Bloom Into You – 07 – Plenty for Right Now

In middle school, a girl confessed to Sayaka. Sayaka thought it was weird, but went with it, and got very much into it, such that when she and the other girl were apart for a long time, her longing only grew. That made it particularly painful when they reunited and the other girl was just, suddenly…done with her. She laughs off what they did to be “what kids do”, and “just a phase.” But Sayaka’s heart was broken that day.

She decided to push the experience to the back of her head, and focus on her studies, enrolling at a co-ed high school where she imagined a boy would fall for and confess to her (or vice versa). But the heartbreak still stung so much she couldn’t quite focus enough to score the top grades of the class. So the role of freshman rep went instead to one Nanami Touko.

Whoever this Nanami was, Sayaka resolved to surpass her. But then she caught a look at her face and heard her voice, and she ended up never surpassing her, and moreover stopped caring about trying to. Despite never wanting to fall for another girl again, Sayaka fell for Touko.

Of course, Sayaka could never admit that to anyone, most of all Touko, because she could tell the burdens Touko bore even without knowing about the tragedy of her older sister. Touko was friendly and kind and approachable to all, but only to a point; she’d keep everyone, including Sayaka, at a certain distane to avoid exposing the old, flawed Nanami Touko she was hiding from everyone with her flawless facade.

Sayaka never thought she was special for detecting that other side, and so never seriously considered crossing that boundary to get closer to Touko, however much she might want to. Touko, in her words, belonged to no one. Rather, Sayaka carved out the role Touko’s right hand; her sidekick; her rock. Thus she could be pretty much closer than anyone else.

Touko is aware of this, and to the episodes credit, it takes time away from Sayaka’s head to spend some in Touko’s. Touko knows Sayaka is aware of “the other Touko,” but never oversteps any boundaries. Sayaka is only ever asking Touko to keep up that perfect version of herself while also supporting her in that effort. That’s the way things have been, that’s the way Sayaka likes it, and that’s the way Sayaka wants things to stay.

But now there’s a threat to that status quo named Koito Yuu. Sayaka didn’t consider Yuu a threat at first, and perhaps she still doesn’t; after all, Yuu hasn’t known Touko as long as she has. But at much as Sayaka prides herself on knowing Touko more than anyone, Touko and Yuu continue a gentle dance that is drawing them closer together. It frustrates Sayaka to no end that Yuu seems willing to so blithely cross the boundaries Sayaka established for herself…but still thinks she’ll fail, due to her “Touko belongs to no one” theory.

Touko’s reactions to calling Yuu “Yuu”—not to mention Yuu calling her “Touko-senpai”—make Yuu want to be more “aggressive;” to see how far she can make Touko go. Maybe, just maybe, if and when she does, Yuu will finally feel something as strongly as Touko does.

Like Sayaka, Yuu always thought it was puerile, weird or somehow not right for girls to like other girls. And it’s true that even in 2018 the LGBTQ community in Japan has it pretty rough, at least relative to other developed countries.

So it’s most gratifying that the show introduces a serious adult same-sex relationship in the form of the Japanese teacher Hakozaki Riko and her girlfriend, who owns the cafe where Touko, Sayaka and Yuu meet with Koyomi on writing the script for the stage play.

Hakozaki-sensei conceals this from her students when they ask how she knows the cafe owner, but like the intimacy of a first-name basis, the way the owner first greets Hakozaki before either of them are aware her students are there betrays the fact she’s hiding the true extent of her relationship. Ever the observer of human behavior, Sayaka also notices it in the way Hakozaki drinks her coffee at the counter.

While the other students are oblivious, Sayaka can tell something’s up, and her “suspicions” are confirmed when we see Hakozaki staying at her girlfriend’s place and kissing each other goodnight. It shouldn’t be such a big deal (again, this is 2018)…but it still feels like one. It’s not just what kids do. It’s not just a phase.

Sayaka’s isolation only intensifies when she hears Touko calling Yuu by her first name like it’s nothing. She stages a passive-aggressive protest, to no avail. Then, the next day, she visits the coffee shop and strikes up a chat with the cafe owner. She asks, as carefully as she dares, what her relationship is to Hakozaki-sensei. The owner states clearly and unequivocally that she’s her girlfriend.

Sayaka wasn’t prepared for such a frank, unambiguous response, but it’s something for which she’s greatly appreciative. It’s also liberating for her, and she opens up about her own feelings for another girl, even after having her heart broken by another (Touko’s name is left out of it, of course). It goes without saying (though Sayaka does mention it), but she really really needed to talk to someone about this, especially with someone who, like her, thought she should keep it a secret when she was younger.

When asked why she doesn’t simply confess, Sayaka lays out the reasons: there’s no room in Touko’s heart to accept the feelings of others; it would only be a source of stress for her; it could disrupt or even ruin what they have now, something Sayaka couldn’t bear. She asks the cafe owner if it’s okay to hide one’s feelings for someone in order to stay by her side…or is that just selfishness or cowardice?

