Nyanko Days – 01 (First Impressions)

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The Gist: Yuuko-chan is a friendless, jealous, high school sociopath. She looks at the popular girl with resentment and disgust and dismisses her own worthlessness as being from a lesser planet. After school, she returns home to her three cats, which she introduces.

Roll credits! Opening credits…

The Verdict: Nyanko Days is a two minute format show where roughly 60 seconds are dedicated to the opening credits. The artwork is decent enough, and the little cat girls may give you nightmares in a “there’s gotta be something wrong with everyone because they are too cute and nice sort of way,” but it’s otherwise unremarkable.

You may like it if you are a serial killer, or if you are in a coma and someone turns it on to liven your empty hospital room (for two minutes), but you don’t want to be either of those viewers. Stay safely away from this one!

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Shakunetsu no Takkyuu Musume – 01 (First Impressions)

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The Gist: Imagine your drunk pervy uncle got extra drunk and made an anime about sweaty girls playing table tennis. The protagonist is an approval junkie and narcissist who wants to take her second rate high school to the regionals. Unfortunately, a new girl has transferred in and is probably better than everyone.

SnTM’s illustration style is primitive, with washed out color and mediocre animation. There are a few good angles, and making the girls actually sweat in exertion is a nice touch, but those potato-faces are pretty unappealing to look at.

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The humor style isn’t great either, combining a few ‘look boobs’ jokes with absurd situations like… a girl stuck on the school gate. Nothing imaginative nor funny.

The Verdict: The protagonist is entirely unlikable and the bashful transfer who kicks butt is annoyingly bashful. Without anyone to root for, without even decent artwork, sound, nor an interesting story, there is no reason to watch this show.

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Ange Vierge – 01 (First Impressions)

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Saya-chan is your typical try-hard long blue hair chika fighting carbon-fiber penis shaped enemies. She has a light saber and allies that wear slightly quirky outfits. That’s all that matters.

They shout things like “That’s an EXR… an EX-Rebellion for you!”

There are 5 worlds in this universe and some sort of doomsday plot and BWAAAAAA! STOP! STOP! STOP! The creators of this show can not possibly expect that we will care about 15+ characters that are introduced all at once, in the middle of a hard-core exposition segment about the worlds and impending doooooom???

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The verdict: Ange Verge is generic, unimaginative, and pumped full of over-designed characters that only work if they explain everything to us verbally. It’s not a good show and, like many of the shows not worth your time, it’s not really good either.

You may like it if you wanted a bland version of Sousei no Onmyouji where only female characters exist. Otherwise, skip it. Plenty of better shows out this season.

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New Game! – 01 (First Impressions)

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Suzukaze Aoba is a nervous high school graduate beginning her career at Eagle Jump, a Japanese gaming company. She wants to act all grown up but quickly learns no one at this all-female-staff company is not all that grown up.

roll credits…

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Tepid is the best word to describe NG’s first outing. The cast is try-hard quirky, saccharine sweet, and as Aoba clearly being unprepared skills-wise for the job, the happy go lucky atmosphere sucks out any realism this show could muster.

God, there’s even an old cat and an angry middle manager who has to shoot air soft pellets at the Director to get her to come to an important meeting. No, just no.

At 9 members (so far) the cast isn’t too big to follow, but everyone is generic. There’s no real hook to the setting either — it’s played straight that she’s just a new hire at a game company working on the 3rd installment of her favorite franchise. No twists, and limited sense of realism too.

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You will enjoy this if you enjoy blushing nervous girls who act sweet to each other. It is brightly colored and the animation is decent, when it animates more than message bubbles shared between the girls’ work stations.

You can skip this thing if you have literally anything else to do and/or don’t enjoy rubbing your eyes with sandpaper. It’s awful difficult to like Suzukaze’s personality… if social anxiety and adoration for her coworkers can be called a personality.

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Sakurako-san no Ashimoto – 11

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A night at Sakurako’s moves Minami to tell her Hitoe’s location, and when they find her covered in butterflies the worst is feared. Alas, “only” her dog is dead and attracting the insects; she merely took a non-lethal dose of sleeping pills and soon wakes up. Not shortly thereafter, Hector barks from outside, announcing he’s found what Sakurako was hoping to find: more bones. Specifically, the bones of a young woman; Minami and Hitoe’s friend Futaba. And that’s far from all that’s unearthed this week.

