would be best if the blame for the serial murders were placed on Sasaki, due to the complications of the culprit being a doctor of Kisugi’s caliber.

More than that, the bug in Sasaki would be fine doing whatever Nagi wanted, including piling the blame on him. Nagi, meanwhile, still feels like she messed everything up in the case. But she learned a lot from it too, and that wisdom gained will serve her as she keeps fighting. Not to mention “Boogiepop”, as they introduce themselves to Nagi, will be there to help when needed.

Back on the ruined world, which we learn isn’t the Earth of Nagi or Touka but some kind of “distorted world”, Boogiepop wrap up their story to Echoes, as the two contemplate the causality starting with Kuroda saving Nagi, all the way to Echoes and Manticore showing up on Earth.

Echoes muses that Nagi continues to fight because she’s “carrying on the feelings of those she encounters.” That’s one way you could describe an investigator, or a superhero, or both, which is what Nagi is. As Echoes takes his leave, Boogiepop commits themselves to leaving the distorted world and returning to Earth.

Because even if Boogiepop doesn’t know precisely how or why they pop up, they understand intrinsically that it is right for them to do so; that it’s beneficial to humanity and thus necessary to continue. Even Boogiepop has a bug.

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Boogiepop wa Warawanai – 12 – Those For Whom The World Is Not Ready

One day, Nagi’s father Seiichi is approached by a girl who can tell he’s going to die soon. He already knows this. He only set out to be an author whose works people would read, but for reasons he could never explain, his writing ended up doing much more.

It inspired and emboldened an entire underclass of those with “abilities” who were shunned by the rest of the world. But people were reading, so he kept writing, even when it might attract the wrong attention. Even if it put him in the crosshairs of those who wanted to keep those people down. And yes, even if it deprived Kirima Nagi of a father.

So, the girl says, if Seiichi dies, the movement dies with him, a failure. To this he rebuts: what is failure? Not to get all Star Warsy, but Yoda would say it’s the greatest teacher. Seiichi is comfortable dying because he did everything he could with the time he had, and trusts that those who come after him will learn from it, carry on, and improve bit by bit.

They could be his enemy or just a passerby, but they are still capable of adopting and surpassing what he began. No one should be so arrogant to think they are the beginning or ending of anything. And the girl Seiichi is speaking to? A young Minahoshi Suiko, the future Imaginator.

Shortly after their exchange, Seiichi is assassinated by the same Towa operative who killed Scarecrow: Sasaki. Seiichi begs him not to kill Nagi too, and he doesn’t…but Nagi still walks in on her father in a pool of blood, his last words to her asking what she thinks “normal” is.

Fast forward to middle school Nagi’s time. Pigeon gives Sasaki his next mission: find the person committing all the grisly murders and eliminate them if necessary. Pige thinks he’ll have an easy go of it, being a “murderer” himself.

Sasaki conducts his own investigation, only to find he’s being carefully observed by Kirima Nagi, daughter of the man he killed a few years ago. Mind you, Nagi doesn’t know he killed him, and can see how he would blend into the background with his salaryman appearance. But she can tell he has an knack for investigations, and suggests they join forces…all while Kisugi watches from a distance.

Nagi and Sasaki manage to snag a friend of one of the victims, who assures them the victim had no lingering grudges or enemies. But she also mentions that her friend was fearless, in particular compared to herself. Sasaki likens the description to Nagi, but she says even she’s sacred of some things; this victim apparently wasn’t.

Nagi recalls her talk with Kisugi, and asks “why does fear exist?”, the same thing someone told the victim’s friend before she met Nagi and Sasaki. Nagi connects the dots, and promptly drops Sasaki as both a partner and a suspect—he doesn’t kill of his own accord, only for his job. He’s not the dyed-in-the-wool killer Nagi is looking for.

Now, I imagine, she suspects Kisugi most of all, which is exactly what Kisugi wants, and why she left her that clue: so she’d to come to her. After all, Kisugi believes Nagi’s fear will be better than any she’s ever tasted.

