Darling in the FranXX – 03

All of the ten parasites of Plantation 13 grew up together as “hatchlings”, and they all gravitated towards 016, Hiro, who gave all of them names, including 015/Ichigo.

They all had high hopes for him leading them, but it didn’t happen. After their catastrophic mock battle, the interaction between Ichigo and Hiro is understandably awkward.

Gorou has always understood and accepted how close Ichigo is to Hiro; they’re both in the -teen numbers, which basically makes them brother and sister. But nothing is more important to Hiro than being useful, which means if he can only pilot with Zero Two, so be it.

Of course, that’s not his call, or Two’s. As the undermining of Ichigo’s authority as leader proceeds apace, led by Mitsuru, who thinks it’s time to cut their losses on the now-pathetic Hiro, Two watches Hiro feverishly train, and falls asleep waiting for him to finish.

She embraces him so he can get through a security wall, and Two shows him the glittering inner city, not because she thinks it’s beautiful or romantic, but because it’s ugly, boring, and depressing. She can’t stand it in there, with no sky and no sea.

She’s thinking about getting away, and wouldn’t mind her Darling coming with her. She laughs it off as a joke, but one must wonder…

The active parasites, meanwhile, are assigned their first sortie against a klaxosaur, but things immediately go wrong. Ikuno cannot connect with Mitsuru (and the hubristic Mitsuru blames her without mercy), and the one klaxosaur turns into a lot more, and Miku gets knocked out, leaving just two FranXXs to deal with the threat. They may have passed trials Hiro could not, but they’re still green-as-hell rookies.

When things turn dire, Zero Two demands to sortie, with her Darling Hiro. The adults adhere to the rules and won’t allow it, as Hiro is not an official parasite. Mitsuru offers an alternative: he’ll be Zero Two’s Stamen. Two asks Hiro if he’s sure he wants her to pilot Strelizia without him; Hiro definitely isn’t happy about it, but insists nevertheless; it’s more important to save the others.

When Ichigo hears Strelizia is sortieing, she loses composure just long enough to allow the Klaxosaurs to break through a barrier and surround them, making the situation a lot worse.

Knowing Hiro might be in there with Zero, kissing, is just too much to bear, and even if she knows she must if she wants to be a parasite and a leader, she can’t control those feelings or how they affect operation of Delphinium.

Strelizia swoops in, and when the other parasites hear Mitsuru’s voice, they’re shocked. Mitsuruimmediately becomes drunk on power, further dragging his partner Ikuno’s name in the mud expressing his amazement at himself and his elation he wasn’t the reason things weren’t working out.

However, when Strelizia returns after Zero Two went “all out”, Mitsuru is barely alive, and Zero Two is unimpressed. As far as she’s concerned, she only has one Darling, and it’s Hiro.

Darling in the FranXX running into problems and having to deal with periods of helplessness or instances of failure, but I do hope Hiro is able to prove himself once again and isn’t useless or a failure. Otherwise, he’s a reverse Gary Stu; an Anti-Inaho.

Some more balance would be nice. It’s confirmed by the adults that no one has fared better than him as Zero Two’s partner. So lets get these two back in a pilot so they can contribute. I’d just like to see a win soon, however small.

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Koi wa Ameagari no You ni – 03

Quite disappointed the words she worked so hard to say to Kondou didn’t give her the response she wanted, Akira becomes so preoccupied by Kondou and her feelings for him she seems to float above everything else with little interest.

She reconsiders asking her classmates for advice, and we kinda see them through her eyes. She knows how they’d respond if she mentions someone she likes, and especially if she tells them his age. So she doesn’t bother. When two track kohais lure her back to the track to watch and offer tips, it feels like a gross imposition, and an insensitive one at that.

Upon watching one set a new personal record, she regrets having been lured. When she goes, the girls consider going to her restaurant, she snaps: “DON’T!” That place is her world. Hers…and the manager’s.

As if mimicking Akira’s darkened mood, the heavens open up and a steady rain falls. Akira has no umbrella or coat, so she get soaked. She doesn’t care; she’s too lost in thought.

This rain reminds her of the day she injured her ankle, having felt something but simply taped it up and practiced in the rain anyway. We see everything from the injury, the doctor visit, and the isolation she felt upon being knocked out of action…and it’s frikkin’ heartbreaking!

Mind you, all of that ends with her getting a free cup of joe from Kondou and BOOM, it’s gone from the rain to…After the Rain. Great title, that. When she arrives at the restaurant in the present, soaked head to toe, she meets Kondou there, having a smoke.

He beckons to her to get inside, but she isn’t there for a shift. She’s there to repeat her words, and phrase it so there’s no mistake: I like you. Then she leaves. Kondou, bless him, gets the message, and it causes him to space out at a green light. Was Akira’s confession just a dream; a mirage in the rain?

After it rattles around his aged cranium, Kondou determines that it is not a dream, but a prank Akira and the other young staff members are pulling on him, because there’s no way she’d seriously be into him. He’s SO SURE of that he curses himself for almost falling for the prank!

But as he’s an adult, he doesn’t make a big deal of it. Kids will be kids, and sometimes kids are awful, both to each other and to their elders. He shrugs it off, though not because he isn’t irritated. Those punks!