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Minami recounts the tale of how Futaba showed her and Hitoe this abandoned cabin in the woods, and they made it their home, their place where they belonged. All three of them had their problems, but Futaba was the worst, and soon wanted to enter a suicide pact with the other two. Hitoe agreed, but Minami didn’t want to die, so she ran. When she returned later, Futaba was dead, having hung herself, while Hitoe injured her hands trying to save her.

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Minami buried the body, and that was that. Only…Sakurako-san wasn’t born yesterday by any stretch, and Futaba’s bones tell her a far different story. Not a story of Futaba hanging herself as Hitoe struggled to stop her, but a story of being strangled to death, as indicated by bones that would not have been broken by hanging, and the dubiousness of dying while hanging so low her feet touched the ground.

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Hitoe can’t keep up the fiction any longer, though she kept it hidden within her memory for so long, it flows out like a river through breached dam, all anger and despair. Futaba gave her an ultimatum: she’d either help her kill herself, or she’d kill her, then commit suicide. It was an impossible situation for Hitoe, who comes out and blames Minami for running. Had she been there, maybe Futaba would have kept it together a little longer (though considering both she and Hitoe were already considering suicide when Minami fled, I doubt it).

Isozaki is able to calm Hitoe, and puts all the blame on himself, not for failing to see the pain his three students were in, but for seeing the pain, and turning away, not wanting to be hurt himself.

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After burying Futaba, Minami and Hitoe drifted apart, partly because Hitoe started seeing other friends, partly because Hitoe reminded Minami of what happened to Futaba. Then she met Hanabusa, who she waxes poetic about as if her mind had been programmed to say these things. But it wasn’t; she simply fell victim to the honeyed words of a criminal mastermind, just as Hitoe would, and just as many other victims have.

Sakurako knows Hanabusa never loved Minami—that he’s incapable of loving anyone unless they’re bleach bones—and that Minami was just another pawn in his game. The thing is, she doesn’t really need to be so blunt about all these things at this particular time. For someone so good at detecting, she fails to read the room, and turns her back on Minami, who can’t handle what she’s saying and tries to stab her with a palette knife.

But Sakurako doesn’t get stabbed, because Shoutarou comes between her and Minami, catching the knife in his side. Remembering her brother, who apparently drowned in a rainstorm, she shouts out Shoutarou’s name.

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But it’s all okay; the stabbing wasn’t precise, nor was it lethal. Shou will be fine. But Sakurako isn’t. It was too close a call for her. As she hits the home stretch on tracking down the “abyss” that is Hanabusa, Sakurako has unilaterally decided she and Shou must part ways. It almost feels like a breakup…because it is, and Shou is heartbroken. But the bottom line is, Hanabusa is a dangerous, brilliant son of a bitch, and while Sakurako loves bones, she never wants to see Shoutarou’s.

Will Shoutarou really accept this? He’s too shocked and overwhelmed to protest here, but once he’s discharged, I wonder how Sakurako will keep him away, and whether he’ll honor her selfish desire to go it alone with Hanabusa. I’m hoping he won’t, because as the tear Sakurako sheds indicates, these two people belong together. Call them soul mates, if you will.

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Sakurako-san no Ashimoto – 10

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While on a bonehunt with Sakurako and Shoutarou, Isozaki-sensei gets called away by news that his former student Hitoe has disappeared. Sakurako offers to give him a lift, but is really interested in the mystery sticking with him offers. Hitoe is the second of three once-inseparable friends who were students in Isozaki’s homeroom.

Saku instantly notices how personal he’s taken the disappearance of the first and how he couldn’t bear to lose another. He also sees how he atones for not being able to do anything about the first girl who disappeared, Minami. When they visit Hitoe’s rich and haughty parents who know nothing about their daughter, Saku is disgusted, gathers all the clues she can about where Hitoe may be headed (a few days’ clothes and a phone battery away) and gets the hell out of there.