The owner responds by giving Sayaka another coffee on the house…for being such a kind soul. Because that’s what she deems Sayaka to be. Someone who keeps her feelings hidden for the sake of her friend, who carries a lot of stress so their friend won’t have to, is very kind, in her book. Confessing wouldn’t be wrong…but neither is staying the course.

The truth is, Sayaka isn’t ready for things to change one way or another, so staying the course is the right path. Does Yuu get on her nerves? Absol-friggin’-lutely. Could it become more of a problem if Yuu and Touko get ever closer together? Of course. But as Touko makes it clear—almost as if she sensed Sayaka needed some reassuring on that particular day—is that she’s glad Sayaka is a part of her life.

If she weren’t, things would be too easy, and Touko would slack off. Standing in front of Sayaka helps her be the ideal person she strives for (which, as we know, is the person her late sister was). Wherever Yuu falls in the equation in the future, Touko will keep relying on Sayaka, which is, for Sayaka, plenty for right now.

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Bloom Into You – 06 – Flawless Performance

With midterms over, the council is full speed ahead on the cultural festival stage play…although they don’t yet have a scriptwriter. Yuu thinks she knows the perfect one in Koyomi, whose novel was so interesting she read it twice before handing it back with her endorsement.

But Yuu still isn’t 100% in on even having a play, and if circumstances such as having no scriptwriter means there won’t be one, well…better that than having to worry about Touko working too hard.

This is the week Sayaka’s silk gloves come off, as she takes every opportunity to lay into Yuu on stepping the fuck off her turf. Sayaka knows the “real” Touko just as Yuu does, and deems herself the one, only, and best person to look after her.

She also gives Yuu a clue to start digging into why she’s adopted the “perfect” girl persona so far from who she really is. Her sleuthing leads her to learning that seven years ago Touko’s sister Mio was StuCo President, but before the stage play she was killed by a traffic accident.

It’s pretty clear to Yuu now why Touko is so gung-ho about the play, and about continuing to put on a “flawless performance:” since she was ten and badgered by everyone around her to do so, she’s always been committed to being just like her sister. Someone beloved, praised, and relied upon. Even if it’s all an act, she’s not going to stop…not even for Yuu.

What Yuu leaves unsaid when she confronts Touko with what she knows and asks if she’d reconsider not doing the play is that she’s coming close to falling in love with Touko. Not “Perfect” Touko, but “Weak” Touko, who you could also call “Real Touko.”

Yuu wants Touko to be who Yuu deems to be “her true self,” but it’s ultimately not her call, and she knows that. But it pains her to wonder who she’ll ever love if she can’t ever fall for the Touko she’s been dealt; one who detests the very idea of giving up on being like Mio to everyone else.

As her self-proclaimed guardian, Sayaka seems to be fine with the status quo, and doesn’t want Yuu mucking it up. But when Yuu holds back what she should say in order to maintain her comfortable limbo with Touko, it seems like a seed that could grow into something unpleasant.

Add to that the post-credit sequence, which repeats Yuu and Touko’s evening walk while holding hands but switches from Yuu’s to Touko’s head. In Yuu’s head, we can hear her desire to change…specifically into someone who can fall in love with Touko.

But here’s Touko telling her to never change. Why’s that? Touko believes words like love to be “shackles”, and that if Yuu changes she might become someone Touko won’t love anymore, leaving her alone again (clearly, Sayaka doesn’t do much for her).

It’s a reasonable position for a little sister who was essentially treated as a spare by her family and utterly lost in the dazzling glare of her big sister, only for that light to suddenly go out. Touko filled the vacuum by transforming. It wasn’t just obligation; it was fear of loneliness.

Bloom Into You – 05 – Nice to Be Chosen; Nicer to Choose

Yuu likes working at her family’s bookstore, because it lends her some insight into her friends via the kid of literature they purchase. She’s primed to excoriate Touko when she shows up during her shift to buy a raunchy yuri novel, but it turns out she doesn’t know the story takes such a turn until later, and then she’s contrite.

I was mistaken about what Koyomi was working on; it wasn’t a love letter, but a novel, something she took on and didn’t let things like fatigue or looming midterms to keep her from finishing it. She lends it to Yuu to read, but Yuu is focused on midterms first and foremost. She’s also constantly telling herself that Maki is wrong. He must be.

He may claim to see affection for Touko in Yuu’s behavior, but she’d insist she’d worry about anyone she deemed fragile and in need of someone for support—even if it wasn’t Touko. She’d be “happy with anyone,” to which I say, isn’t she assuming a lot, not tomention missing the forest for the trees?

When Maki slickly declines studying with Yuu in the library the moment Touko comes up from behind her, Yuu ends up in a series of study sessions with a senpai with a crush on her, and that crush is only intensifying. The first time, Yuu isn’t sure how to repay Touko for tutoring her, but Touko simply says she did it because she wanted to, and Yuu will “just have get used to it”.