Akira’s behavior upon returning to work seems to back up his theory, at least for a time. But when her casual talk immediately turns to I’ve told you how I feel; what’s your response, all hope that this was something “shrug-off-able” disintegrates.

Kondou is very careful with how he proceeds. He offers Akira a ride home, since it’s still wet out and she’s still recovering from her ankle tweak. He’s direct about his response: he can’t give her a proper one, because he’s 45 and she’s 17.

Akira immediately disputes the relevance of their age gap, and when Kondou persists, she repeats her confession so loudly and strongly he puts the car in a skid. This isn’t something he can shoo away with what he thought was common sense and social conventions. She’s resolute!

Sensing both of them could use some air (and that continuing to operate a motor vehicle could be hazardous at the moment), the two go to a park. Kondou follows a respectable distance behind Akira, who surely wishes he’d walk beside her. They come to a tree where there’s shelter from the stray raindrops that linger.

He asks her why she likes him, of all people. We already know she has plenty of reasons, and isn’t just interested in him because he “saved” her when she was at her lowest—when the proverbial rain was at its harshest. She’s come to like him even more since getting to know him more. He’s hard-working, honest, kind, fair, and a good father.

And he makes her laugh; indeed, when he insists she reconsider, as he’s a 45-year-old boy with no hopes or dreams, that right there makes her smile and laugh in a way he’d never seen, because she’s hearing him talk in a way she’s never heard him talk before.

Akira doesn’t care that he’s 45, or that she’s 17, or how low an opinion he may have of himself, and she doesn’t list any of the reasons I mentioned above. Instead, she questions the very notion of liking someone requiring a reason at all. And she’s right; you can cherry-pick whatever reasons you happen to brainstorm when explaining why you like or love someone.

But the reality is perhaps closer to Akira’s particular philosophy at this time: that love is ultimately a mystery. You may never know for sure why you feel it for someone; but you can never let that lack of answers frustrate or discourage you.

Being pursued in this way is a strange feeling for Kondou, and a nostalgic one, since it’s been decades since he’s felt it. But he has felt it, so he knows what it’s like better than most. He remembers being Akira’s age, and for a second, we see him like that.

When Kondou jokingly challenges Akira to go on a date him, and find out just how short a time it would take until she finds it creepy, Akira takes it to mean We’re going on a date? We’re going on a date! Kondou dare not correct her, at least not then and there. So, at least for now, on a date they shall go.

Darling in the FranXX – 02

Last week was pretty much Hiro, his rough break-up with Naomi, meeting Zero Two, and taking care of the crisis. This week things slow down a bit as we’re introduced to the rest of the squad where Hiro once again has a home. That includes the squad leader Ichigo, very well-voiced by Ichinose Kana in her first role (and sounding a bit like another, more famous Kana).

Ichigo clearly harbors feelings for Hiro of which he’s clearly unaware, and so she sees Zero Two as an interloper. Setting aside the fact that she swooped in and snatched Hiro practically the moment Naomi peaced out, Ichigo doesn’t want to see him get hurt, and Zero Two seems like the type who will hurt. She barges into the squad’s chow and pours honey over everything like a weirdo.

Hiro is the eleventh of a squad of ten, but Zero Two isn’t the twelfth; her fate is unknown, leaving Hiro with no official partner or FranXX. Ichigo is the unquestioned elite squad leader, but one can tell the redhead Miku maintains a quiet envy for her stature (as demonstrated in the classic locker room scene with fanservice and plug-suit fitting).

Ichigo and Miku are “pistils”, and their “stamens” are the studious Gorou and wild Zorome. Gorou is very friendly with Hiro (and not threatened by Ichigo’s affection for him) and seems like a nice guy, but Zorome is your classic heel/rival character who will likely keep berating and running Hiro down until Hiro does something (not counting last week).

Rounding out the group are the pistil-stamen pairs of Kokoro/Futoshi (the lovey-doveyest) and Ikuno/Mitsuru. When the pairs enter their colorful, distinctive FranXXs, we see that the actual pistil-stamen interface is a little…suggestive, with the girl on all fours while the guy stands behind and “drives.”

Basically, the girl is an interface between the guy and the FranXX; without total synchonicity between partners, the FranXX won’t work properly. Adding to the suggestiveness is the fact that interfacing is very physically taxing and sometimes painful, so that while operating a FranXX, everyone’s breathing heavily and occasionally making weird noises.

After their first official sortie as parasites, the pairs stand down. Zero Two continues to loiter around, invoking the ire of Ichigo, who isn’t afraid to warn Zero to stay away from Hiro. Though Ichigo might wish she hadn’t, as Zero Two gives her a taste. Out in the yard, Zorome wallops Hiro with a football, and the two get into each others faces, forcing Ichigo and Gorou to be the adults in this messed-up family and restore peace.

The thing is, Hiro can understand why Zorome is so dubious of his ability: Hiro himself doesn’t actually remember what happened after entering that cockpit being kissed by Zero Two. He only remembers the feeling, and he wants to get back to it so he can prove to Zorome, Ichigo, the others, and most importantly himself that he can pilot a FranXX.