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We finally see Hitoe, the girl from last week’s cold open, still in a kind of trance, or possibly drugged, with her little dog and a bed covered in bandage wrappers, talking to her “sensei” about her “wings.” Shou learns from Yuriko that Hitoe modeled for a painter and was rumored to be dating him as well. So there’s the “sensei.” (Speaking of senseis, Yuriko makes sure to apologize for her harsh words to Isozaki, now that she knows he does know what it’s like to suddenly lose someone.)

They then visit Minami’s apartment, a far more downscale affair than Hitoe’s, and Sakurako gets a lot more out of Minami’s mom, who is at least in tune with her daughter’s life than Hitoe’s mom, even if she doesn’t know the full picture. When Saku finds the painting Minami modeled for—with a butterfly on her back just like a painting Hitoe modeled for—that picture starts coming together: we have a predatory artist who lures girls in with the promise of “wings” that will take them away from their awful homes and lives.

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Saku finds multiple receipts for a particular restaurant (not Wagnaria) in Minami’s dustbin, and that leads them right to her, where she’s anemic, exhausted, and clearly still traumatized by what she’s been through. Still, she tries to hold onto her secrets as long as she can, though Sakurako sees through her physical tics and decides a change of venue is better.

She takes Minami into her house and has Gran fill her belly. Perhaps, when she’s ready, she’ll be able to say more about Hanabusa-sensei, the painter both she and Hitoe loved.

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After a day when he got a good look at Sakurako’s ass when she was rummaging under Minami’s bed, Sakurako continues to surprise Shoutarou by personally inviting him for breakfast in the morning, a first for her. But in his monologue as the episode ends and we see the butterfly design etched into the showering Minami’s flesh with a painter’s knife, a future Shou recalls that while he was happy about Saku’s invitation, he had no idea at the time what her true intentions were, and the bones she truly sought.

This was another strikingly different episode from an anime that has always confidently blazed its own trail, exploring unique specific themes such as friends from different backgrounds, how friendships crumbled when they desired the same thing; the differences in their relationships with their mothers; the fact that ennui, depression, and the desire to rebel stretches across class and status.

This episode took a look into the secret world of young people most adults including their parents never see nor hear, and so may as well not exist to them; entire galaxies of hidden ideas and dreams, and one insidious little mini-cult of three, all worshiping this Hanabusa fellow who still lurks about in his coat and hat. He has much to answer for.

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Ushio to Tora – 18

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Few anime this year have worn their hearts so brazenly and so effectively on their sleeve as Ushio to Tora, and these past two episodes—in which the women (and one special woman in particular) in Ushio life literally save his soul—comprise UtT’s finest and most thrilling hour yet. Not a single line or action is wasted, and the dramatic stuff is expertly garnished with bursts of UtT’s trademark comedy.

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Two girls have successfully combed his hair, and once Yuu uses her athleticism and courage to be the third, that leaves his closest friends Mayuko and Asako. Mayuko almost instantly falls into a river charging ahead, but she is continually rescued by Tora, under the pretense of preserving a future meal.

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That neither Mayuko, a grateful Asako, nor anyone else take Tora’s malevolence seriously cracks Izuna up while showing how far he’s come whle maintaining his preferred way of showing affection to the humans around him: by claiming, almost defensively, they’re all food. With Jiemei showing him the way, Tora carries the girls to Ushio’s new location by the mouth of the cave where “a piece” of Hakumen no Mono dwells, and Mayuko reflexively uses the comb to parry a blow from the Beast Spear.

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That sends her flying to the edge of a cliff from which she falls rather than drop the comb that contains “all their hopes”, but fortunately for her Tora is really diligent about keeping his food clean and unharmed. Mayuko in arm, he decides he’s sick of Ushio, a human, acting like this. So he lets Ushio stab him with the spear, giving Mayuko the opening she needs. Four down, one to go.

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As suspected, for maximum dramatic effect, the one who loves Ushio the most is saved for last. Jeimei reveals it’s her brother who is the Beast Spear trying to devour Ushio in service of destoying Hakumen, but she begs him to stop. Ushio is even able to get the words “it hurts” out, sending the tears streaming from Asako’s eyes as she laments that all this crap is happening. Like Tora, she wants the old Ushio back, preferring him and all his lovable flaws to the mindless monster before her.