Again, Yuu insists to herself (and us) that she’d be happy studying with anyone; that she didn’t choose Touko. Still, she admits she doesn’t hate being chosen. There’s anyone, and there’s the person in front of you. Yuu may say she’d be fine with anyone, but the fact remains, she’s fine with Touko, and so not opposed at all to “getting used” to being around her.

To that end, when the library is completely full, it is Yuu who invites Touko to her place to study, not t’other way round. Indeed, of the two of them only Yuu is clear-headed (and bold) enough to suggest they continue their studying in private.

This is not, then, a matter of will, only intensity for Yuu. Touko is desperately and adorably nervous alone in Yuu’s room as she prepares tea. She’s delighted to meet Yuu’s mom, older sister Rei, and Rei’s boyfriend (who “jokes” that Touko might be Yuu’s girlfriend). She’s elated to learn more about Yuu, who talks about herself so infrequently at school.

It isn’t until Touko’s longing eyes meet Yuu’s that Yuu asks her if anything’s wrong or if she’s not feeling well or too hot. Reading Touko’s blushing face finally clues Yuu in on what’s going on, and she confirms it by taking Touko’s hand and reading her very quick pulse. Touko is taken aback by Yuu’s boldness, but that boldness is tempered by the fact she’s not acting out of lust, but pure logic.

And that logic is the barrier Yuu must cross. If she “waits for her heart” to tell her she likes Touko, she’ll be waiting forever. She has to move beyond the probability that someone, anyone else could make her happy when there’s already someone right there, and their being there isn’t just a matter of coincidence or convenience. Yuu is overthinking and over-analyzing things. She was alone. Now she’s not. Go with that.

Meanwhile, as she’s leaving Yuu’s house, Touko is a completely, helplessly open book to Rei and boyfriend. Touko is bashful when Rei tells her to “take care” of Yuu; and Touko is way too eager to learn the recipe for the cheesecake Yuu likes so much. That’s why, in addition to the recipe, Rei sends Touko a photo of Yuu sleeping on the floor.

Bloom Into You – 03 – Too Kind, or Just Normal?

This week Yuu stays by Touko’s side at every turn, giving her an indirect kiss-through-bottle-sharing like it’s not biggie and then surprising Touko about her family owning the bookstore she likes. Yuu’s fam is certainly impressed with Touko (and why wouldn’t they be) while Yuu’s older sister Rei seems to cut right to it, perhaps without realizing what she’s doing, by referring to Touko Yuu’s “girlfriend.”

During vacay Yuu hangs out with friends, one of whom the others know is pursuing a senpai. She doesn’t break it to them until after they watch the mushy romance movie that she already confessed but was kinda-sorta rejected, with the guy saying he wants to focus on basketball.

Yuu is both envious and bemused by her friend, but also her other friends’ insistence things will “turn around” if she keeps at it. Speaking of persistence, before Vacay is over Touko makes it a point to stop by Yuu’s to give her a gift…but also, likely, simply to see Yuu at work at the store.

Yuu “guesses” she’s “pretty” happy about being given the gift of a mini-planetarium, but seeing the stars projected on her ceiling call to mind how the distance from her understanding of why Touko likes her sometimes feels as vast as the distance from those stars.

She just might gain a little bit of understanding the day of the stump speeches. Touko looks like a picture of calm…until Yuu notices her hands are shaking. She takes Touko outside, where Touko admits she can’t hide from the likes of Yuu. So she doesn’t: she bares her feelings right there, and also goes into her past, when she was “nothing” (i.e. shy and introverted).

Yuu isn’t shocked by Touko’s sharing. Even if others see Touko as perfect, Yuu knows perfect people don’t exist…but nor does she look down on Touko for not being perfect and trying to hide it. Touko may say she’s “hardly special” for showing her “weak side”, but Yuu thinks having such a side is perfectly normal.

But out there, Yuu realizes she saw a “special” side of Touko, one she wouldn’t show to anyone else. Simply being that person makes Yuu herself special, and not just to Touko, but in general. Her speech doesn’t betray what she’s learned about Touko, but nor does it lie about who Touko the Student Council member is. She really does put the work in, and really is kind, and really would make a good president.

But it also means Touko’s hands will shake sometimes, and she’ll need someone to help her steady them. Yuu lists the boxes Touko checks, but includes her personal take on her, including using the speech to announce that she’s joining the council.

Touko win the election handily, and celebrates with Yuu via a PDA that their classmates don’t read too much into. As for Yuu, she’ll stay close to Touko and see where this goes. Will things “turn around” if she merely “keeps at it”? She’s resolved to find out.

Iroduku: The World in Colors – 02 – A (Little) Star Is Born

Hitomi wants to see Yuito’s vivid drawing again, but he’s preoccupied with the fact she broke into his room. Fair enough; it is a crime, not to mention a hassle for someone who clearly hates hassles. Hitomi has no choice but to tell the truth—it’s the magic’s fault—and hope he believes her.