TenSura – 03 – Making Goblinville Great

Rimuru’s time as an OP Slime continues to go quite well. After healing all the goblins injured from wolf attacks with the potions within him, he gets the others to build fences and prepare defenses. When the direwolf pack arrives with a full head of steam, Rimuru is ready for them with “Steel Thread.” When their leader fights through it he gets caught in “Sticky Thread”, and Rimuru beheads him with Water Blade, then uses Predator to absorb his abilities. Mimicking a direwolf, he gets the rest of the pack to yield. Victory!

With both a village of goblins and a pack of direwolves at his command, Rimuru learns that none of them have names. He begins to name them all, starting with the goblins, unaware that “naming” a monster as low-level as a goblin takes up magicules. Soon he’s depleted, and must enter Sleep Mode for three days. When he awakens, to his surprise both the male and female goblins have evolved into larger, stronger, more human (read:sexier) forms, a direct effect of naming them.

While he was only able to name one Direwolf before passing out, because they function as a single unit, they all evolved along with their new leader, Ranga, whose tendency to eagerly whip his tail into a whirlwind is never not amusing. With everyone bigger and better, Rimuru lays down three rules: Don’t attack humans, don’t fight amongst one other, and don’t belittle other races.

He also learns that they’re not that great at building shelter or making clothes, and so on the now-swole elder Rigurd’s advice, he decides to take a delegation of goblins and wolves and journey to the Dwarven city of Dwargon, where he’ll find builders and tailors with which to trade.

Upon leaving the cave I’m sure Rimuru didn’t think he’d be in the position he is now, or with the responsibilities with which he finds himself. However, he also seems to be enjoying himself and the unexpected effecrts of his actions. And if he’s also doing a pretty good job, why stop now?

Planet With – 02 – Dearth of Enthusiasm

As the “Citizens’ Safety Center Special Defense Division: Grand Paladin” deals with the aftermath of losing one of their seven fighters to the enemy (which is called “Nebula”), Souya doesn’t so much as get real meat as a reward for his victory.

He lashes out at both Ginko and Sensei and skips school, then encounters Torai, the guy he just beat last night. Now lacking Photon Armor, he’s on investigation duty, but his memories of meeting Souya are fuzzy, so it’s a cordial exchange. Then another, even weirder UFO arrives.

Sensei clarifies that while he and Ginko are with Nebula, they’re with the pacifist faction that only wants to relieve humanity of the power the Photon Armor, which they’re using Souya to do (the “Sealing” faction wants to take it a step forward and actually keep humanity from ever evolving to a point where they develop such power).

Inaba Miu, the youngest member of Grand Paladin, is the star of the show, defeating the UFO after getting stuck in an illusion involving her and her friend and comrade Harumi in a judo match. But shortly after winning, Miu and Harumi are confronted by Souya and Sensei, and a 2-on-1 fight ensues.

Once Souya gets the hang of operating his “Sensei Armor”, he manages to defeat Miu and snatch away her power, but gets greedy and wants to go after Harumi too, against Sensei and Ginko’s order to withdraw. As a result, the rest of Grand Paladin show up and surround them. Could the gig be up just 2/7ths of the way into their mission?

Planet With episode two has the same shortcomings as the first: a whiny protagonist; loose-sketch supporting characters; goofy-looking anonymous UFOs. The CGI fights come with some decent SFX but are otherwise fairly standard 2018 fare. But with no strong characters or ideas to get enthusiastic about, the show feels very color-by-number so far.

Shoujo Shuumatsu Ryokou – 12 (Fin)

Aboard the derelict sub, the girls find a clean boat, chocolate…and a kind of patchwork history of everybody and everything that came before them, thanks to the camera auto-syncing with the monitors on the bridge. In addition to all the pictures they took, and those Hanakawa took before them, the camera is a veritable cornucopia of visual (and audiovisual) information.