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As she wipes her eye she combs his hair, but the Spear senses Hakumen close and seemingly undoes all the progress the combing made, and neutralizing the power of Asako’s emotions. But she doesn’t give up, grabs hold of Ushio and doesn’t let go, and remembers all the times throughout the years Ushio pissed her off by teasing her, only to be her dopey knight in shining armor when she was in a spot.

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Just as Tora has a shorthand for why he helps out his “food” so much, Asako has a shorthand for the “idiot” Ushio. But she also happens to love that idiot, and all but says it when his crystal eyes shatter for good, released from the Beast Spear’s hold. Back in “normal” Beast Mode, he summons Tora and the two deal with the threat that had been bubbling around them, and had been dealt with by his dad, the chosen four, Jun, the priests, and even Hyou (Hi Hyou!), until the end of their limits: the massive swarm of Hiyou.

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Noting he seems stronger than before, Tora works with Ushio to obliterate the storm, after which Ushio collapses from exhaustion, back to his old self. He mutters to Tora how before he woke up, he felt like he was having a strange dream full of strange people, but also filled with warm people who were at their very best. But it all seems like a dream to him; he’s unaware of what has transpired and who was involved.

That Ushio may forever be ignorant to their deeds and hard-won victory is a little disappointing, but they’re right: if he learned what he did to them, he’d likely never forgive himself. They’re protecting him from needlessly punishing himself for hurting them, because to a woman, they were there by choice, and would do it again to save him in a heartbeat.

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This is an experience none of them will ever forget, but it’s also notable that it’s an event that brought them all together, as shown when they decide to go party together to celebrate a victory everyone who was present knows about except the one they saved.

But while many friendships were forged in this ordeal, as Ushio heads into the cave with Tora (no time to waste!) all the girls not named Asako know that Ushio will definitely be back, but won’t be coming back to them, but to her.  That will be some reunion.

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Ushio to Tora – 17

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The temple elders are visited by a beautiful ghost, Jiemei (voiced by Hanazawa Kana) who reports that Ushio’s body has been overthrown by the Beast Spear, making him a true beast. The only way to save him involves his dad, the Kouhamei Sect, the comb that his mother gave him…and none other than all of the girls he’s saved on the way to Asahikawa.

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One by one, to my increasing delight, Jiemei pays a visit to those girls: Yuu, Saya, Reiko, Mayuko, and Asako. And when they hear their Ushio is in trouble, they don’t ask about the danger, or why a green ghost goddess is talking to them: they drop what they’re doing and GO. I should have known this was coming: after spending most of last season saving these girls, the time would come when they’d be able to return the favor.

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And let me just say, it’s a delight to anyone who’s been following the show closely and enjoying it to behold this episode assembling the “Dream Team.” Ushio is in rough shape, and it wouldn’t be as satisfying if some new priest or shaman or youkai stepped in to save him with some kind of miracle spell or ritual.

Ushio’s soul is under siege, and these girls who touched that soul are the best chance to break that siege. Naturally, Haniwa, Jun, Satoru, and Nagare are also on board. And let’s not forget Tora, who wants to restore Ushio to his human state so he can eat him…and because, c’mon, the big lug loves the guy.

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To save Ushio, the girls have to comb his hair with the heirloom comb, but the comb is on his person. Enter Izuna, the fleet green jackal-weasel-fox thingy who fights through Beast-Ushio’s black tendrils and snatches the comb up. Easy part over. As Ushio’s dad and the sect members prepare for an approaching Ushio (followed closely by a massive horde of hiyou), the girls introduce themselves.

The sudden melding of these girls’ personalities and histories with Ushio is exceedingly fun to watch, especially how Mayuko tries to kid around with Asako’s feelings, only for it to get more serious when Yuu reacts to Asako’s usual defense mechanism of running down Ushio and claiming not to care about him. Yuu calls her the hell out, causing Asako to cry and admit the truth: she’d have come running earlier had she known what was going on.

