Fune wo Amu – 04

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Nishioka not only has the unhappy task of relaying the rumor their department’s ship may be scrapped before it gets out of drydock, but also comes up with a solution that might prevent the scrapping from taking place.

That solution requires him to use the skills that make him invaluable to the department outside its dusty walls: the ability to pound the pavement; schmooze and flatter; wheel and deal.

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The idea is, the more rumors spread about The Great Passage, the harder it will be for the publisher to cancel it without causing harm to their reputation. It also sound like a fine way to get on said publisher’s bad side.

The montage of everyone doing their part while Nishioka does his is…a bit sedate, but that’s the point. Like everything in this department, getting favorable result requires intense preparation, attention to detail, and patience. Those results don’t come fast…if they come at all.

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While on a well-earned day off, Nishioka opens up to his girlfriend about the “predicament” he’s in: a normal guy in a weird, “masochistic” job that will keep him busy until he’s bald, sharing an office with a weird guy who seems almost too perfect for the job of writing dictionaries.

I like how his girlfriend is mostly like “Uh-huh, that sounds rough bae, BRB need another beer!” but it’s an interesting and very different peek into Nishioka’s personal life that contrasts sharply with Majime’s in almost every way.

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I say almost because right not Majime also has not one but two women in his life: an old landlady trying to get him to court her granddaughter. Kaguya is pretty and seems nice enough, but she has yet to engender in me the same awe she does in Majime.

And sure, they share a desire to keep fighting for something even though it’s not quick or easy, and do make the episode’s titular “steady progress” by actually having a conversation, but it’s still a bit too steady (and early) for me to buy their romance.

Then again, love has many forms and colors, and theirs just may not be the flying-sparks variety, but something quieter, subtler, more outwardly mundane but inwardly profound.

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Sousei no Onmyouji – 24

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SnO continues its episodic format as Roku, Benio, and Sae continue their “country tour” across the country, sealing dragon spots as they go. Last week was a bit of a drag, but this week presents us with Lio, not yet a Basara but by far the least hostile Kegare we’ve yet encountered.

The “non-evil enemy” is a fairly common convention, but it’s well-executed here, as Sae becomes the non-hostile go-between that allows for a moment of peace between warring species, however brief.

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I like how Roku and Benio’s instincts have them shooting Leo on sight, especially when they find Sae with her. But all it takes is a word from Sae, and Leo won’t fight with the exorcists anymore. All he wants is to “see something beautiful”; indeed, it seems to be his only purpose in life. We’ve never seen a Basara just before they became a Basara, so this is new and fresh territory in terms of building the (other)world of the show.

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Roku even ceases charging Leo on sight when he sees tears in the Kegare’s eyes. Somehow, right on cue, the amusement park comes to life, and the seed Roku planted in Sae’s head (and Sae planted in Leo’s) of a “sparkly, beautiful” place comes to fruition…just in time for Leo to get pierced through the chest by an arrow of light.

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That arrow was fired by Sada Sakura, who along with Zeze Miku are members of the 12 Guardians, who don’t know why Roku and Benio are just standing around with a near-Basara. They’re very far away, and allow no time for explanations, shooting first like the Twins, but with far deadlier attacks.

Zeze could be fun if she wasn’t just a deadpan foil for the manic Sada, whose yelling and passion for RULUSU wears thin fast. As for Sae, she flashes a look we see, but Roku and Benio don’t: a knowing expression that, like her ability to learn and make things so easily, is far beyond her years (if she is indeed a little kid and not…something else).

R.I.P. Leo. You were threatening at first, but in the end you were an ‘ol softie, and you were okay by me. Glad you got to see something beautiful before you were taken out.

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Oregairu 2 – 13 (Fin)

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My, how time flies when you’re engrossed in a long-standing love triangle of friends! Oregairu wisely pared down its cast to just the main three this week, and gave those three an arresting send-off in more or less the same awkward state they’ve been in for most of the season, but at least knowing where they can, if not should go, along with where they’ve been and where they shouldn’t go.

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Ah, Haruno-chan. The lighting, BGM, and close-ups always seem to cast her as the villain, an interloper who likes watching the world burn. But more than a force of malevalence, she’s an agent of change, for Yukino if not herself (her own personal and emotional issues are not a big focus of this show, which is both a shame and a relief). The time is soon coming for Yukino to make her own choices in life. If she doesn’t, her mother and Haruno will make them for her. Will she let herself be washed along in the current, or swim against it?

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For now, she seems to be caught in some netting cast out by Yui and Hikki, not to catch and eat her, but to keep her in the pleasant stasis Yui wants to keep going on forever but knows it won’t.

Outmatched outside the school, when Yukino calls Haruno, she decides not to lend her more potential ammunition, and instead parrots what Hikki told her: neither sister is thinking clearly, and a night apart is indicated.