Fortunately, he does, and accepts her apology without further trouble. Unfortunately, he scoots off before Hitomi can ask about his drawing. In the meantime, Hitomi isn’t sure what to do now that she’s in the future past, so her great-grandparents enroll her at Kohaku’s high school for the time being.

We only see a still image of Kohaku, but I found it exceedingly amusing that the mild-mannered granny of Hitomi’s time was such a wild child menace sixty years in the past, her presence is felt even in her absence, like some kind of Sauron-like supervillain!

Kohaku, with her frequent destructive exploits, has single-handedly given all mages a bad name, so it’s only natural that the students at school would be weary of Hitomi. If only they knew how much she can’t stand magic!

Well, they get a slight demonstration of that contempt when, in front of dozens of witnesses, among them her new acquaintances with the photography club, Hitomi proves she’s a mage by creating a very tiny, dim star that only sparkles for a moment.

And yet, even that poor showing represented the best Hitomi had probably done in months if not years. As a self-styled loather of magic, she never practiced, so whatever natural magical ability may dwell within her, she stinks at it because it’s like a totally unused, atrophied muscle.

Hitomi finds Yuito drawing on the rooftop after school, and offers an apology for causing such a stir. Yuito apologizes right back for forcing her to prove she was a mage when he could have simply trusted her word. Hitomi is surprised by his contriteness, but also uses it to ask to see his drawing one more time, as it’s something “special” to her.

This week I came to identify both Hitomi’s latent magic and Yuito’s private drawings as representing parts of themselves they’re loath to reveal to others, as if they were parts of their hearts or souls. Even though Yuito loves drawing while Hitomi hates magic, both of them would rather not show it to others…right up to the point they met each other.

Now, as one of Yuito’s friends observes later, Hitomi might not find magic to be that bad after all, as she’s practicing her star-making and has clearly already improved markedly from her previous attempt. In her case and in Yuito’s, all about who you show it to, and why.

I’m kinda glad Kohaku didn’t appear for at least one more week; I feel like her blowing in like a storm would have disrupted the delicate initial bonds forming between Hitomi and Yuito, not to mention even more adversely affect her first impression at school. We’ll see how the dynamic shifts when young Kohaku returns.

Tokyo Ghoul:re – 13 – Scattershot

One of the disadvantages of never reading any source material is that sometimes anime come along that are harder to follow than others unless the viewer has a good deal of knowledge about the characters and/or plot. Tokyo Ghoul is one of those anime, and I have to admit, there were times in this somewhat breathless episode that I was simply…lost, and Tokyo Ghoul had no interest in filling me in.

But for all I didn’t quite follow, three major story points were pretty obvious: Eto AKA Takatsuki Sen publically reveals that she’s a ghoul and surrenders to Kaneki Ken, “Sasaki Haise” seems to be gone or at least repressed and replaced by Ken, and the Doves have launched a final assault on Aogiri Tree’s HQ in Tokyo Bay, intending to eliminate them once and for all.

We get a bit of Eto’s backstory as a homeless aspiring author who is “discovered” by Shiono, who eventually becomes her editor. Her latest (and stated final) novel, while ostensibly fiction, indirectly points to the real-life Washuu clan as Ghoul sympathizers.

They, like Eto, her father Yoshimura, Kamishiro Rize (haven’t heard that name in a while) and her very badass father Orca are/were all members of an organization called “V.” However, in the present, Orca is slain by Arima Kishou, while Rize’s whereabouts are unknown.

Furuta Nimura, a Washuu clan member, serves Eto her editor Shiono, whom he turned into pate, which is…not cool? Eto simply quietly stews, as outside Ayato and others prepare another assault on Cochlea. Ken, meanwhile, is poised to release Fueguchi Hinami (who pointedly calls him nii-san).

Eto is willing to help Ken with “what he wants to do” (whatever that is) in exchange for him killing the One-Eyed Owl, meaning…herself? Ah well, I can only blame myself for not being sufficiently well-versed in the source material—even if this was a weird episode for manga readers as well!

Tenrou: Sirius the Jaeger – 12 (Fin) – Bringing the World Together

Fallon manages to land the plane without killing anyone, and Dorothea deals with their vampy stowaway. Willard gains access to the airship’s bridge and brings the ship close enough to the ground so Yuliy can grab hold and board it. Yevgraf immediately becomes drunk with power and spends a lot of time smirking, laughing, and gloating about it.

Indeed, Yev proves just a few minutes into his “merging” with the Ark that he’s only in it for number one. Having gained the knowledge of the Ark, he believes vampires to be a weak and inferior race just like humans, and plans to purge both in his new world.