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Once Ushio arrives, Reiko is the first to volunteer to go at him with the comb. He tries to shove her aside, but she successfully gets the comb in his hair, tearing off a big lock. But once she’s done, Ushio is racing straight at the other girls. Saya trips trying to run, but Asako puts her body between her and Ushio. When the injured Asako thanks God no one else got hurt, Yuu realizes she was harsh on Ushio’s childhood friend. She’s the real deal.

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Hinowa manages to trap Ushio in a magic barrier, something Saya is able to punch through due to her status as a white-haired woman. Like Reiko, Ushio saved Saya from a life of despair and servitude, so she’s no less committed to freeing Ushio from his demonic prison.

She gets a lock off too, but Hinowa’s barrier breaks, leaving the next girl, Mayuko, exposed to Ushio’s wrath. That’s when ZZZZAP, Tora unleashes a lightning storm that half-destroys the bridge, saving his “future food” Mayuko along with Saya. Everything happens bang-bang-bang in this episode, and even when it doesn’t, the scenes are full of great character interaction.

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Like Asako and Yuu, Hinowa and Jun quickly get over their mutual animosity when the latter saves the former by helping her maintain the barrier on Ushio. While they’re not part of the group of girls who must comb Ushio’s hair, there’s no doubt Ushio saved Jun from a life of despair by saving her bro, while Hinowa can’t help but respect him, considering how many others are willing to put their lives on the line for him.

Yuu’s up next (Asako will probably be the last, for dramatic purposes and all), and she too is steeled by witnessing the love and devotion of the others. They may have been saved in different ways, but they were all saved by the same goofy, hard-headed, kind, selfless guy. And they’re going to get him back.

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Valkyrie Drive: Mermaid – 01 (First and Only Glance)

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Valkyrie Drive: Mermaid is a story about a little girl whose name is often miss-read as Virgin and her exile to an island populated by yuri couples who must arouse each other to turn into weapons and fight for some reason.

It has striking similarities to Cross Ange: the abnormalities, the gross self-degeneration of the women, and the erotic exploitation. Virgin’s fighter—the woman who arrives on the island at the same time and erotically turns Virgin into a sword—even looks like Ange.

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Unfortunately, VD:M doesn’t live up to Ange’s somewhat uneven standards. The first episode introduces so many characters, and focuses on the erotics and fighting, that very little story is told. There’s no sense of world here. Not beyond ‘there will be fighting and girl- on-girl action’ regularly in each episode.

In brief, if I’d known how close this was to straight hentai, I probably would not have watched it.

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You may like it: if you enjoy full-spectrum yuri, sleazy and unashamed exploitation, and ‘shy girls first time’ turning them into swords. I watched the uncensored broadcast and… yep. Lots of boobs, jiggle, fondling, and blushing before each battle.

You can skip it: under pretty much any circumstance. Sure, it’s got some aggressive fondling but nothing else. The action is budget to boot.

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Gakkou Gurashi! – 11

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After multiple events at the end of last week’s episode piled upon each other like so many zombies, spelling imminent doom for the School Life Club, this week starts off with a continuation of that despair, with no shortage of intense terrified close-ups of Rii-san and Miki. But Yuki’s expression is different. It’s not existential fear…it’s an awakening, which comes in the form of a sudden flash as she sees her former choker-wearing classmate as she truly is.

That awakening continues gradually and painfully throughout the episode, as more and more, it becomes clear Yuki is the only club member who can save everyone. Her emotional scars are re-opened and reckoned with, and the same voice in her head that’s taken the form of Megu-nee for so long steps into high gear, putting Yuki not only in a position to stay alive, but help the others, starting with Miki. Now that she finally sees again the danger she and her friends are in, she doesn’t crumple into a ball; she picks up a shovel.

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Nostalgia, despair and hope go hand in hand (…in hand) this week. Rii-san remembers promising to “do what must be done” if Kurumi were to get infected, and as she’s being slowly driven mad by Kurumi’s increasingly horrifying moans and screams, with a knife in her lap, Rii-san starts to contemplate fulfilling that promise. Meanwhile, the zombies are everywhere, including the roof, where a lightning storm ignites the zombies, who then ignite the crops and Megu-nee’s grave marker.