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Throughout Oregairu Yui has indicated on numerous occasions that she wants to “make a move” vis-a-vis Hikki at some point, but this isn’t that time. Instead, she invites both Hikki and Yukino to a date at the aquarium.

Hikki isn’t the sort of guy you’d expect to be on a three-way date, but it’s not like this is going to be The Episode Where One Girl Gets Dumped so that a couple can emerge and progress into adulthood.

Rather, the aquarium trip is billed as a kind of last hurrah for the trio in their current state, a nostalgic look back before turning towards an uncertain but increasingly close future where stuff like this is not guaranteed.

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Thus follows a sequence of the three making comparisons between the traits of aquatic wildlife and themselves, with the metaphors flowing wildly. The camera’s insistence on shoving that sign with the mated pair of penguins, the fish in the muddy water, being contained, and the life-partner penguins grooming each other—all of it reminds them of what they are.

But an aquarium is a place that doesn’t exist in nature: a kind of training center where one learns about the ways of the aquatic world, the world humans left when they exchanged gills for lungs and fins for legs. The parallels are never not on-the-nose, but not obnoxiously so, and they also happen to all ring true.

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The Deadman Wonderland Ferris Wheel the three ride is one last elemental symbol that the three of them are spinning their own wheels. They feel like they’re going somewhere, but always end up at the same place in the end; the progress is an illusion—just like the “world where nobody gets hurt” Hikki believed he’d created back at the season’s start.

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Pretty soon that ride has to end. When it does, the Service Club might be toast. But if you wanna make a life omelette, you gotta break some eggs. Yui, who has thought all of this through, thinks she knows how to help Yukino with her family issues, and brings up the bet that, if she wins, she gets to “take everything.” She almost gets Yukino to go along, just as she appropriated Hikki’s words to Haruno.

What Yui seems to be suggesting is that things continue going on, finding answers for one another, like three penguins grooming one another (which I doubt happens often in the wild). But Hikki intervenes before Yukino goes along with it he thinks Yukino should find her own solutions or she’ll grow, and neither will he or Yui.

Now, I knew going in this wasn’t the kind of show that would rush into confessions. It did come close with its many confession-friendly atmospheres set up this week, but what with three people present there were never going to be any. But everyone’s eyes are open now, both to what the three of them are and that they have to choose between stepping back on the Ferris Wheel together, or starting off on a long road they won’t necessarily be able to share.

This felt like so much more emotionally complex a show than the first season, and I imagine if there’s a third it will grow even more so. But even if there isn’t one, I’ve really enjoyed the run, and content with the open ending.

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Kamisama Hajimemashita – 11

In the first half, a bored Mizuki sees Kurama on TV and decides to travel to Tokyo to get some pointers on acclimation to human culture. When he arrives, he is appalled by the level of pollution, crass rudeness, and monetary system. He ends up being invited to a TV Tokyo party by one of Kurama’s handlers. Trying a drink from a drunken man, he falls ill, and wakes up under the care of a young woman also new to the city and struggling to fit in, but is determined not to give up. Mizuki thanks her for helping him by giving her some of his homemade sake.

In the second half, Nanami takes Tomoe to an amusement park, where he repeatedly refuses to talk about a hairpin he has and who it may belong to. He does eventually have genuine fun on the roller coaster, and fixes her hair in a bun but later on when he denies having known and loved Yukiji, Nanami runs off in distress. She ends up riding the ferris wheel at night alone, but when she accidentally messes up her bun, the hairpin falls out, and Tomoe suddenly joins her in the ferris wheel car, telling her it was a gift for her all along.

Another great two-parter from a series that’s been very consistent in the quality of its storytelling. Mizuki isn’t the least annoying character in the world, but a fish-out-of-water segment works out perfectly for him, as his arrogance is set aside and his confidence put to the test. Simply put, Tokyo eats Mizuki alive in short order, and it’s pretty amusing to watch him fumble his way around town. Fortunately fate smiles upon him, as he meets up with Kurama, then meets a kindred spirit who lends him a helping hand, lifting his spirit in the process. This girl doesn’t even get a name, but she sounded an awful lot like Orihime Inoue (Matsuoka Yuki), and we really liked what we saw of her. This series doesn’t skimp, even on minor characters.

The second part, Nanami is in high spirits over a day of activities Tomoe didn’t even verbally agree to, and then she gets suspicious over that hairpin, which she assumes was Yukiji’s. The thing is, after running away from him, she never presses him on why he said he never knew any such woman, and continues to insist he knows nothing about women, including her. Is he lying, or is there something up with his memories? We were right there with Nanami in his past, so we’ll go with that for now. Regardless of his presumed inexperience with human women, he’s got a live one in Nanami, and it’s clear he cares about her beyond his duties as her familiar. If he just wants to “live [with her] in the here and now”, she’s fine with that.


Rating: 8 (Great)