Well, Hiro promptly gets his Shot, though perhaps not quite under the circumstances he’d hoped for. The brass (led by the mysterious “Papa”) okays a FranXX mock battle to test Hiro, but Zero Two isn’t allowed to partner with him this time.

Even before that was made clear, Ichigo volunteers to partner with him, hoping she can bring out the pilot in Hiro as much as her pink-haired nemesis. Zorome volunteers to be the opponent, and eager for an opportunity to prove her worth against Ichigo, Miku agrees as well.

The second Ichigo got her wish, I knew things were not going to go well, but things start out just fine, with Hiro and Ichigo reaching 100% sync rate and activating her FranXX Delphinium, without any trouble. And then, not ten seconds into the battle, it shuts down again.

Inside the cockpit, Ichigo is on all fours, sweating and heavily breathing as she and Hiro unleash a flurry of double entendres that, taken out of context, sound like dialogue from Girls, a show renowned for its awkward sex scenes:

Ichigo: What’s wrong?
Hiro: I don’t know. It just stopped.
Ichigo: Was it my fault?
Hiro: I don’t think so.
Ichigo: What did she do differently?
Hiro: I don’t know. I don’t remember.
Ichigo: Calm down. No need to rush.

Whew. Suffice it to say, as much as she may like Hiro and want to stick it to Zero Two, Ichigo and Hiro simply aren’t a good match in a FranXX.

When Hiro remembers that Zero Two kissed him and everything went “BOOM”, and Ichigo climbs onto Hiro and kisses him as well, it felt as much like a last-ditch effort to get things moving again as Ichigo not wanting Zero Two to have something she doesn’t with Hiro, i.e. a kiss.

That her kiss does absolutely nothing for Hiro only makes things worse. I can’t help but sympathize with both of them; things are not going well at all.

When Zorome starts kicking Delphinium while its down (with Miki and their FranXX Argentea), Ichigo remembers they’re in a fight, and decides to bypass a defeated, powerless, inert Hiro and pilot the FranXX by herself, a very risky maneuver that takes a lot out of her.

The mock battle ends with Hiro having hit a new low, with all hope of ever piloting anything again in grave jeopardy, with Ichigo feeling embarrassed, ashamed, and very much taken down a notch, and Zorome emboldened. Last week was Hiro’s bad breakup and fleeting fling with Z2; this week Ichigo attempted to reassert her bond with Hiro and it went horribly, horribly wrong.

The failure she endured in front of her squad is the kind of thing that might have far-reaching impact on her confidence at precisely the wrong time in her development as one of the defenders of humanity.  Here’s hoping things start to look up for both of them, both personally and professionally.

Darling in the FranXX – 01 (First Impressions)

Hiro and Zero Two first cross paths when her enormous transport arrives at Plantation 13. They each look in each others’ general direction, but they’re very far apart, and there’s a lot of loud noise and bright lights. Zero Two yearns for the ocean, but there is none on P13. So when she breaks free of her minders she finds the nearest thing to an ocean: a lake.

Hiro comes upon that lake, where Zero Two is already bathing naked. When she goes underwater too long for comfort, Hiro runs out to save her, but she’s not drowning, she’s fishing. She has no reaction to Hiro seeing her naked, and she notes that his taste makes her “heart race,” but says so very clinically.

Hiro is alone at the moment, and as FranXX needs two people—male and female—to pilot it, he is also powerless. But Zero Two, called the “partner killer”, is also alone, because so many partners can’t handle being paired with her, and because of her horns and her weird behavior.

It’s definitely a unique and “educational” encounter for Hiro, but before he knows it, Zero Two’s minders have showed up to collect her, and right after she offered to make him her next partner, her present partner is among the minders, burly but still in pretty tough shape.

Now Hiro and Zero Two have had two encounters: one from a afar and one much more intimate. After they part, life aboard Plantation 13 proceeds apace, with the welcoming ceremony for all of the “Parasites” (copilots) for FranXX being held in a great hall as adults watch (all Parasites are minors).

Hiro isn’t a part of the ceremony, because he, AKA 016, and his former partner Naomi, AKA 703, failed their FranXX tests. Now deprived of the only purpose they’ve ever known, the two share one last chat before Naomi departs for her new, apparently pointless life. It feels for all the world like a tough breakup, tinged with sci-fi trappings.

It’s likely at some point Hiro would have boarded one of those yellow spherical vehicles as well, but before he can, Plantation 13 is attacked by a “klaxosaur”, a ferocious biomechanical beasie that wrecks the entire elaborate platform Hiro is standing on.

Eventually a FranXX appears in the form of a four-legged beast, far outsized by the klaxosaur but every bit as vicious in its counterattack. This is where Trigger’s patented wreckage-strewn chaotic action scenes begins, which continues all the way to the episode’s end.

When the klaxosaur fires its main weapon, the FranXX crashes right beside where Hiro is watching. A bleeding Zero Two emerges, bleeding but still in the game, but her partner is out for the count. She’s fully ready to go out there and pilot the FranXX alone to fend off the ‘saur, unafraid of death, but Hiro won’t let her go alone, and he isn’t, like doing anything else, so he tearfully declares he’s coming with her.