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With all this grimness, Yuki’s strength in this time of ultimate crisis, and her desire to have more fun times with the club in the future, inspires Miki to action, after she was briefly paralyzed by her grief over Taroumaru. She then use’s Kei’s discman to try to sooth/distract the zombies at another barricade as she heads to the basement to find medicine. As that gorgeous music first we heard in episode 4 plays, we return to the day the club drove out in Megu-nee’s car and ended up saving Miki.

On the drive home, Kurumi and Rii-san (the only two still awake) talk about whether the zombies are still “aware”, and Kurumi hopes they aren’t, after all the terrible things she’s done to them. She says she had no choice—it was them or her—and she’s right. But that doesn’t make what she’s done, or not knowing the true nature of the zombies, any easier a pill to swallow.

Back in the present, Rii-san prepares to stab Kurumi to death…but just can’t do it, thus avoiding the possibility of Miki getting the antidote, only to return to find Kurumi is dead. If Rii-san isn’t already FUBAR, she certainly would be under that scenario.

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But Miki is still a long, long way from getting that antidote to Kurumi. It’s by no means a sure thing. She encounters Megu-nee down there, gets cornered by her and pays her respects, cognizant of the possibility the teacher’s stayed down there all this time in order to prevent hurting her still-living students. Despite that apparent awareness Kurumi mused about (and hoped wasn’t true), Megu-nee is still, ya know…a zombie, and grabs Miki’s ankle, forcing Miki to take her out.

Just then, as if there was a chip in Megu-nee tied to the school (though probably a coincidence what with the roof generators going haywire), an alarm sounds and red lights come on, and a P.A. system announces emergency power has been activated for the shelter (which probably means batteries, which aren’t going to last). All that noise attracts hordes of zombies to Miki’s location, and she ends up trapped in a room, unable to act, just like when she was at the mall.

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Thus Yuki becomes the only one who can save everyone. She does so by finally opening her eyes to “the hard stuff” she left to the others for so long, even before she went into her dissociative state, because she deemed herself clumsy and weak. But she’s able to use a vision of Megu-nee to get to the place she needs to be, have one last conversation with her through a door before opening it, and seeing, finally, that Megu-nee is no longer around, that she’s gone, and now it’s up to her.

It’s not easy, nor is it painless, but it’s what has to be done, or, Yuki knows, the School Live Club is finished. Her smile and her silly optimism sustained the club for so long, but now she has to do more, by breaking out of the protective shell she created in her mind, facing the reality of her situation, grabbing a bat, and getting to work. Everyone is counting on her.

No matter what happens, everyone will be scarred by this day they’re having. But can Yuki stand strong and act; protect and guide as Megu-nee did; be the new guardian angel, so that she and the others can live a little longer? I hope so.

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Gakkou Gurashi! – 10

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Fun Time is officially over as shit hits the fan on all fronts in this taut, slithering, devastating, unforgiving powerhouse of an episode. It starts quiet on a rainy morning. Miki laments that she’s finished her book—at the end of which its implied the dog comes to a bad end—Rii-san informs her why she’s so down: this is the same kind of day when they lost Megu-nee, their sensei and caring protector. Ever since then, Rii-san has been trying to fill the void Megu-nee left, and the strain shows this week as pretty much everything that can go wrong, does.

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Kurumi, the muscle of the group, confidently strikes out to find the escaped Taroumaru, assuring Rii-san she won’t do anything rash. She ultimately can’t abide by that assurance, first locating a zombified Taroumaru, then Megu-nee herself, in the previously un-explored basement. Why she goes alone is beyond me, but like I said, she’s a tough one, so I guess Rii-san felt she could trust her to come back safe and sound on her own.

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As soon as she spots both Taroumaru and Megu-nee, Kurumi knows what she has to do; it’s just a matter of being able to do it. She was able to kill her would-be boyfriend before he killed her back when this all started, but her hesitation results in Taroumaru running rampant until she can trap him in a room (with a non-sliding door he can’t open). And when Megu-nee raises her face, Kurumi can’t help but see her memory of her warm, beautiful, heroic teacher, not the shambling monster before her.