The content ranges from simple images of life and death, to the reports of a school robotic research club, to news reports of a worsening geopolitical situation that leads to large-scale war and genocide. On the whole, though, Chito and Yuuri feel less lonely, now that they were able to watch how others lived.

Suddenly processing more information than they ever had before proves exhausting for the girls, who fall asleep under the consoles and dream of their escape from their town.

When Chito wakes, she’s too late to do anything about Yuuri getting swallowed up by a giant version of Cut. Chito suspects Cut might’ve been some kind of lure used by the bigger ones, but Cut’s body language suggests that’s not the case.

Chito runs through the submarine, desperate to find her one and only companion, and eventually emerges from the conning tower to find the Big Cut isn’t interested in eating living humans, and spits Yuuri out. It then transforms to reveal it’s a kind of semi-sentient mushroom.

The mushroom has a mix of good and bad news…though I guess it’s mostly bad for humanity. They are systematically ridding the earth of toxins leftover from the human population after it destroyed itself with war. Yuuri and Chito are the last two humans left, by the mushrooms’ reckoning.

All machinery will shut down around them, and after they’ve passed away, the world will enter a period of rest and inactivity, as the mushrooms hibernate. With that all said, mushrooms emerge from the nuclear missile tubes of the sub and they all ascend into the sky, likely to start “cleaning” the higher levels.

There’s not much for Chito and Yuuri to do but continue on their tour, with the goal of reaching the highest level. Even with their companion/pet Cut gone off with its brethren, Chito and Yuuri aren’t lonely, nor do they care if the world ends, because they have one another.

As with so much relating to this show, it’s simultaneously a deeply bittersweet ending, conveying the lesson to not be troubled by things life you can’t control (like the ending of the world) and take comfort in those you can—like who you choose to spend your days with.

Shoujo Shuumatsu Ryokou – 11

In “CULTURE”, as Yuu feeds the “cut” bullets of increasing size, the girls roll into an armory, but Chito is far less interested in the tanks than a book lying on the ground. Titled “War and Human Civilization”, it’s written in English, which means even Chito can’t read it, calling them “letters from an old, far-off place.”

Considering the state of civilization in this show, that would seem to be something of an understatement. We build taller and taller buildings; Saudi Arabia is building one that will be 1km tall when finished. But we’re a long way from stacking cities on top of other cities like so many pizza boxes.

The book and its language, like the elaborate giant whirligig, are elements of human culture that should be preserved and understood if lessons are going to be learned by future generations.

It’s all well and good to feed an animal bullets, but to possess a book about how and why that animal can eat bullets—or detect where radio waves are originating—is even better.

Lessons of being mortally injured by falling objects or stray bullets led to the development of helmets, and in “DESTRUCTION” Chito gets and object lesson on why they still wear them even though there’s no one else around: their environment can be extremely hazardous at the drop of a hat…or bolt.

That bolt is the vanguard of a hail of shards of metal and machinery, as a gargantuan robot that could be a flesh-less warrior from the Seven Days of Fire plummets into a heap. The girls explore, and the cut shapes its body into a key of sorts to activate the robot. Yuu activates the first lever she sees, and a cruise missile is launched and detonates a few thousand feet away.

She presses another button, and the robot emits a laser beam that causes even greater destruction and widespread fires just off in the distance. Yuu starts laughing uncontrollably, saying it’s “fun”, but Chito gives her a closed-fist punch, telling her that nothing about this is funny. Yuu apologizes.

If they didn’t before, a first-hand demonstration of the destructive capabilities of civilization helps the girls to understand a little better why so much of the world is abandoned and in tatters. And yet there’s stuff all over the city and its environs that is still on, long after humans disappeared.

In “THE PAST”, Using their new pet as a guide, Chito and Yuri traverse a forest of windmills in, and come across a nuclear submarine. Again the animal creates a key out of its body, granting them access. The submarine may be beached, but it’s in working order, to the girls’ amazement.

It’s nuclear reactor seems to still be generating power (though I worry about radiation), while the girls traverse another forest within the sub on foot: a forest of what look like ICBMs.

