Bokutachi no Remake – 05 – Wings of Song

I know I almost always rag on a series doing a cultural festival episode, as they typically end up pretty formulaic. But at the same time, there’s a reason that formula often works so well: it raises the stakes for all the characters by making them do things outside their routines or comfort zones. Remake’s art festival gives us a ton of wonderful little moments, plus a couple of big ones with lasting ramifications.

Things start out in Nanako’s favor, as Kyouya is so supportive of her honing her singing, she instinctively falls into his arms—though she warn him later not to get “the wrong idea.” She’s similarly flustered when Kyouya first sees her in her outfit for the maid cafe, with her, Shinoaki, and Keiko each donning different styles. The cafe is such a success, they actually poach people who were going to watch the films.

One of those who came for the films but also stopped by the cafe is Eiko, whom Kyouya can’t quite mask his surprise for showing up to something that fundamentally doesn’t seem to be her thing. I really enjoy the interaction of Eiko and Kyouya as two people who did interact in Kyouya’s initial future (unlike the others)—I just wish she had more to do than try to apologize to Nanako, only for Kyouya to say theres no need, as her stern lecture helped Nanako more than it hurt her.

On the last day, Kyouya attends the visual art exhibition with Shinoaki, spots a painting that looks familiar, and when he studies the name tag he recognizes the name, then gets all dizzy and faints. Whether due to overwork, a side effect of his time travel, or a little of both, he wakes up in Shinoaki’s lap in a quite, private back room. It’s here where Shinoaki tells Kyouya how much his care and support and praise has helped her, and leans in for a kiss, only to be stopped an inch from Kyouya’s lips by a phone call.

There’s an emergency on the main stage, as the “secret guest” band got double-booked and will be a no-show. Keiko suggests they just ask around; it’s an art school, there are plenty of people who will want to perform on stage. But both Kyouya and the music professor believe Nanako can and should do it. Nanako disagrees, feels the pressure of all those people rejecting her, and flees the tent.

Kyouya chases after her while Tsurayuki keps the crowd busy with some clown tricks. Nanako expresses how terrified she is; he tells her she’s scared because she’s serious about doing a good job. And to assuage her fear about the crowd of hundreds, she shows her the YouTube page of her singing videos, which have quickly garnered tens of thousands of views and spirited discussion about the unique appeal of her voice.

Of course, we don’t learn that this is what Kyouya showed Nanako until after we see her take the stage in her maid outfit, give a meek introductory speech, and then kick into full Performance Mode. It only taks a couple of bars for the crowd to get drawn in, and before long, they’re dancing and swaying and fully on board. Nanako, in turn, feeds off their energy and truly shines. Kyouya knew she would, because she’s the famous N@NA from his time.

After her encore, a winded but joyful Nanako rushes to the tent to see Kyouya, who among the crowd of hundreds was likely the one person she was singing for, in addition to herself. But the others tell her Kyouya went off somewhere. We then see him with Shinoaki, who mustve gotten a little lightheaded as a result of all the hard work she’s done and the size and heat from the crowd. Shinoaki stands up so she and the seated Kyouya are of a height, and then leans in and finishes the first kiss they started earlier.

Nanako is just in time to witness this kiss, and watches Kyouya and Shinoaki looking every bit like a couple through the light of a fountain, holding crepes for her and Kyouya. You can see her post-performance high evaporate from her face, and her reflection in the babbling fountain is a nice visualization of how all of a sudden everything is out of sorts again, just when things seemed to be on the right track.

And all because despite herself she’s developed feelings for Kyouya, who let it be said is fully deserving of those feelings. It’s just, Shinoaki likes him too, and unlike Nanako she’s never tried to qualify or deny it. We’ll certainly see how this incident affects the group dynamic, and whether the official establishment of this love triangle will destroy what Kyouya believes he was brought back in time to do.

Bokutachi no Remake – 03 – Getting Fired Up

BnR isn’t wasting any time, jumping from the realization Team Kitagawa only has a still camera to work with, to screening day. It was also somewhat disappointing that we didn’t get to see a moment of Eiko’s teams short, only the overwhelming positive reaction to it.

You could say this show isn’t about Eiko’s team or their short, and having them go first added tension to Kyouya’s screening. But jumping straight to judgment day only to rewind back to explain how Kyouya pulled it off feels a little awkward.