This naturally comes as a shock to his always enthusiastically loyal underling Tamara. But even more shocking to her is that Yuliy is the one who comes to her rescue against a Yevgraf who has changed a great deal in a very short time…and not for the better. Like myself, she did not see such an alliance coming!

Yuliy isn’t interested in killing vampires for the sake of killing vampires. He made a promise to his father to keep the Ark, and the pride of Sirius alive, and to prove him right about all of the races of the world being able to peacefully coexist. I mean, if the Ark doesn’t have the answers to such a future hidden somewhere within it, what good is it, really?

The Jirov brothers team up to fight this new “deformed final boss” version Yevgraf, who is little more than a monster now; all subtlety regarding his lamenting the end of his kind by some random disease utterly evaporated for the sake of a good-vs.-evil showdown.

Yev can heal super-fast, but eventually the power proves too much even for his body, and the regeneration slows and eventually stops altogether. This leaves him a far more vulnerable target for attacks by both Yuliy and Mikhail, who work together to finish him off.

Not soon thereafter, Misha succumbs to the disease and his wounds, but not before handing Yuliy the Ark he pulled out of Yev’s chest and telling him to keep living, this time with the Ark.

The airship crashes into the sea, and Willard washes up on the shore, but while he’s out, Yuliy reaches out to him, telling his second father he’s found a new way to live: by using the power of the Ark to help the world, as he believes those who bestowed it upon his predecessors intended.

Willard wakes up surrounded by the rest of V Company, Iba and Ryouko. A bit later Ryouko returns home and enrolls in college business classes, hoping to one day walk by Yuliy’s side once again. Willard & Co. receive word of the location of a couple matching Yuliy and Tamara’s description, and are ordered to capture them.

While their superiors now see Yuliy as an adversary to keep in check, nobody in V Company is against what he’s doing, which is why they intend to be the first to find him. When we leave Yuliy, he’s on a train, preparing to meet with vampire elders about reaching some kind of détente.

And that’ll do it for Sirius! I’ll admit it took me a while to get through it, but that wasn’t out of lack of enthusiasm. On the contrary, despite its lukewarm reception in the halls of MAL, I quite enjoyed P.A. Works’ foray into the vampire genre. It tweaked the blueprint with period and steampunk touches and a likable (if not particularly unique or deep) cast of characters.

Tenrou: Sirius the Jaeger – 11 – The Wrong Hands

After leaving the realm where his father resides, the red pool is gone, and the Ark of Sirius is in Yuliy’s hands. It looks a lot like the sphere Willard acquired in Dogville, suggesting one of the two may be a fake or other means of defeating Yevgraf. Yev arrives right on schedule in his airship, and uses his blood pact with Mikhail to force him to retrieve the Ark from his brother.

Major Iba and Ryouko have followed Yuliy and Bishop and meet up just in time for Bishop to take Ryouko hostage and reveal he’s a vampire, something Yuliy already knew. However, the threat is short-lived, as Yuliy tells Bishop he always knew, and also knew that he and Bishop wanted the same thing: to defeat Yevgraf.

Where they differ is that Yuliy wants to keep the Ark around as the new “pride of the Sirius” while Bishop sought to destroy it so the vamps wouldn’t get it. They eventually agree to fight side-by-side towards that goal.

Yuliy and Bishop confront Misha and the twins, respectively, and with Misha basically programmed to attack Yuliy, it isn’t long before there’s a knife in Yuliy’s shoulder and the Ark is in Misha’s hands. As Tamara rushes the Ark to Yev, Bishop grabs Larissa and kills her.

After a struggle, Misha overcomes the blood pact, thanks to the blood of a diseased vampire he drank earlier. But he still doesn’t want Yuliy doing anything foolish; to let him do so would be to betray the promise he made to their mother. Yuliy, however, won’t allow any outcome where the Ark is destroyed or ends up in vampire hands.

Unfortunately, he’s powerless to stop the latter from happening, as Larissa gets the Ark to Yev, who promptly kills Bishop, then dickishly offers his immense gratitude to Yuliy for doing such a great job unsealing the Ark so he could take it. It really is a worst case scenario, as Yev orders his army to attack Yuliy, with Iba and Ryouko also in the crosshairs.

V Shipping comes to the rescue via airplane, and eventually deposit Willard on the airship with the “other Ark” in hand. But both he and Misha would seem to be too late; activated with Yuliy’s blood, he swallows the Ark whole and its power begins to surge within him, turning one eye gold.

Yev’s laughter suggests he’s absorbing an immense amount of information, and as we know, information is power. Will a Mikhail on his last legs and very mortal Willard be enough to delay whatever Yev has planned so Yuliy can arrive, unleash his Sirius powers, and use Ryouko’s katana to defeat the big bad? Only one episode left to find out.

Irozuku Sekai no Ashita kara – 01 (First Impressions) – Modest Magic

That term up top, modest magic, is used by the protagonist Tsukishiro Hitomi to describe her practice of repeating the same thing over and over in her head—in this case, that she’ll be fine alone—until it eventually comes true. It’s a spell, but a very simple one, and yet, it’s done all the time and it often works.