Shoujo Shuumatsu Ryokou – 10

This week, the girls find a train, a radio signal, and a furry companion. As usual, they are absolutely dwarfed just by the vertical scale of the train, to say nothing of its length. Judging by the number of “robot corpses” strewn across its interior, it seems the design had to accommodate robots far bigger than humans.

After Yuuri experiences the boredom of waiting for the train to reach the destination, she and Chito do what I do when possible—head to the front. Yuuri points out that they’re going faster than usual because they’re moving on a moving train. It starts a fun discussion about the rotation of the earth and relative speed.

If there’s a commonality to these little talks it’s that it reveals both that Chito is very bright and just doesn’t have all the words needed to describe the scientific principles she understands, and Yuuri, while perhaps less bright, nonetheless comes to some perceptive conclusions of her own, despite having even less vocabulary than Chito.

At the end of the line they alight from the train and continue through another vast expanse of infrastructure. For a moment, Yuuri picks up something on the radio: what sounded like a sad song.

They look for a way to ascend to where the waves will be stronger, and happen to stop right on an ascending platform…only it either needs maintenance or wasn’t meant to convey humans and kettenkrads, because it moves extremely fast and stops on a dime.

That leads to a great bit of physical comedy as the girls and rig keep moving even when the platform stops; naturally, Yuuri lands on her feet. They’re met at the top by an eerily red sunset and a much clearer and more consistent transmission of the song, which is indeed sad, albeit very beautiful and moving in general, especially combined with the sad sunset.

I especially liked when the graininess of the radio feed gave way to a clear, crisp performance of the song. I just wished they could’ve tuned the radio to something more upbeat; they could’ve used some cheer after that last song.

When they come upon a massive hole—with another massive hole in the level above—Yuuri wonders if it was caused by the battle all the broken weaponry around them was used for. Chito surmises the hole predates the weapons, and that the hole was more recently merely a venue for a later battle. In any case, the image of a tank being repurposed as a fountain by nature and gravity is a sight to behold, especially when Yuuri literally soaks her head.

In what looks like a rocket tube, Yuuri finds a strange creature that neither she nor Chito can quite place, and so settle on “cat.” While they don’t mention it themselves, it very much also resembles those tall white idols they’ve encountered here and there. When the animal makes noise, the radio seems to translate it, even though the animal only seems to be repeating the girls with slight variation.

While the end of the train line and the sunset provided suitable ending points for the first and second vignettes, the third looks poised to continue, as the “cat” follows the girls, who decide to keep it with them for now. As Chito puts it, they’re always throwing things away or using them up, it’s nice to add something for a change.

Shoujo Shuumatsu Ryokou – 09

In a change of pace both neat and foreboding, Girls’ Last Tour ditches its usual cute OP in favor of giving us a couple more minutes of “Life.” Chito and Yuuri enter another vast, city-sized facility, and while they assume they’re the only ones Alive for miles around, the facility is still “alive” with a lowecase “a” due to the lights, fans, pumps, and other various machines still working, even after the civilization that built them fell.

They also find a fellow “living thing” in a single, solitary fish, the last fish in a facility that probably churned them out in the billions in its prime. That single fish is kept alive by the one maintenance robot still functioning, much like the robot in Castle in the Sky, many of its not-so-lucky robot colleagues were not so lucky. Last tank, last fish, last maintenance robot voiced by Kamiya Hiroshi (I think?), and two of the last girls…it’s like a last convention, complete with pool facilities.

Free spirit Yuuri is all too comfortable skinny dipping, but Chito keeps her skivvies on in the presence of the robot, even though his “empathy” is just sophisticated software. But being in the presence of such complex electronic and mechanical systems that still function have Chito and Yuuri constantly wondering what “life” really is. That’s driven home by an effective fast-paced montage of all of the various patterns of sound that emulate the functions of organic life forms.

The fact that evolution bred from rebirth and change is required for life is also explored, with the only other robot at the facility being responsible for constructing or deconstructing parts of the facility as its programming dictates. When that includes the aquarium where the last fish lives, Yuuri spearheads an effort to stop the giant ‘bot.