That said, I’m happy I was correct in my prediction they’d go with a photomontage style, which was the most logical thing to do, but also that nobody on Kyoya’s team knew what he was going to do. And it worked—even Eiko is impressed!

That said, Kyoya’s team only gets third place, while Eiko wins. Yet Eiko is just as angry as they are, because she thought Kyoya’s short was the best! Alas, it’s not just about artistic attributes; this is a class, and the short was an assignment.

The professor—who is Eiko’s big sis—could tell that Kyouya’s team didn’t think their project through due to some kind of logistical difficulty with production. But she was nevertheless impressed with Kyouya’s problem-solving skills, such that she assigns Eiko to work with Kyouya’s team in the future.

Kyouya may have been simply trying to prove to himself that he could take a different path than the one he took before, but in the process, he inadvertently put his teammates/roommates on notice. Seeing what Kyouya could pull off without a video camera makes them that much more eager to step up their respective games.

In Nanako’s case, she wants to show off her acting chops in an actual moving picture … but she also wants Kyouya by her side while she tries to improve her singing. Even before Kyouya knows what’s really going on, he can tell Nanako has volume and charisma…it’s just she’s quite tone deaf! There are romantic undertones throughout the karaoke session and their walk home.

Not to be outdone by Kyouya or Nanako, Shinoaki reveals to Kyouya that she knows he knows about her night drawing in secret. She tells him that while she knows she’s good enough at it to win some awards, that’s not enough to make a living, and she has zero confidence about it, to the point she’s considering quitting art school altogether!

This is when Kyouya, who knows the Shinoaki of the future will be a famous artist who will bring joy and comfort to millions, including himself, takes Shinoaki by her slender shoulders and tells her she can’t give up…because he loves her…art. Adding the “art” at the end kinda dulls what would have otherwise been a confession, but hearing those words brightens Shinoaki’s entire world, and puts a twinkle in her eyes.

She wants to know what kind of guy thinks such nice things about her, and what his goals might be. Kyouya’s not ready to tell her yet, but like Nanako and Tsurayuki, he’s lit a fire in her belly that she’s determined to feed by continuing to improve her craft.

Rating: 4/5 Stars

The Duke of Death and His Maid – 01 (First Impressions) – Ducal Distancing

An young duke (or Bocchan) is cursed by a witch at age five to bring death to any living thing he touches, like the Grim Reaper, AKA Death. He is shunned by his family and exiled to a villa in the woods. His only companion is Alice, the daughter of the head maid who grew up with Bocchan. There’s also a butler, he doesn’t show up in this first episode—bad back!

While everyone is scared of Bocchan and thinks him a monster, only Alice (and presumably the butler) treats him like an ordinary guy. She is absolutely fearless in how close she gets to him, and loves to toy with him by presenting her ample bust or garterbelts because of his innocent reactions.

But behind the playful and occasionally raunchy teasing, there’s genuine affection and devotion behind everything Alice says and does that has nothing to due with the fact she’s a family employee. She is happy when their old childhood friend Phillip shows up, but even when it goes predictably pear-shaped, Alice flatly refuses Philips’s offer to get her a “safer” job, while Bocchan forbids Phillip to disrespect her.

Bocchan has his issues—he’s a little traumatized during every meal due to the unpleasantness of meals with his family between getting the curse and being exiled—but a monster he is not; he really is just an ordinary young man who cannot be touched. Alice is hoping by being with him and treating him with love, kindness, and occasional sexual harassment, they can break his curse together, and he can do what it’s clear from the outset they both want: for him to put a ring on her finger.

As is typical of first episodes of new series that don’t introduce the whole cast at once, I enjoyed the elegance of following just Bocchan and Alice. Phillip and his four(!) bodyguards were a well-timed break from their routine, and while it wasn’t a fun experience, Phillip isn’t an altogether bad person, as he is capable of pitying Bocchan even as he fears his curse.

If you’re not a fan of CGI or canvas-textured backgrounds then this show will not be your visual cup of tea! I’ll admit the characters are a bit stiff and uncanny as they tend to be with this animation method, but like most things it grows on you. One advantage, however, is that the models remain perfectly consistent from shot to shot, and some very subtle hand gestures, body movements, and facial expressions are possible.