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She loses her nerve, and Megu-nee bites her. Damn, that was fast. Kurumi gets back to the safe zone, but it isn’t long before the wound starts to fester, and it becomes pretty clear that things are not going to go any better for her than they went for the dog or the teacher. It’s only a matter of time.

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During this time, as she screams in her sleep, we go inside her head, where she’s trapped in a nightmare in which countless zombies stalk her from just behind the walls of a classroom she’s in.

When they break through, her mind will be lost and she’ll be one of them. The only glimmer of hope she can be saved comes when Miki consults the emergency manual, which indicates there’s medicine—an antidote?—down in the basement shelter.

Rii-san doesn’t want Miki to go alone, but she doesn’t have much choice; she has to be there if and when Kurumi turns. As for Yuki, her bubbly obliviousness is more of a liability than ever. Miki and Rii-san are going through emotional issues of their own, and they have no time to babysit her.

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Miki finds Kurumi’s shovel, but also spots Taroumaru’s still-full dog bowl and collapses into tears, remembering how Kurumi lamented that she’d “failed”, and believing she too had failed to protect Taroumaru, just when they had kinda become friends last week.

Miki claims not being close to Megu-nee (who we see sitting down there, “writing”) will make it easier to take her out, but the dog’s down there too, so her task to grab the medicine—before Kurumi turns—is not going to be easy, to put it mildly.

As for Yuki, when she stops in the hall to remark to herself how today is like “that day”, and she then asks herself what “that day” is, and then feels the cold rain hitting her on the face. She sees the broken window now, just as the zombies burst through the ground floor and start bringing the barricades down.

We can imagine what she’ll see next week. The question is: how will she react to her sudden awakening? Will she be able to play a role in her own and everyone else’s survival, or are they all doomed?

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Gakkou Gurashi! – 09

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For all its foreboding teasing of the evacuation plan and the possibility the school was built almost in expectation of a zombie apocalypse, with the exception of the closing minute this is the first episode of GG! that truly felt like more idle stalling than its usual expert mood and tension-building. That’s not surprising, considering the episode adopts the tried and in most cases tired trope of the ol’ Pool Episode—only the pool is a rooftop biotope.

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Mind you, it does seem to be summertime, and the girls are still girls, so they make it a point to try out the swimsuits they acquired at the mall to put their minds off all the zombie business and have some fun. But the fact both they and the episode simply set aside the zombie threat—without so much as a groan from down below in the yard where all the zombies are shuffling around—sapped the show of  its usual gripping dread. I kept expecting a ball or Frisbee would fly off the roof and garner unwanted attention…alas, no such peril ever materialized.

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It isn’t until everyone has showered, had a light meal, and gone off to bed that Taroumaru hears something with his dog ears, slips out of his lead, and strikes out to investigate. While the girls were spared any unpleasantness this week, that’s sure to change soon, as Megu-nee is still up and about—though decidedly neither alive nor well—in the sub-basement they’re preparing to explore tomorrow.

Considering in the chronology of the show there hasn’t actually been a zombie confrontation since they found one in the library way back in the second episode, I’d say we’re due for some fresh menace—this time of a far more personal kind—and of a kind that’s not going to do Yuki’s (or anyone else’s) mental state any favors.

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Urawa no Usagi-chan – 01 (First Impressions)

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Usagi is a pleasant girl who lives in Urawa City in Saitama, Japan… which funded this anime’s creation as an advertisement for some reason.

As the seasons change, Usagi, a junior in high school wakes up, walks to a shrine, talks to an old woman, and then chats with friends before getting to school. That’s it.

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Ignoring the budget-nature of the show, and the budget nature of micro-format shows in general, UnUc is brutally devoid of purpose. Nothing happens, no character is memorable and the posterized photos of Urawa City that make up the background aren’t pretty at all.

And that lack of pretty is bewildering, since the show exists to advertise a city. Come live here… because it’s kinda run down and drab looking? We have narrow streets and old people? What??

Lip-sync is off, animation is jerky, it’s technically animation and inoffensive but completely without merit. I normally say there’s nothing to lose in watching a 3:00 show but UnUc proves me wrong. I WANT THOSE 3 MINUTES BACK!

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