While there was an early running joke of Yuuri constantly saying they should just eat the damn fish, she gradually develops empathy for it, to the point she’s pulling some Mission Impossible-type shit to strap explosives to the giant robot, bringing it down.

In doing so, Yuuri may have saved the fish and its attendant for now, but without the giant robot the facility will no longer change or evolve. The last robot will cease functioning, the last fish will die, and one by one the last functioning systems in the facility will shut down, in time. And since everything is the last of its kind, that will be all she wrote; no more “life.”

It’s a stirringly bittersweet close, as Yuuri and Chito themselves serve as “mutations” in a system that looked poised to self-destruct anyway (when the giant robot destroyed the fish’s home) before continuing their tour. They mostly agree that “life” means something that has an end…which this episode does with a classic credit roll with a haunting new piece of music.

Houseki no Kuni – 09

In the winter days and weeks since the loss of Antarcticite, Phosphophyllite has been busy. As the snow and ice starts to melt, heralding the start of spring, we get a very cool slow-build reveal of the individual Phos has become: serious, dutiful, efficient; calm, cool, and deadly. Sounds kinda like Antarc, doesn’t it?

The time jump to Spring wasn’t a surprise, so much as the intense change in Phos, and I have to say, I like it. Even Kurosawa Tomoyo’s lower, sterner voice emulates Mariya Ise’s Antarc’s tone and cadence. There remains a measure of the old Phos’ spunk and rawness (Kongou catches Phos at the end of a successful Lunarian battle) but overall, Phos has become a polished and capable member of the group—and the only one with a alloy membrane that can take any form.

Phos kind of had to, after Antarc was lost; but more than necessity, it is how Phos honors Antarc’s memory; no more slacking off or complaining. Phos also keeps a small shard of Antarc’s remains, and has vivid hallucinations of Antarc resurrecting from the wooden bowl, only to shatter and force Phos to relive Antarc’s final moments. It’s a full-blown case of Gem-PTSD, and Phos can’t forgive herself…or sleep. She also cries gold tears, which is both sad and very cool.

When the other Gems wake up (and are issued Summer uniforms), they’re initially shocked at the change in Phos, then scared of Phos’ alloy membrane, then fascinated to the point of surrounding and demanding that Phos perform a variety of tricks, or be poked and prodded every which way. Phos creates a nifty galloy decoy to thrown them off, but they’re pretty relentless.

Before all of the events that made Phos the way they are took place, Phos was often derided as being dead weight and a source of stress and extra work for everyone. Now Phos has never been more popular (in a good way rather than bad). The thing is, it’s the old Phos who would have loved such adulation; New Phos doesn’t quite know how to deal.

I imagine part of that is Phos long-term isolation, which aligns Phos more closely with someone like Cinnabar. Phos briefly forgets who Cinnabar is, but when the two meet during a patrol, Cinnabar is as cold and aloof as ever, clearly trying not to dignify the changes Phos has gone through with a reaction.

While Phos can now perform all manner of dazzling parlour tricks (but no longer has any intention of performing them for amusement) Phos doesn’t seem to mind demonstrating to Amethyst twins how much has been learned during the solo training and learning from Antarc and Kongou.

Phos is truly a force to be reckoned with, and has absolutely no trouble throttling another Lunarian attack, to the twins’ amazement and elation. But not every Gem is impressed. Bort cannot believe this is the same Phos who used to cause so much trouble and contribute so little, to the point of suspicion. I imagine a test of Pho’s combat abilities is in the offing.

Houseki no Kuni – 08

I raise my hands in defeat! I mean my hands are probably rising up right now out of the sea in defeat.

Antarcticite isn’t willing to immediately accept that Phos’ arms are lost, but instead braves the frozen depths (and the colliding ice boulders therein) in search of them, to no avail. Upon reporting to Kongou, Antarcticite takes full responsibility, citing inexperience in working in a pair, but Kongou blames his own lack of caution.