These subtleties are crucial in a show all about how close Alice is willing to get to Bocchan without actually touching him, and her acceptance of his wilted white rose—interpreting it through the language of flowers as swearing his whole life to her—was genuinely moving and gorgeously shot to boot. Also, Alice’s azure eyes of deepest summer are mesmerizing to the point you can see why Bocchan cherishes her so.

Hanae Natsuki and Mano Ayumi get the lion’s share of credit for bringing the characters to life and making me care about them right from the get-go. The classy Victorian aesthetic and classical score also heighten the material, while both OP and ED go pleasantly against the grain with more contemporary music and visuals.

I may have just finished a show about a girl teasing a guy, but that turned out to be way more heartwarming and profound than I expected, and I foresee enjoying this new take on the formula as well.

Rating: 4/5 Stars

Adachi & Shimamura – 12 (Fin) – Having a Wuvly Time

When Adachi learns Hino and Nagafugi not only spent the night together, but bathed together before school, she decides she can’t fall behind; she must be bold and decisive in asking Shimamura for the same opportunity.

Shima, ever bemused and practical, notes that her family’s bathtub is tiny, but Adachi still gets a win: Shima lets her stay for the whole weekend. Adachi can barely restrain her pure joy over this development. She over-packs to a ridiculous degree and ends up arriving way earlier than expected.

While at Shimamura’s, Adachi naturally feels closer to her friend, as she hoped to become. She gets to sit between Shima’s legs again, only instead of Adachi running away, Shima’s little sister (also named Sakura) takes her sister away for a rare bath together.

The first day Adachi says “nothing happens” with Shima, but at the same time, doing nothing with the one you cherish is pretty nice in and of itself! Shima also surprises her one day with matching hairclips, which make Adachi so happy she almost blurts out “I love you!”—until twisting it into “You look wuvly!”

Honestly, even if Adachi said those three words to Shimamura, it probably wouldn’t change things dramatically. She has Shima now, and while it may be a fight to keep her, we know from Shima’s perspective that she likes having Adachi around, later likening her to a cherry blossom she can look upon even when it’s not Spring and the trees aren’t in bloom.

Adachi gets to fall asleep on Shima’s arm, they go to school together for the first time, and Adachi’s prayers for them to sit together aren’t answered, they remain about the same distance from each other in the classroom, so that’s a wash.

As with IWGP, A&S takes a “Life Goes On” approach with its ending. Adachi doesn’t ever confess to Shimamura, and they never end up kissing. They’re still not even on a first-name basis. But forget those standard signposts; this show had a more nuanced, delicate touch. It was a pleasant, cozy portrait of two people who take great comfort in one another and are happier around each other than not, whether they’re doing something or nothing at all.

Rating: 4/5 Stars

Adachi & Shimamura – 04 – The Joy of Being Patted on the Head

Shimamura calls Adachi to ask if she can do a sit-up. It’s a weird and random conversation, but who cares? They’re enjoying talking on the phone together; the content doesn’t matter. Then Shimamura goes to the gym with her mom and encounters Adachi’s mom talking about her daughter.

Shimamura can’t stop herself from speaking up for her friend, questioning whether her mom really knows what she’s talking about. Mirroring her own mom’s tendency to act younger than she is, Shimamura ends up challenging Adachi to a sauna duel to determine who is right.

While Adachi’s mom is initially hostile, she admits she doesn’t know what’s going through her kid’s head. She just wishes she did. In this, the two are alike. When asked for suggestions on how to be a better mom, Shimamura says she should just be normal: have dinner with her once in a while.

Adachi’s mom ends up doing just that, which Shimamura learns as she’s resting her head in Adachi’s lap. Turns out this was odd enough behavior from her mom for Adachi to be too anxious to taste the food her mom made. Shimamura snuggles closer to Adachi, who is demure. Then they do sit-ups!

Shimamura reaches out to Adachi to hang out with her and her friends at karaoke. Shimamura’s mom raised her not to be a burden to others, but it’s Adachi who feels she’ll affect the “harmony” of Shimamura’s three-girl group. Shimamura insists that won’t be the case, and Adachi agrees to the date.

When Adachi arrives on her bike and spots Shimamura’s cute outfit, the two look like a perfect couple. Shimamura’s other two friends are warm and friendly to Adachi, but things still feel “off” to her. She senses that while Shimamura is better at social situations, she doesn’t like them anymore than Adachi.