However, it doesn’t seem to be working too well for Hitomi; ever since her best friends in life left town, the color in the world has slowly drained from her sight. Even on a dazzling night of fireworks, she sees everything as a flat, even monochrome.

Classmates invite her to join the festivities, but Hitomi has promised to meet her grandmother Kohaku at a certain spot. There, Kohaku presents her with a device that will enable Hitomi to travel back in time. Why exactly she’s having Hitomi doing this (and why Hitomi doesn’t seem to have a say in the matter) are not explained.

But perhaps, like in Kiki’s Delivery Service, this is just the right time for a mage of Hitomi’s age to do what her granny is having her do; an initiation of sorts. The time travel is depicted as a ride aboard a bus driving through a glittering blue either of countless floating images.

Continuing the whimsical transition, after paying the strange magical creature that’s driving the bus a fare of cookie sticks (or something?) Hitomi alights and falls straight through the ground—which is made of clouds—and lands hard in the bedroom of some random guy (or is it random that she lands there?)

What doesn’t seem to be random is when she is. Her grandmother’s spell was aimed at sending her back to when she herself was in high school, which was about sixty years ago…in other words, our present year 2018. Once there, granny promised, Hitomi would eventually learn why she had to go, ostensibly by learning from her granny’s own high school-age self.

When the guy comes home and enters his room, Hitomi hides under the bed, and when he steps out, she escapes out the window (the mechanical latch for which briefly flummoxes the girl from the voice-activated future). While escaping, a classmate of the boy to which room belongs captures video footage, presuming the boy (whom she identifies as Aoi) was up to no good.

Once she escapes, it’s confirmed: Hitomi has traveled to the past. The glittering, skyscraper-packed skyline of her time has been seriously downsized. It looks a bit different, but it feels the same.

Those same classmates who saw her go out Aoi’s window spot her looking lost and confused, but don’t judge, and happily lead her to her destination: the town magic shop. Whatever the condition of the shop sixty years in the future, in 2018 it’s bustling, with folk young and old availing themselves of the wares.

Hitomi is disappointed to learn that Kohaku, her grandmother, is currently away on a trip to England, with no certain return date. But Kohaku’s grandmother—i.e., Hitomi’s great-great grandmother—is there, and believes both Hitomi’s letter and her story.

She sets Hitomi up in the spare room in the attic of the house, which Hitomi learns is practically brand-new in 2018. She remembers the house and the room as being much older of course, and a cozy, comforting place where she was once read bedtime stories.

There’s a coziness to the show at this point that pervades her interactions with her relatives. It may be a different time, but it’s the same family, and they’re just as warm and kind back then as they are in 2078.

The next morning, Hitomi sets off to initiate a search for her azurite earring. Turns out it’s already been found—by Aoi’s nosy mother, who heard rumors of a girl jumping out his son’s window. She’s not mad at Yuito (Aoi’s first name), but as a single mother would prefer her son’s girlfriend properly left out the front door. The thing is, Yuito has no idea what she’s talking about…and he’s not lying!

Yuito’s house is where Hitomi decides to start, but just as she approaches it he exits, and she decides to follow him instead. Keep in mind, her whole world remains stubbornly monochrome at this point…until she finds him sitting in a park, drawing on a tablet.

His drawing is the first thing in a long time she’s seen in color, and the shapes spill out and dance around, adding vivid color back to the entire world around her. It’s only temporary, however, and once she snaps out of it, Hitomi finds she was dancing and twirling in front of Yuito like a total weirdo, and he asks her who the heck she is.

Thus begins P.A. Works’ latest original series, which proves to be a different kind of modest magic, as many their works tend to be. Irozuku isn’t overly flashy (despite having literal fireworks in its opening moments), but rather so far is a quiet and delicate, yet rich and sumptuous affair. Animation, character design, and soundtrack are all top-notch; even KyoAni-esque.

Personally, the moment she saw color on the tablet caused goosebump-inducing. That was also the moment I was sold on this show. Its solid technical bona fides are there, but Hitomi herself isn’t as immediately charming as, say, Shirahane Yukina (though Ishihara Kaori has the chops to remedy that). In any case, I’m definitely going forward with this.

Tenrou: Sirius the Jaeger – 10 – Sirius Pride

Willard & Co. make good use of their Dogville Detour, locating some kind of magical item that Willard believes Yuliy will find useful once he’s found the Ark of Sirius, which is a Very Big Deal.

As his friends support him from afar, Yuliy and Bishop make quick work of Klarwein’s modified cyborg vampire soldiers. Turns out Yevgraf’s lack of confidence in Klarwein’s plans was justified!

While he may be dressed like a goofy cartoon villain and has a ridiculous (and awesome) airship to boot, Yevgraf is looking more and more like a more complex villain, someone who is backed into the corner.