He has Antarc and Phos travel to the Chord Shore, where all Gems are “born”, to find material for new arms. There, they witness something akin to such a birth, albeit far less advanced and complete. The reddish crystals simply fall into the snow, lifeless and inert.

The beach is littered with gold and platinum deposits—deemed worthless by Antarc for their high weight and malleability. Still, there’s nothing else around, so Phos is fitted with temporary gold arms in the absence of more suitable material. The results are initially…not promising:

Um… I’m kind of getting engulfed. Wouldn’t you say I’m being engulfed?

Worse still, the clouds part and Lunarians appear both over the Chord Shore and surround headquarters, keeping Kongou from racing to the Gems’ aid.

In an all-but-no-win scenario, Antarcticite shows true grit and valor, using the saw as a snowboard and taking out as many Lunarians as possible before they unveil yet another new tactic: fishing tackle and hooks that entangle Antarc. Only a burst of nearly self-shattering strength severs the connection, but the Lunarians still don’t disperse.

Antarc manages to yank their stolen hand free and cause the Lunarians to disperse, but not without nearly shattering as well. Though extremely fragile, Antarc attempts to break Phos out of the gold prison, but another Lunarian arrow reduces Antarc to a cloud of crystal shards. Before being carried off, Antarc orders Phos to remain silent, buying Phos time.

Phos…doesn’t remain silent, instead managing to find a way to control the new gold “arms”—a term that doesn’t really do the new shapeshifting appendage(s) justice—and attempt a desperate counterattack to retrieve Antarc’s fragments.

Phos pushes the absolute limit the gold’s ability, acting both as a means of propelling their body into the sky, absorbing or blocking projectiles, and grabbing and throwing Antarc’s sword. Also pushed to new dizzying highs – the increasingly intricate CGI, put to good use. The shimmering, “gooey” liquid gold presents a stunning contrast to the brittle frozen backdrop.

It’s a valiant effort, but ultimately futile, as the Lunarians retreat too quickly for Phos’ attacks to reach them. Phos ends up badly cracked and plummeting to the ground, but is caught by Kongou, who arrived too late to save Antarc. Still, were it not for Antarc, Phos would be gone too.

Phos acknowledges that sacrifice while lamenting Antarc’s loss, and is likely now possessed of a new iron determination to master their new golden “inclusions”, to prevent (or at least make it more difficult) for the Lunarians to capture another beloved comrade and friend.

As the end credits roll over a somber view of Antarcticite’s now-abandoned quarters (with a lovely new song sung by Phos’ seiyu), I’m devastated by Antarc’s sudden loss, despite not knowing they existed just two episodes ago. Antarc made a huge impact on the world of Houseki no Kuni, performed momentous deeds and fought for Phos till the bitter end, and in this writer’s opinion, left us far too soon.

Kekkai Sensen & Beyond – 06

After sustaining a head injury when Zapp punts him into a bad guy, Leo has the same dream he always has: Michella sacrificing her sight and legs for his sake while he stands around doing nothing. We’re reminded of the prime reason Leo is in Hellsalem’s Lot: to cure her.

He shows Dr. Estevez his eyes, but neither she nor Director Grana have ever heard of a case of them being removed. It’s not a medical procedure; more a termination of a contract, which won’t come without considerable cost. Leo laments that he feels as powerless to save Michella as he was the day he arrived. Klaus told him there’s always light, but he can’t see it.

Then the magic, intensity, and downright insanity of simply living in the HSL, not to mention being affiliated with Libra, eventually restokes his hope of saving his sister, thus becoming the “turtle knight” who protects the princess in Michella’s drawings.

How specifically does he get inspired? A lockout!

While Steven is hacking computer systems to stop criminals from bringing down earthshaking beings who rain destruction upon the city, an old foe believed to have been incarcerated surfaces, and all of Libra goes out to deal with it, when only Steven was needed.