Zero Two is pleased, and the tears and look in Hiro’s eyes again makes her heart race. She pulls Hiro into the cockpit and plants a big ol’ smooth on him, activating the FranXX (named Strelizia) and revealing its true humanoid form and Gurren Lagann-esque face. We see no more of the two parasites, but merely watch Strelizia make quick work of the wounded klaxosaur.

When the newly-minted parasites, those who passed all the tests, approach Strelizia after the battle, and Zero Two emerges carrying a passed-out but otherwise-okay Hiro, they’re shocked. Hiro, more than anything else, is revealed that someone came along to make his life meaningful again, while Zero Two seems happy to have found a true “Darling” for her FranXX.

This was a strong start to a show that may not have a whole lot of original big ideas, but excelled in design, details, execution, and that good old Trigger style. Hiro may be a generic guy, but Zero Two’s got a neat design and Tomatsu Haruka’s husky voice is well-paired. I like what I see so far.

Shoujo Shuumatsu Ryokou – 06

The girls are in a spot: a gear has snapped clean in two, stopping the Kettenkrad, and their “last tour” in its tracks. If they can’t get it going, their chances of survival plummet. Chito can’t get it going, and Yuuri won’t help (probably aware there’s little she can do). She just cheerfully sings a little song with one lyric: “hopeless, hopeless.”

Then Yuuri spots an airplane flying in the sky, and Chito spots a woman in a white coat running after it. Hope has arrived, in the person of Ishii, who has taken up residence in an old underground aircraft hangar.

Ishii is a quietly kind yet no-nonsense person. She knows she can’t live in the base forever, so she’s using the plans she’s found to design and build an airplane to fly to the next city (the plane seen in they sky was a prototype).

More than a base, the hangar appears to be some kind of repository of aeronautical history, and just as Chito and Yuuri may be the last two people operating a Kettenkrad, Ishii is possibly the last aeronautical engineer and aviator left.

The girls help Ishii compete construction of her plane, and in exchange, she provides them with food, shelter, a bath (aaaaahhhh) and the part and repairs needed to get their ‘Krad going again, thus probably saving both their lives.

The day of the flight comes, and there’s a sense of finality and longing for the status quo that’s about to be blown to bits by the winds of progress. It won’t stay warm and calm for long; Ishii has to launch now. And she’s glad she has human witnesses for what could be the last manned flight.

After all, it’s only history if someone besides the one making it saw and documented the event. The takeoff sequence is appropriately epic in its portrayal, as is the awe in the girls’ eyes as they watch Ishii achieve flight.

For a few magnificent moments, the plane soars majestically over one of the widest and clearest views of the city we’ve yet seen; loaded with enough fuel to fly 2,000km, more than enough to reach the nearest city, just visible from Ishii’s giant telescope.

But a few moments is all the plane gets; it breaks up in midair, the pieces pathetically plummeting to the ground far, far below. Chito collapses in reaction, but Yuuri spots Ishii in a parachute, slowly descending. She’s okay, but she failed.

Still, Ishii feels a great sense of relief, to the fact she even smiles, which Yuuri interprets as her finally “embracing the hopelessness” all humans in this wrecked world must embrace in order to keep going. She falls and falls and falls, perhaps to the lowest level, but there’s every reason to believe she’ll survive.

As for Chito and Yuuri, they load up on as many ration potatoes they can find and set off in their repaired Kettenkrad, bound for still higher levels of the city. They, like Ishii and Kanazawa, are also a part of history…likely the tail end of it. When they, and whatever other scattering of remaining humans, have passed on, there will be nobody and nothing left but the ruins.

Or maybe, just maybe, there’s hope somewhere out there, waiting to be found. And maybe Yuuri wants to be proved wrong.

Inuyashiki – 04

Inuyashiki’s fourth episode opens with a ruthless, towering yakuza boss ordering his men to dispose of the naked body of an overdosed woman on his bed, then making another yakuza perform oral sex on him as a form of submission. So…not a good guy.

Then things switch gears completely to the diminutive but lovely Fumino and her boyfriend Satoru, who love each other deeply and agree to get married and have kids. As nice as all that is, I immediately suspected this was either a flashback, and Fumino was that body, or she’s the yakuza boss’ next victim.

The latter turns out to be the case, as Fumino is suddenly abducted while walking home, and wakes up naked on the boss’ bed. He immediately gets on top of her, telling her he’ll “make her his”, but Fumino fights back, getting away and even managing to slash the brute’s wrist with his own katana. While his men tend to his wound she slips out.

She manages to get all the way back to Satoru’s worried-sick arms, but it’s not long before the boss, named Samejima, and his henchmen break into their apartment. Satoru begs for his and Fumino’s lives, promising to pay any price, no matter what it takes, but his pleas fall on deaf ears, and Samejima picks him up by the throat and starts to choke him out.

Enter the Hero, Ichirou, who no doubt heard what has been transpiring and will not have it. After sending the henchmen flying, he puts Samejima in a bear hug, but “shuts down” when a clip is emptied in his head. When he wakes up, it’s just him and a nearly-dead Satoru.