The two sing a beautiful duet and then prepare to head home, but Adachi offers to give Shimamura a ride on her bike, and Shimamura accepts. Adachi is blushing the whole trip, completely on top of the world to have Shimamura behind her, her hands on her shoulders.

Shimamura suggests a detour to a nearby playground and buys them drinks. Earlier, while underwater in the pool, the vivid aqua color reminded Shimamura of Adachi’s favorite brand mineral water, but the machine closest to them didn’t sell it.

When Shimamura finally draws close and asks Adachi if she has something she wants to talk about, Adachi is initially silent. After all, there isn’t just something she wants to say; a great number of things have piled up inside her, but she’s held them all back for fear of making things “weird” between them. Even so, something comes out: “I want you to pat my head.”

Adachi thinks she’s totally blown it, but then Shimamura pats her head! She pats it slowly and gently, and Adachi has never been happier. Shimamura again notes that Adachi likes to be coddled, and while that’s true, her little request shouldn’t be taken to mean she wants a Big Sis. She wants to be someone special to Shimamura…even if it’s weird.

That head-pat all but clinches it for Adachi: she must like her. Rather than let Shimamura toss her empty off-brand drink can, Adachi keeps it as a memento of that moment of clarity. If Shimamura ever ends up in that room, maybe she’ll see it, and understand. And maybe laugh, too…but good-naturedly!

Rating: 4/5 Stars

Adachi & Shimamura – 03 – Chipping Away

Shimamura isn’t sure why Adachi suddenly ran away from her, but it looked to her like she had something to say but couldn’t say it. Unlike Adachi, who is increasingly obsessing over Shimamura in her inner thoughts, Shimamura is more introspective about herself, whether it’s the way she keeps “having regrets” or starting to “catch on to [her] lack of interest”.

Is Shimamura naturally just not interested in anything? Could Adachi be changing that part of her? When Adachi is absent for school and doesn’t answer her texts, Shimamura heads to her house. On the way, she meets the astronaut girl without the spacesuit, who thinks it’s “fate” that they keep meeting. Thankfully the spacegirl splits—I still honestly don’t know what her purpose is—and Shimamura’s unannounced visit is rewarded by seeing Adachi in her jammies.

Shimamura agrees to Adachi’s request to go out on Saturday—though Adachi’s original intent was to ask Shimamura to formally go out with her. Unfortunately the spacegirl is already with Shimamura when Adachi arrives, and proceeds to be a glittery blue-haired third wheel the whole time. Due to her little sister-ish size and demeanor, Shimamura can’t ignore the spacegirl’s attempts to grab her attention, which means Adachi gets less attention.

Moreover, the fact Shimamura so readily engages with the spacegirl makes it seem to Adachi that she’ll “take care” of anyone small and cute—including her—without thinking much of it. Adachi is thinking very much about Shimamura and Shimamura only, yet Shimamura is cognizant of everyone she spends time with.

That leads to a somewhat dark ending where she admits she allows “pieces” of herself to chip off in an attempt to keep herself “afloat”. These are the things she should be telling Adachi! I wish spacegirl would either explain her business with Shimamura or go away and give the main couple some space.

Adachi & Shimamura – 02 – Casting Your Line, Awaiting a Bite

Adachi starts out by saying Shimamura will “always probably just be Shimamura” in her heart, as we watch her fantasy of the two of them in pure white slips, about to kiss. Back in the real world, she introduces Shimamura to Chikama Yashiro, the tiny astronaut who claims to have come to Earth to find their “compatriot”.

I’m really not sure where the show is going with this little astronaut, but she does offer sage advice to Shimamura when she needs to hear it. With life, as with fishing, sometimes you don’t get a bite, but all you can do keep casting your line and hope for a bright future. Back at school, Adachi relaxes in Shimamura’s lap, and agrees to attend at least some classes so they can both be second-years next year.

Adachi believes she met Shimamura will give her a brighter future. She loves the peaceful way she feels around her, and works up the courage not just to call her pretty, but find more ways to spend time with her. Rather than play more ping pong, they go to the mall, share donuts (and indirect kisses), and hold hands while on a walk. But their quasi-date is interrupted by Chikama seeking sweets.