Only Anila remains at Libra HQ, and a single crane fly who had infiltrated the interior soon turns into a massive swarm, and one of them evolves into a humanoid of increasing intelligence and power. He sets Defcon 2, turning Libra into an impregnable fortress, with the bulk of Libra’s members trapped outside.

Klaus calls Yurian, a Ghostbuster-looking “locksmith” to override the lockout, but it will be slow going. Meanwhile, the team can’t prevent Chain, entering HQ in her usual way, from getting blasted by the building’s defense systems.

She’s fine, and even caught a glance at the bugs, whose leader becomes more and more sophisticated in speech as he talks to Klaus over the phone, basically saying he’s borrowing HQ until he becomes a god.

The delay of Bugman’s evolution could spell the end of the city, as a particularly large Earthshaker begins to descend, adding far greater stakes to the emergency than simply being locked out of a house when the oven was left on.

However, Klaus doesn’t panic; he turns to his training and his ability, has Yurian open the tiniest of holes in the defense system, and climbs the tower with blood pitons, using Leo’s eyes to discern when to avoid the security grid. Demonstrating he’s not quite ready for godhood, the Bugman idiotically goes outside to see what’s up and gets blood-lanced.

Steve tracks down the hackers controlling the Earthshaker and take them out before it touches the ground, saving tens of thousands. And thus, having watched Klaus not giving up while riding on his back, Leo resolves not to despair or give up on saving Michella. After all, you never know what this city will throw at you.

One Punch Man – 03

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As episode three plunges into a detailed backstory for Professor Genus of the House of Evolution, I was wondering “Hey, what’s with all the lame long-winded narration?”—only for Saitama to interrupt the narrator (the cyborg gorilla) and state the exact same thing, followed by Genos telling the gorilla to keep it to “20 words or less.” Nicely played, OPM—I learned about Genus and laughed.

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Anywho, as there’s a big sale at the supermarket tomorrow, Saitama wants to take care of Genus and the HoE ASAP, so he and Genos race to the site, throwing Genus and his many clones into a panic. They have every reason to be concerned, as when they arrive at the HoE’s front door, Genos incinerates the entire above-ground structure, along with the mountain it’s attached to, as a time-saving measure for his sale-hungry boss. Still, Saitama is a bit miffed; it’s not nice to not at least hear the villain out!

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Well below ground, Genus is still kicking, and unleashes his trump card, a highly violent, psychopathic superhuman experimentation gone wrong, Carnage Kabuto. Still, he’s the strongest weapon Genus has, and thus his best bet against the intruders. That strength is demonstrated when CK turns Genos into, as Saitama calls it, “modern art.” But as usual, Saitama doesn’t panic, or even flinch at the sight of his suddenly abstracted apprentice.

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Wanting more room to play, CK invites Saitama to a colossal white training room, a perfect pure, empty canvas against which to make marvelous artwork with their fists. But eager to prove himself, Genos rushes in first, blasting Kabuto with everything he’s got…and getting nothing but a cracked-up face and frightening afro for his trouble. Yet when Genos is out for the count and CK turns on Saitama, he squares up a devastating punch and…scurries into the corner like a frightened bug (indeed, his body resembles a Hercules Beetle).

Why? Well, Genus didn’t just make CK strong, but intelligent as well, and some instinct within him is shouting stay away from Saitama, which is actually a very good idea. It also makes CK ask how he got so damn strong, a question both Genos and Professor Genus also want to know. But they all come away deeply unsatified, since all Saitama can tell them is what he did: undergo a rigorous but not altogether ridiculous training regimen for three years, losing his hair in the process.

I like how the art style becomes more dramatic and intense as he talks not of some kind of super drug or divine encounter, but mere sit-ups, push-ups, squats, runs, and going without mod cons.

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Now not so sure he trusts his instincts, CK goes into “Carnage” mode, powering up into a grotesque, rippling purple and green hulk, brimming with confidence. But it’s CK’s big boasting mouth that gets him in fatal trouble. He says he’ll be in carnage mode for a whole week, and won’t stop his murderous rampage until next Saturday. Saitama takes that to mean today is Saturday, the day of the sale, and he’s missing it!