When his magic body won’t heal him, Ichirou uses CPR to revive him, and then uses Satoru’s phone to locate Samejima, who is enjoying a meeting with other yakuza bosses at a luxurious inn.

While his initial encounter with Samejima was not fruitful, Ichirou has clearly gotten the hang of flying and forcing his way through crowds. When Samejima takes him aside, Ichirou does what he should have done the first time: sock the guy in the face.

The other yakuza respond by emptying clip after clip into Ichirou with automatic weapons, but it only stuns him. He activates his flight mode, targets everyone in the inn, and takes out all of their eyes with a fusillade of particle beams.

It’s wholesale justice; Ichirou laying down the law, and before leaving, Ichirou makes sure he properly verbalizes what he’s done: deprived all of them of the means to walk, eat, see their children’s and grandchildren’s faces, touch them ever again…or even take their own lives.

Rather than execute them, he hopes they’ll live long lives, in such a state that he hopes they one day feel remorse for the horrible things they’ve done. I for one am not that optimistic, but at least they’ll won’t hurt anyone—including his family—ever again. The cycle of dead bodies on beds has been stopped; at least with this clan. Obviously, there are many others.

After contacting those watching her with Samejima’s phone, Ichirou locates Fumino, apparently heals her of the harm done by the drugs, and flies her back to her love, Satoru.

I’ll point out that Satoru is nothing special in the looks or money department—indeed, he’s very much a young Ichirou—but love, like that yakuza scum, is blind. Satoru and Fumino have good and gentle souls, and I was bowled over with relief and joy to see them reunite.

Ichirou slinks off into the night, claiming he’s “nobody special”, but in reality, he was this couple’s savior. It’s good to see him getting better at this hero thing, especially not getting overwhelmed by the sheer amount of evil in the world and the impossibility of stamping it all out. That doesn’t mean you shouldn’t do as much as you can, and he will.

And so, Inuyashiki continues its M.O. of putting its audience through hell before showing them a glimpse of heaven. Whether it was the intro of Ichirou as a feeble sadsack or the stunningly awful but thankfully temporary twist in Fumino’s fate, the show has no qualms about putting characters and viewers alike through the ringer, but rewards us for sticking around by delivering breathtakingly righteous justice to evildoers.

Only Shishigami Hiro has escaped retribution…so far. But the strongest yakuza boss in the world is a cakewalk compared to Hiro. If Ichirou can’t defeat him and he can’t defeat Ichirou, they’ll have to figure…something else out.

Shingeki no Bahamut: Virgin Soul – 04

Like Genesis, Virgin Soul is about two opposing sides who aren’t willing to compromise in the slightest, thus requiring a third party, impartial or not, to negotiate and avoid disaster. Only this time, the cooler prevailing heads are super-outnumbered, or in Nina’s case, is too much of a wild card herself to enact any change. When Nina hears what the king is doing to innocent demons, she makes a beaten-down Azazel hug her so she can turn into a dragon and put a scare into Charioce.

Instead, all she does is make the king stand in awe of her power, meaning he probably wouldn’t mind using her as a tool in his fight against gods and demons. Nina is, as Azazel says, like a  little Bahamut, which means as chaotic as she can be, she’s far more controllable than the titular beast. She causes plenty of property damage, but she’s in no danger of bringing down the world.

After Azazel’s ill-conceived standoff and Nina’s attack, things slow down considerably, as both are carted away by Rita in Bacchus’ wagon. It’s as good a time as any for Nina to let Azazel (and us) in on who and what exactly she is and how she got to be this way. Unlike other half-dragon children, she wasn’t able to transform easily.

Only when her heart raced from a cute guy does she transform, and then, exposively so. She treats it as a curse and a burden, which it most certainly is from her perspective, as she can’t even remember what she does while a dragon. That kind of loss of control probably isn’t that pleasant, to say the least.

After a half-hearted attempt to seduce Nina (by telling him if she can’t control herself, she should make love to him and let him try), he disappears, leaving Mugaro in Rita and Nina’s care.

Charioce, not totally believing Kaisar’s version of his relationship to Azazel, lets him live regardless since our favorite prettyboy saved the king’s life. Another familiar face is then introduced in the imprisoned Jeanne d’Arc, who won’t join Charioce’s crusade, and may just be the mother of Mugaro.

Then we learn where Azazel went off to: to find the headquarters of the organized demon army that’s itching to go to war with the humans. Azazel is only too happy to lead them in battle.

While there was more exposition and piece-moving than previous episodes, there was still the usual things to like about this Bahamut, not the least of which Nina turning into a dragon again, and her great reactions before and after she does (and her seiyu Morohoshi Sumire is knocking it out of the park). We’ll see if the cooler heads can make any progress with the extremists next week.

Shingeki no Bahamut: Virgin Soul – 03

Three weeks in, Nina continues to be the season’s MVP, as she lights up the screen with her ebullience. Hamsa puts the freeloader to good use taking the money of men who hope to best her in an arm wrestling match.

While this is going on, Bacchus is approached by the angel Sofiel, brought to Anatae on a mission from Gabriel herself to retrieve the boy we know as Mugaro. If Bacchus can find him, he’ll be welcomed back to Heaven.