Adachi has another dream of being with Shimamura all in white and kissing her before waking up and wondering why she’s having these dreams. “It isn’t like that”, she insists as she bikes to school, only to suddenly brake hard when she envisions them kissing again. And even though she’s coy about telling Shimamura where she works, Shimamura finds out anyway when she and her family go to the restaurant where she waits tables while wearing a lovely blue Chinese dress.

Adachi comes to see herself as relying on and even wanting to monopolize Shimamura for herself, or at least wants to be put first in her eyes. Shimamura in turn seems willing to coddle and spoil her, but Adachi notes that she doesn’t seem to seek anything in return.

Even so, Adachi can’t help but ask if she can come to Shimamura’s house, and of course she’s welcomed with open…legs?! Yes, seeing Shimamura reclining on a bean bag compels Adachi to ask for something she thinks will make her seem like a “complete weirdo”: to sit between her legs. But again, Shimamura gladly accommodates her; her little sister sits like that all the time, after all.

Adachi, who doesn’t want to be thought of as a little sister, would probably be content to stay in that position and stare into Shimamura’s eyes until sundown. Unsure whether she’s merely thinking of confessing to her or actually saying the words, Adachi’s lips draw closer to Shimamura’s, on the cusp of making her dream a reality…

Alas, Shimamura asks if Adachi is okay since she’s blushing and not breathing right. So no, Adachi didn’t say she likes her out loud, and they clearly weren’t quite on the same page. Back home she’s quite frustrated by that, but the fact she got as far as she did means she shouldn’t assume Shimamura doesn’t feel or want the same things. She should keep casting her line and hoping for the best. She may get it, or not…but at least she’ll have tried.

Rating: 4/5 Stars

Senryuu Shoujo – 11 – Peonies in the Sky, I Can Go Twice as High

It’s summer festival time, and both Nanako and Amane are resplendent in their yukata; the proverbial garden peonies while standing, tree peonies while sitting, and lilies while walking. Eiji looks pretty good too!

But Amane soon detects a problem: she’s definitely a third wheel, even if Eiji’s the kid of dude who spends entire days catching bugs like a five-year-old (he makes Takumi in Ao-chan look like Gene Simmons).

Even so, sometimes he’ll surprise you, like when he tenderly slips a glow ring he won on Nanako’s dainty finger. It’s like he’s already proposing! When Amane and Eiji go to the bathroom, Nanako stays behind and gets snatched up by three classmates who saved a spot for the fireworks.

The thing is, Nanako’s one wish on this night was to see the firworks alone with Eiji. Eiji knows this, so when the two are separated and fireworks time draws near, he starts searching for her.

While doing so, he leaves Amane and the bulky “Famistation” she won behind, but fortunately she runs into Eiji’s family and thus isn’t alone. Eiji manages to find Nanako thanks to the glow ring, and takes her hand just as she’s tearing up from having to watch the fireworks without him.

It’s a very well-orchestrated, powerful moment when the two lovebirds finally reunite at just the right time. I’ve maybe witnessed dozens of this kind of scene before, but it gets me every time when executed well, and it couldn’t happen to a nicer pair of kids here.

Senryuu Shoujo – 10 – Buggin’ Out

When Amane catches Eiji showing Nanako a beetle, she knows she’s gotta do something to get these two into a more age-appropriate relationship. Nanako still suggests they check out some fireflies at a pond, but Amane can work with that, and arranges another club field trip, using the nighttime setting to make it a test of courage that brings the two lovebirds closer together.

It works like an absolute charm—which is incidentally what Eiji and Nanako are full of—as Nanako naturally clings to Eiji when she gets scared, and he brings her even closer when he senses she’s in danger.

Unfortunately for Tao, she wasn’t let in on the plan for Koto to impersonate a ghost and grab her in the dark tunnel, but her real fear made it more likely Eiji and Nanako would run off together, which they do. When they get to the pond, there don’t seem to be any fireflies, so Nanako makes one with her phone, fooling Eiji with a giggle.

Then the fireflies do indeed appear, and the two get to share in another lovely experience together. When Eiji suggests they write senryuu to mark the occasion, she almost tells him how glad she is he’s there with her, but decides to be coy instead. Some things are better left unsaid…particularly when Eiji likely wouldn’t understand exactly what she meant!