What’s wonderful about this revelation is how much it’s built up as some kind of fatal mistake Saitama made that relates to his powerful opponent in some way. And CK in Carnage Mode certainly looks like someone who might be able to take a punch. But no, he’s taken out in one punch just like all the others; a punch Saitama really puts his heart into, since he’s so frustrated about missing the sale, though Genos later tells him if they hurry back home they can still make it.

With CK’s demise, decades of Genus’ research goes up in smoke, prompting the professor to consider ending his work on evolution and instead start a personal training regimen. Great stuff.

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PSYCHO-PASS 2 – 11 (Fin)

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I appreciated that the last episode of Psycho-Pass, possibly ever, featured more Akane kicking ass and taking names – in a metaphorical sense, and less over-the-top than some previous episodes where she was a bit too Bruce Willis-y. Here, she uses her clear coefficient as an effective shield in the face-off with both Togane Sakuya and Kamui, arresting the former and accompanying the latter to Sybil’s core.

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Still, a number of troubling adjectives surfaced while watching this episode; adjectives like ‘neat’, ‘tidy’, ‘convenient’…even ‘hasty’. Nothing you particularly want in an episode of Psycho-Pass…especially a finale. And yet it was probably inevitable, with a ton of material set up and just eleven episodes to resolve it.

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Of course, one could spin those adjectives to something more positive: this was a breathless, efficient finale; not a minute was spared, and no one can say it didn’t Get Things Done. Not too far into the episode, Chief Kasei is lethally eliminated by a Dominator, something that would be utterly unthinkable in the show’s first season.

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Yes, there’s a rather convenient subterranean shortcut from the subway lines where Akane and Kamui were to the bowels of the MWPSB HQ where Sybil lives. But who cares? This is where they were going to end up one way or another. And when Kamui points his Dominator at Sybil itself, Sybil basically surrenders, eliminating a good deal of the brains that make it up in order to clear its coefficient. This is odd, considering I thought they were criminally asymptomatic, but I guess conditions changed that.

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This is very much an Akane/Kamui episode. There’s a fair amount of Togane in it, but after he’s unable to turn Akane black, he kinda just makes ridiculous faces, which makes me wonder why he was such a big deal in the first place. Clearly he didn’t know who he was messing with. And then there’s Mika, who listened to him and obeyed him…she’s not feeling to great about that now, even if she has no love for Akane.

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After Sybil made immediate changes to its composition, Akane has designs to arrest Kamui, but Togane crashes the party to make one last attempt to ‘darken’ Akane, rubbing in the fact that he killed Akane’s frail grandmother. For a second there I thought Akane’s coefficient was going to rise to enforcable levels, but Kamui is there to calm her, and even if he wasn’t, Akane has a firm enough grasp of the law, justice, and society to overcome any personal demons. She’s just awesome that way.

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Togane shoots Kamui (though we don’t see him explode) and vice-versa, with Akane in the middle. A wounded Togane creeps away and eventually bleeds out, with Mika standing over him. All of a sudden, we’re fresh out of bad guys. All the threats kinda just flew by without that much of a struggle.

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When Akane meets up with Ginoza and her other colleagues there’s another moment when we’re not sure if she’s in trouble or not, but her coefficient remains as clear as ever, and Sybil saw fit to reinstate her just a short time after Sakuya’s mom rescinded her inspector status. Another Kasei cyborg replaces the old one, and warns Akane that they’re on a dangerous new road. Akane assures her – them – that even if that road leads to hell, she’ll walk it with them regardless.

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So it’s Akane’s victory: she neutralized Kamui, but also used him to make Sybil evolve. A ‘collective’ psycho-pass is something the system will now consider for implementation henceforth. Existential threats to society have been averted. And Inspector Tsunemori Akane will continue to not-smoke cigarettes and live a happy and virtuous live as one of the people who protect society, rather than the other way ’round.

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