Nina’s winning streak nearly ends when a handsome, reluctant young man wearing a hood gives her a run for her money. Still, she’s a dragon, and so summons the necessary reserves of strength to defeat him, going a little too far in the process

But when she lifts her blindfold, the look of him nearly has her transforming, and she has to flee into the carriage.

That night we get a lovely suppertime scene with Nina, Rita, Rocky, Hamsa and Bacchus enjoying a huge meal. Well, Nina enjoys most of it, proving that a body with her strength and speed requires a formidable amount of food to maintain. I don’t think I’ve ever been more entertained by the animation of Nina polishing off an ear of corn.

Nobody at the table is surprised by her ravenous appetite, but when she tells them a bit more of her story, she lets slip the name of her ‘bounty-hunting teacher’ who gave her her bracer: Favaro. Everyone’s reaction to this is priceless. I was surprised too, but it makes sense.

I also liked how when Rita said someone in Anatae knew Favaro better than her, Nina first suspects an old lover, only for that ‘old lover’, Kaisar, to come running towards them, looking desperately for Azazel.

Desperately, because King Charioce, frustrated that neither Orleans nor Onyx succeeded in nabbing the Rag Demon, has decided the next step is to put on a huge show of military force in the city square and start indescriminately torturing and slaughtering demons in order to lure the Rag Demon to them.

Kaisar isn’t at all okay with continuing to brutalize demons or gods, since he considers them friends (whether they do or not). But there’s little he can do; he’s already on thin ice with Charioce, along with one of the younger fellow knights.

As for the king’s plan, it works swimmingly: Azazel makes a dramatic entrance, perched above a tower. A battle is inevitable, but who will be involved? Nina and Kaisar are racing to the scene, and Mugaro looks poised to assist again if Azazel is on the ropes (which he probably will be, as he’s far from 100%).

And if Mugaro uses his power, there’s no doubt it will draw Sofiel to his location. Lots of different interests look ready to interweave. It ought to be quite a battle, as one would expect of Rage of Bahamut.

Shingeki no Bahamut: Virgin Soul – 02

How did Nina end up safely in Rita’s lab? ¯\_(ツ)_/¯. Not that I care; pairing the listless, sardonic Rita with the hyper, naive Nina is a great move. Rita’s assistant Rocky was fun too. But like last week, this episode of Virgin Soul ably juxtaposes moments of levity, comfort, and optimism with scenes of unspeakable horror, destruction, and dread.

First, the levity, comfort, and optimism: Nina is still crashing at Bacchus’ carriage with Hamsa, and in her letters to her mom back home we see she’s from a Dragon Village full of dragons in human form who transform into dragons when upset—or in Nina’s case, gets too excited over an attractive man. And there are a lot of those in Anatae.

Yet she insists to her mother that she’s just fine, and having a blast in bustling capital. The montage that accompanies her letter doesn’t seem to suggest otherwise; everyone she interacts with on a daily basis in the city seems to love Nina, and so they should.

Then the Rag Demon, AKA Azazel had to go rain on Nina’s parade, confronting her and demanding she join his cause as a kindred demon. Nina doesn’t know what he’s talking about, and in any case can’t actually look at his face too long lest she turn into a dragon, so it makes for a very interestingly staged discussion.

Azazel has little patience for Nina’s coyness and confusion, so he takes her to the hind end of the city, scattered with suffering, starving demons. Ever since Good ol’ King Charioce sacked the Demon capital Cocytus, the demons have been brought to the human world and sold into slavery.

Azzy is perhaps too zealous too soon (he fully deserves the flying arm punch Rita sends his way to rescue Nina), but I’m glad he puts a crack in Nina’s pristine view of her city life. She didn’t know anything about this horrible stuff because she never looked.

I’m not sure how likely Nina is going to suddenly join Azzy’s cause, which would require her to do the thing she least wants to do: be a dragon. But he provides her vital food for thought, and more importantly, she’s no longer completely oblivious to the very real and very unfortunate situation demons find themselves in.

Kaisar somehow ending up at the manor of some particularly awful aristocrats (who like to do all manner of awful things to demons they presumably buy) seems a bit convenient, like Nina ending up at Rita’s lab safe and sound, but again, I don’t mind. Kaisar and his Orleans Knights were dismissed from Rag Demon hunting after they failed Charioce for the last time. Maybe he was reassigned to security detail?

In any case, he walks in on Azazel killing the humans, and begs him to stop, because revenge will only lead to more hate, etc., etc. Even when Azazel tells him to actually take a second to look around at the despicable doings of the men he’s killing, Kaisar is firm in wanting to stop the killing first and foremost.

Azazel basically warns him to stay out of his way: he’s a human, after all, and humans are Azazel’s enemy. He hates them, and that hatred is as pure and deep as Kaisar’s chivalry.

Little does Kaisar know the king ordered him followed and watched, which leads to Azazel’s location being ascertained by the Onyx Soldiers who replaced the Orleans Knights in the hunt. It’s not a dragon rampage, but Azzy’s battle with the Onyx soldiers is another good one. When his ranged attacks fail against the soldiers’ armor, he goes with straight-up brute strength, delivering brutal blows and stabbing out eyes.