He’s walking talking proof that maybe it’s better to have never become a immortal vampire than to become one and then, many centuries later, find out that hey, he’s not immortal after all!

Once past Klarwein (which again, wasn’t hard), Yuliy and Bishop enter the cavern where the Ark is believed to be sealed. Where Mikhail’s vampirism kept him from passing the barrier, Yuliy gets through.

There he bears witness to a very thorough flashback of the events that led to his father Alexei leaving one day and never returning. When Mikhail and Yuliy were attacked by a bear, Akasaka (the soldier, presently a hermit, who was seeking the Ark) saved them, and befriended Alexei.

Alexei wanted to reform the ways of his people in order to coexist better with humans like Akasaka, who were proof to him that they weren’t all bad (and hey, they’re not). But he could not escape his blood, which demands that someone of royal blood basically sacrifice their soul and corporeal freedom in order to seal and thus protect the Ark.

It’s heartbreaking to see what a vibrant and prosperous town Dogville was in its heyday, as well as seeing Yuliy and his family all alive and well and together. But it’s perhaps even more heartbreaking to find that his father is still conscious within the Ark itself, basically keeping it sealed with his soul.

Just as his father sought a new way for his people to live—a “new Sirius pride”—his son seeks a way to free his father; a new way to seal the Ark. That way might well be in Willard’s possession.

Alexei isn’t totally against Yuliy doing what he can, but not at the cost of his life, soul, or freedom. Even after everything that’s happened in the world since he was sealed away, he doesn’t see it as a burden; he sees it as vital to keeping the world peace.

The problem is, when it’s time for Yuliy to say goodbye to his father, a great pillar of light erupts from the once dark red pool in the chamber, alerting Yev and the twins in the airship that Yuliy has finally arrived there and done what he’d hoped he’d do. Yuliy’s intentions are noble, but now there are matters both more pressing…and more competent than Klarwein!

Happy Sugar Life – 08 – How We Got Here, Where We’re Going

Now the picture of Matsuzaka Satou is that much more complete. Room 1208, the cage in which she now keeps Shio, was once the apartment where a loner artist resided. He didn’t want anything from Satou except for her to pose, and let her talk about whatever she wanted.

In the minimalist first half, it’s just Hanazawa Kana as Satou talking. The artist responds, but we only hear static, and never get a good look at him. It doesn’t really matter who he is, but what he wanted. He wanted Satou to remain incomplete and unsatisfied, so he could keep drawing her.

That changed when, one day, for reasons unexplained, Satou brought Shio to 1208. Before long, she started to feel something around her she felt for no one else; she became complete; satisfied. In other words, everything the artist didn’t want.

So he tried to get rid of Shio in the most reckless fumbling way: trying to choke her to death when Satou was out of the room. Of course, she enters, and the atelier becomes a violent murder scene.

Since Shio was a witness to it—albeit likely dazed/disoriented by the choking—it sure looks like the creepy figure she’s drawn in the closet is Satou herself. Shio carries the trauma every day, and it occasionally surfaces. That’s a problem!

Taiyo comes to a kind of revelation: he needs to give up on Shio and try to become a normal guy again. He’s content to keep the wanted poster in his pocket as he puts the pieces of his past life back together, not letting the trauma of the abuse he endured further mire him.

Unfortunately, his resolve to reform is brittle, and Satou finds him at the perfect time to shatter it, offering Shio’s still-warm sock to prove she’s serious about letting the “knight” meet the “angel” and let her “purify” him. All he has to do is get rid of the person trying to take Shio away from her.

I first thought Satou wanted Taiyo to get rid of the teacher, but I rethought that conclusion when Asahi gets a call from someone offering him a clue as to Shio’s whereabouts. I immediately thought that this was the first step in the plan Taiyo is carrying out for Satou.

Complicating matters is that Asahi is the one who finds Shouko at her lowest point, cursing herself for rejecting Satou when Satou needed her most and wanting to “disappear.” Asahi assures her she’s a kind and good person—the type of person prone to always laming themselves.

Asahi comforts Shouko and cheers her up, and they now seem to be friends, since she’s still by his side when he gets that phone call. If Asahi is Satou’s target via Taiyo, I doubt Shouko will escape uninvolved.

Hanebado! – 09 – Turnabout is Fair Play

Ayano and Nagisa’s preparations for their finals match are interrupted by the inauspiciously conspicuous return of Connie Christensen, who wants a rematch with Ayano. Ayano, who as we know is not the same Ayano Connie embarrassed the last time they crossed, stays cordial, but her first words to Connie—that her panties are showing—demonstrate how unseriously Ayano is taking her.

Ayano’s attention turns to her broken Wei-Wei mascot on her bag, and Shiwahime invites her to a kind of Wei-Wei theme park with Connie (Erena also tags along). The Wei-Wei-ness is like catnip to Ayano, who switches off Badminton Mode and has a lot of fun for once, to the relief of Erena. Meanwhile, Shiwahime inadvertently sabotages Connie’s olive branch to Ayano in the form of a Wei-Wei keychain.