Itsudatte Bokura no Koi wa 10 cm Datta. – 02

“Summer, Fireworks, Color of Love” is this week’s title, and it pretty succinctly sums up what we get. If you’ve heard of these themes in romance anime before well…you’re not alone! But what this show lacks in original themes, it makes up for in solid execution and attention to detail, and variety.

We get looks not just into the budding romance of Miou and Haruki, but see how close Yuu and Natsuki are without officially dating, as well as Souta’s attentions towards Akari. The plot of making one last film together, starring a character who is an art student in love, is pretty hoaky, but super-charming if you can switch off the cynicism.

In her desire for her art (and not Akari’s) to be chosen by Haruki, Miou puts undue pressure on painting the perfect canvas, and ends up unable to paint anything at all. Haruki seems to get a bit jealous when he overhears that Miou will soon meet the man who saved her from drowning.

But they largely set aside those issue when the six friends gather for a fireworks festival. Natsuki sets things up so Miou and Haruki are alone, while Souta’s in the right position to catch a stumbling Akari, breaking the ice. All three couples have great chemistry and it’s fun to watch them interact.

Everything seems to be ruined when Miou faints and she and Haruki end up with an obstructed view of the fireworks, but they find a platform to get a better view. Haruki tells Miou he’s looking forward to seeing what art she comes up with (adding to the already high pressure of that project).

When he awkwardly offers to grab something for them to eat, Miou bravely, finally closes the 10cm distance by grasping his shirt. The two come this close to kissing, but are lamely interrupted by a couple of yappy dogs. LAME, I say. At least they can laugh about it.

Then the next day the thing I knew was coming came: Miou learns the man who saved her life is dead. Not only that, he’s Haruki’s big brother, Chiaki. She goes home, and rather than paint what love looks like for Haruki, she defaces the painting of her memory of being saved, ashamed that he lost his life, and Haruki lost his brother, all for her sake.

Watashi ga Motete Dousunda – 08

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Every time it looks like one guy, say Iga, has the inside track (gradually teaching Kae to be comfortable touching a guy with innocent handshakes), conditions allow for a shake-up. Enter Nana, who is concerned about being the least close to Kae of all the others.

When Kae, dirt broke from the pilgrimage, gets a job at a theme park dancing in a Puri Puri Moon show, it’s Nana’s time to shine, as he’s watched, danced, and sung every song in PPM’s repertoire every weekend with his adorable little sister Kirari.

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As such, Nana is the one and only one who can get closer to Kae this way. The others try, but the hiring staff of Usami Land find other part-time jobs that better fit their particular skills and circumstances. As for Nana, he puts everything he has into training for the role of the Dark Prince, even at the cost of his health, suddenly collapsing with fever.

Kae has him brought home, then takes care of him by cooking him food before he takes his medicine. She manages to bond with Kirari a little, but not to the point Kirari is willing to let Kae have her brother, whom she wants to marry. But their shared knowledge of PPM is a definite ice-breaker.

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Then things get dark, and I mean really dark, as a fever-addled Nana, essentially dreaming while awake, grabs, kisses, and holds down Kae, who isn’t strong enough to break away. If it wasn’t for an improbable Iga to the rescue, who knows what might have happened.

The show does not contend for a second that Nana was just getting the better of his hormones to awful result; he was well and truly not in his right mind. I have no reason to doubt that, and neither does Kae, but that doesn’t change the fact it was an awful and terrifying experience; one that makes her nervous about touching any guy again, including Iga, the guy she was making such nice gradual progress with.

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After apologizing profusely both on the phone and in a very public display of begging outside Kae’s bedroom window (much to the chagrin of her older brother), Nana regains Kae’s trust in the heat of a PPM show gone awry, when three otaku n’er-do-wells must be dealt with, requiring Kae to take Nana’s arm/hand on numerous occasions.

I’ll admit the frozen faces of the character outfits were a little unsettling (not to mention an obvious trick to save money on animation), but that’s often how such theme parks operate; the labor they have at their disposal isn’t always going to remotely resemble specific anime characters.

Indeed, the frozen faces served at least two laudable purposes: they provided a literal “padding” between Kae and Nana to facilitate healing between them, and it also served as a semi-biting commentary on the culture of such shows: play the right tune and bust the right moves, and facial expressions, to say nothing of plot and character, are all irrelevant.

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