But the Onyx soldiers have the abilities appropriated/borrowed/stolen from the Gods, and they use those powers to bind Azazel. He’s saved by his mute companion Mugaro, a former slave himself, using a power that makes him seem like more of an angel than a demon, and sporting blue-and-red eyes in the process. When Onyx reports back about the kid with the powers, Charioce is intrigued. He believes he knows who Mugaro is.

Another strong, fantastic looking episode, sporting the show’s OP (another stylish, badass, metal affair) and ED (a super-cute 16-bit sidescroller featuring Nina and her entourage). Virgin Soul continues to be top-notch entertainment, with its new star Nina all but stealing the show. Honestly, if it keeps up at this clip, I won’t even mind if Favaro only shows up at the very end, Luke Skywalker-in-The Force Awakens-style.

Clockwork Planet – 01 (First Impressions)

One of the downsides of choosing what anime to watch, in part, by their promotional art, is that just as a mechanical clock will one day fail, sometimes a piece of art will let you down. Clockwork Planet is evidence of this. The promo art didn’t look that bad at all, but the show’s a dud.

Just to give a quick recap: In a post-apocalyptic world built almost entirely of gears (?) Miura Naoto is a fairly wimpy tinkerer who dreams of becoming a proper clocksmith. Just when he wishes out loud that automata would rain down upon him, one does, a state-of-the-art model named RyuZU. Naoto shows what he’s got by repairing her.

Then RyuZU becomes Naoto’s trusty servant, in a very silly ceremony in which she sucks on his finger (though it’s an efficient way to collect genetic material with which to imprint).

Later, they check into a love motel because his house was destroyed when she dropped in. Naoto can’t help but see RyuZU as a pretty girl and not a mere automaton, because, well, she looks like a pretty girl.

Meanwhile, Marie Breguet, who is some kind of scientific-commercial big shot despite being (or at least appearing to be) very young, laments the loss of an automaton (RyuZU), clashes with the military, and finds out that said military is going to purge the Kyoto Grid, sending 20 million people to their deaths. She also sleeps in the buff…because…

I needn’t go on. World made of gears? Casual military mass murder? Characters who look like little kids? A very low-budge and unattractive production? I believe I’ll pass.

Kono Bijutsubu ni wa Mondai ga Aru! – 01 (First Impressions)

The Gist: Usami Mizuki has a crush on fellow art club member Subaru but he’s obsessed with creating the perfect 2D waifu. The club has a lazy president and also a girl who never shows up… except she’s actually always there, just observing everyone silently from the art locker.

Usami draws fruit. Subaru draws waifus. Usami experiences several cliched ‘unrequited love’ scenes with Subaru, who’s indifference to her feelings is almost funny. Almost. Usami occasionally becomes well animated and violent. Not much else happens.

There is no reason you would enjoy KBnwMgA. It vaguely resembles Nozaki-kun, but with less likable characters and weaker comedic timing. The music is classic disney background filler — up beat but mindless.

There’s no sense of time and space either because we only experience these characters ‘after school’ save for one flashback to when Usami and Subaru met at the beginning of the year. Usami even has an emotional ‘crying that Subaru is leaving the club’ moment at the end of the episode… but we’ve had so little time with these characters, and she has so little reason to even like Subaru (he’s a jackass) that the scene is rendered emotionally pointless.

example of an odd choice: the girl in the locker (above) is not revealed to the cast during the episode. This means we never get a ‘joke’ about her being in there…

The Verdict: You’ve seen everything here done better before. The resulting show makes you anxious for something interesting to happen and irritated when nothing but cliches do happen.

Somehow the humor doesn’t break through the monotenous music and minotenous love story and, without humor, there is no real point. It isn’t terrible but it is so utterly without personality I found it very hard to watch and for that reason, I can’t even give it an average score. (there’s not even a genre you may like that could justify setting aside time to give it a pity watch)

Prison School – 07

It’s been interesting to watch the deterioration of Kiyoshi and Shingo’s relationship over the last seven weeks, but to Prison School’s credit, Shingo is not always just the bad guy. Or at least, there’s more to him than simply his feud with Kiyoshi, as nicely demonstrated this week when he’s released into the wild by Meiko. He meets the bold, lovely Anzu in an arcade, who says she’ll take him on anytime; in video games, but also, perhaps, more than that.

Among the inmates who aren’t Kiyoshi, Shingo is definitely the most “normal”, and there’s nothing normal about being in prison school for two months, so it stands to reason he’d do anything even for fleeting instances of freedom and normal life. Meiko knows that, and milks him for all he’s worth. When Shingo presents the missing sword from Gakuto’s figurine (which no one else knows about except Kiyoshi), which he found on the bathroom floor, Meiko does some googling and snooping and not only finds the figuring in the bathroom closet, but deduces it must be Gakuto’s—or “Dirty Four-Eyes.”

For his quite accidental informing, Shingo gets another few hours on the outside, and his flirtation with Anzu continues, from her playing video games over his shoulder to sharing their ice cream cones to her offering to take him to go see The Grapes of Wrath. The two have nice chemistry, and feel very natural and normal together. While I wouldn’t want this to be the whole show, it is nice to see Prison School successfully playing the romantic slice-of-life straight, without any ecchi mayhem.