It turns out Connie didn’t return for a rematch at all; she came to express her desire to be a family with Ayano and her mother Uchika. When Connie finally gets the words out, Ayano completely brushes them off, and affably leads Connie to a badminton court, where her first devastating shot sends a clear message that it won’t be a friendly match.

We see more of the perennially lonely Connie’s past when Uchika takes her under her wing and essentially adopts her, while all the while Connie’s knowledge of the existence of a “big sister” who is Uchika’s biological daughter looms over her as a kind of challenge to clear. She wants the acknowledgement of both Uchika—who never once told Connie she was better than Ayano—and Ayano herself.

She doesn’t get it, and I’d argue she doesn’t really deserve it after how she entered Ayano’s life. Sure, Connie thought Ayano was playing mind games with her when they first met, but it doesn’t change the fact that Ayano sought a friendship in good faith, unaware of Connie’s identity.

That being said, Ayano lays the contempt on a little thick, as she essentially transforms into a Badminton Youkai, all crazy eyes and twisted smirks, in utterly rejecting Connie on the grounds she’s resolved to abandon her mom the way she abandoned her.

While Ayano refuses to forgive and forget or turn the other cheek, a dejected Connie returns home with Shiwahime to find the rest of her team has done all three, giving her emotional support when she’s never felt lower. Sorry, Hanebado, but this whole “actually Connie is the victim now, let’s all feel bad for her” isn’t quite working for me.

Who has two thumbs and doesn’t care about Yu’s attempts to get one of the male players to notice her? [holds up two thumbs] This guy. Also, I’m not confident Nagisa practicing until her knees give out is the best strategy for having a good match against Ayano. If Ayano doesn’t clean her clock I’ll be very surprised.

What could turn the tables slightly in Nagisa’s favor is the fact that Ayano returns home to find her mother, big stupid hair bow and all, waiting there to greet her like nothing’s happened. However unpleasant a character Connie may be, she’s no match for the awfulness that is Hanesaki Uchika, Ten-Time Worst Mother of the Year.

Happy Sugar Life – 07 – What are Friends? What is Love?

Satou’s teacher sees her with Shouko and doesn’t like the fact that she seems to be sharing “dirty little secret.” Of course, Sensei is operating under the assumption that Satou’s parents died early and she was brought up by her aunt in an environment devoid of the love humans need to grow up to become “normal.”

He believes Satou snapped one day, murdered her aunt, chopped her into pieces, and gave the bags to him to incinerate. It’s as good a theory as any judging from the evidence he has…but he doesn’t quite have enough for the whole picture, and as a result, he’s dead wrong.

Satou doesn’t take Shouko to the apartment where she lives with Shio; she takes her to her aunt’s apartment. Her aunt turns out to be very much alive, and the cops are at her door answering reports of a “suspicious smell” emanating from the apartment.

Satou’s aunt may be alive, but to the horror of both Shouko and the cops, she’s completely whacked out of her gourd. Seiyu Inoue Kikuko, a grizzled veteran of anime who’s played dozens of mothers, balances the sweet kindness of her voice with an underlying malaise.

Everyone who enters her apartment, and sees horrid room in which she sleeps, immediately wants to leave and take a shower. But before the cops can leave, having found nothing law-breaking, she literally jumps on the male cop, senses he’s lonely, and tells him he can do whatever he wants to her and she’ll accept it—sex, violence, violent sex…anything.

This, Satou later tells Shouko, is how her aunt considered “love”, being a receptacle for whatever other people wanted to give her, good, bad, and ugly…all of it. And she’s never changed, and likely never will, as the cops (and you could say society at large) are neither properly equipped or empowered to “do anything” about her.

The female cop manages to wrest her partner away (and turns down the aunt’s invitation to her), and then turns to Shouko, who she also senses is “lonely” and is looking for her “prince.” Satou comes between them and ushers Shouko out of the apartment. Halfway to walking her home, Shouko expresses herself honestly; that she thought Satou’s aunt was hella weird.

When Satou asks if, now knowing the woman who raised her and how she sees love, if Shouko will still be friends with her. When Shouko hesitates to answer, Satou tells her they can go back to being “just friends at work.” and leaves. Shouko wanted to know the truth, and she only got a small taste, and it was way too much, but she’s still ashamed.

After shedding her tail, Sensei, with some properly dominating language, Satou leaves her aunt’s apartment’s front door, marked 305, and walks up to her apartment with Shio, number 1208, where she continues her Happy Sugar Life, untroubled by what went down with Shouko.

But then we flash back to the rainy day she didn’t want to go home to her aunt anymore. Someone chatted her up, invited her to their apartment (1208), and asked her to model for them (they were apparently an artist). Now we know who she murdered: that artist and 1208’s previous occupant.