Of course, it almost seems to make up for that normalcy by having Mari and Meiko unveil their suspicions about Gakuto in the strangest, meanest, wrongest way possible, offering one snack kernel for each inmate, but putting the missing sword in Gakuto’s hand and testing his reaction.

When he doesn’t bite (even when she places the figuring in her cleavage),  she mounts the horse it came with, threatening to crush it with her ample frame. Gakuto scoops it from beneath her, but before Mari can finish her judgment, he smashes it against the ground all by himself, declaring he’s not into those kinds of things.

Just like that, Gakuto’s seven years of life go up in tiny shards of plastic. But he did it so he wouldn’t waste his entire life putting trinkets ahead of his hard-won friendships. He also apologizes for shunning Kiyoshi. I daresay it’s one of the most honorable moments from Gakuto not involving soiling himself.

As for Meiko, her little scheme backfired, and Shingo blurts out where the sword Mari touched came from (the boy’s bathroom), causing Mari to faint from shock, then to shun a Meiko who desperately wants to be whipped, in a very clever ecchi Twister game of tea time.

Mari’s punishment for Meiko is to wear a skirt and shirt that cover her breasts and panties, but which prove so unbearably restrictive, Meiko almost faints in the hallway. Chiyo is there to help her, and by hanging around the council office, she’s able to learn for the first time about her sister’s DTO operation, which she surely takes exception to, as she’s one, like Anzu, who don’t mind boys at the school.

Mari’s “final phase” of the plan to expel the boys, seems to involve Andre, who they know is a masochist who keeps a “slave diary” (with some very nice illustrations in it, I must add!), but also notable this week is that all the inmates other than Shingo have now forgiven Kiyoshi, and also forgive Gakuto after he smashed his figurine.

Now it’s not Kiyoshi on an island, but Shingo. Would he still be so eager to continue help Meiko if he knew it was in service of getting the boys—including him—expelled? Certainly, being able to hang out with Anzu certainly makes it easier, but if he’s expelled, they won’t go to the same school anymore. Quite the quandary.

Attack on Titan – 23

This week starts out pretty quietly, as we look into Annie Leonhart’s life as a military policeman. The unit she belongs to is full of people who don’t care and led by a commander who’d rather play cards with the buds than lead, delegating the scout regiment escort duties to Marlo, someone with a strong sense of justice who has come to root out the corruption of the police.

Inside Wall Sina, soldiers clearly don’t have much to do, and idle hands are the devil’s playthings. Yet when actually faced with corruption occurring before his eyes, and Marlo gingerly points out the crimes his superiors are committing, they try bribing him, then beat the crap out of him when he persists.

Annie stays the hand of one of the superiors, while Hitch smooths everything over. But more importantly, Annie gives Marlo a second chance to prove he means what he says about punishing those who break the law. Marlo can kill those corrupt officers, but he doesn’t. Marlo, Annie concludes, is no Eren: full of bluster, but actually willing to follow through.

When the scout regiment convoy arrives, Annie’s unit commences escort duties, but she’s drawn into an alley by a familiar voice: Armin’s. He’s just able to convince her to help sneak Eren out of custody of the selfish, ignorant bigwigs. It isn’t long before Armin and Annie have met up with Eren and Mikasa, and the three lead Annie to the entrance to a subterranean tunnel they’ll use to escape Wall Sina. Only…Annie doesn’t want to go in there, neither confirming or denying a fear of small, enclosed spaces.

But it isn’t long until all pretense falls away, and Annie realizes this was all a trap to capture her. Armin knew as soon as he saw her, or rather Marco’s gear, that something wasn’t right, and wonders why she didn’t kill him out beyond the wall.

Out of convenient excuses, Annie knows the jig is up, even as Eren implores her to come down with them so they can figure this all out. Finally, Mikasa loses her patience and draws her sword, being the first to come right out and say it: Annie is the Female Titan.

To this, Annie shows a side of herself we’ve never seen, and it’s at once wonderful and incredibly disturbing. Now that she’s been found out, Annie appears ecstatic and flush with excitement, and her voice changes. Granted, lots of villains and villainesses make similar faces and start cackling all the time, but there was something particularly unnerving about Annie doing it. That’s a face that’ll haunt your dreams.

Unfortunately for Eren, Armin, Mikasa, and all the people gathered to arrest her, Annie is wearing a ring with a retractable blade with which she can use to cut and transform herself. They simply aren’t quick enough to stop her. There’s some consolation in the trio heading safe underground, but they have to come back up eventually, and in the meantime Annie will be wreaking havoc at the very core of human civilization.

My only beefs with this development? Well, it was telegraphed pretty early on, so at this point I was just waiting for the other shoe to drop (which had its own tension). But more importantly, Annie just didn’t make that strong of an impression on me early on, and she hadn’t been an important part of the story until she showed up in Titan form, so her betrayal doesn’t nearly cut as deep as the show wants it to.

So, can they stop her? Reason with her? Live another day? Looks like the remaining two episodes of AoT will be spent answering those questions.