Takt Op. Destiny – 07 – Post-Cosette

Anna, Takt, and Destiny’s road trip takes through the South, passing larges swaths of recent D2 destruction. Once they reach a larger city (Charlotte, North Carolina, I believe) they find it full of refugees living in shanty towns in the park. Takt has also developed the annoying habit of tapping his finger constantly, rather than only most of the time. No wonder Anna puts him in a seperate hotel room!

With Anna about to snap, Destiny nearly snaps Takt’s neck, then insists he tell them what’s going on. Turns out he’s composing a song, but can’t get it on to the page. While he composes in his head night and day, his eye bags growing larger and darker, Destiny drives off some D2s on her own. WHen she mentions “very important plans”, he can’t help but follow her.

What he discovers is shocking: Destiny doing something other than simply fighting D2s. She buys groceries for a refugee and her baby son, and sweets for the displaced little ones. Just little things you woldn’t expect something that is supposedly just a weapon to do. Anna sidles up to Takt and tells him this is nothing new: Destiny hasn’t just improved as a Musicart, she’s evolving as a person.

Anna also tells Takt that the one who found a musical instrument for him—a melodica to aid with his composing—was Destiny. She even waited outside his hotel room, looking nervous. It’s enough to make Anna wonder out loud…what if their Cosette is still in there somewhere, gradually adding humanity to the anti-D2-weapon that is Destiny?

The show’s “rules” may have already established that the Musicart replaces the person who used to own the body…but who’s to say Cosette/Destiny aren’t different? Grand Maestro Sagan himself is so certain of Takt and Destiny’s uniqueness and potential that he orders Schindler to leave them alone and let them do their thing.

In what initially looked like (owing in part to the dramatic lighting) what was going to be a groundbreaking conversation between Destiny and Takt is suddenly cut short, if only because Destiny asks too many sensitive questions too quickly and directly, and the memories that dredges up in Takt makes him shut down.

Even so, it wasn’t a matter of Takt not wanting to talk about Cosette at all, just the curt manner in which Destiny was trying to extract biological information about the original occupant of her body. It’s pretty clear that the intended audience for his new piece is Cosette, but Destiny (and Anna) will have to do.

In the meantime, sirens blare outside, indicating a D2 attack in progress. Thankfully it’s only one small unit that Cosette is able to deal with swiftly…but due to Takt’s sleep deprivation even this amount of fighting takes him close to his usual limit. Things get worse when Destiny detects a whole herd of D2 up in the forested mountains.

Once there, they both hear a clear and unnerving tone, which turns out to be the tuning fork of Hell. Apparently Schindler has gone completely off the reservation, and not just in terms of disobeying the Grand Maestro’s orders to leave Takt and Destiny alone.

No, Schindler has decided it’s up to him and Hell to attract D2s in order to get rid of the lower-class, lower-income human “garbage” who in his twisted mind are consuming too much of the world’s very limited resources. He’s trying to make a new world of just the “chosen”—i.e. 1%—with obviously himself being the sole judge of who is worthy of continuing to live or not.

Oh, and he attracted the D2s that interrupted the Symphonica roadshow…and resulted in the death of Cosette. It’s clear that this show has decided to make Schindler (which it’s clear now is not the best name for this guy, considering the reputation of the most famous figure with that name) the Evilest Evil Guy Who Ever Eviled, and while Hell at least looks cool when she’s kicking ass, the pair of them are pretty dull and one-dimensional as villains go.

It remains to be seen if there’s any redeeming them at this point, but Takt and Destiny are in uncharted territory: they’ve only killed D2s…never people, and as angry as Takt is, killing anyone for any reason changes you forever. I imagine Lenny and Titan will make it there in time before Takt has to decide if the Cosette he knew and loved would really want him to kill, even if Schindler deserves it.

Our Last Crusade or the Rise of a New World – 08 – Demon Ascending

Alice is always referring to Iska as her “enemy”, but with Risya releasing another agent of chaos in Salinger the Demon/Transcendant, she doesn’t have the luxury of rejecting the aid of an enemy like Iska whom she’s come to trust, and who shares her dream of peace.

When the prison tower housing Salinger starts to burn, Alice and Rin must hurry to put out those fires. Before leaving, Alice quietly asks if Iska will help her, but he doesn’t quite hear. She drops the matter, but not before leaving a fresh new handkerchief to replace the one he gave her.

Unit N07 finally hears from their CO Risya, who tells them that the Princess Iska is in Another Castle, leading them to wonder if they were merely bait for Risya to attain a different, secret goal (they were). But the fact remains they have to get the hell out of the tower, so Mismis bears her genuine crest and serves as bait once more, this time so Nene and Jhin can take out their pursuers.

Iska, handcuffed in his hotel room, hears ringing in Alice’s room and discovers she had his Imperial phone. He makes contact with Unit N07 and arranges to meet them at the very prison tower where Alice and Rin went. When he considers how to remove his cuffs, he suddenly remembers the handkerchief Alice left, and sure enough, it contains the key. This is what she meant by requesting his help—she couldn’t do it overtly, so left the key in hope he would agree.

Alice and Rin’s car is bombed before they reach the prison, but that’s of no consequence; the site is a mess of Imperial forces and various sovereignty forces from within the prison, so Alice takes command as Second Princess. Iska meets with Unit N07, but before anything else he asks for his two swords back, urges them to take the civilian onlookers to safety of the hotel, and he’ll meet them there in fifteen minutes or so.

Alice leaves Rin to deal with Salinger, and while Rin talks a big game and impresses him for a brief time, once Salinger gets serious Rin is no more than a “cat or dog” he has no further interest in torturing. Much of the astral magic he’s “collected” came from purebred sources far superior to Rin’s, after all.

Rin is overmatched; she knows it, and Salinger knows it, but it doesn’t matter: her only goal is to fight him and buy time until she can’t fight anymore. That turns out to not be very long, but it’s long enough that by the time Salinger is bored and ready to finish her, Iska arrives just in time to block his killing blow and save Rin.

Rin’s long-standing suspicion of and enmity towards Iska didn’t matter; Rin is Alice’s cherished friend, while Salinger is Alice’s enemy, so he’ll save Rin and defeat Salinger. If Risya gets wind of either Iska messing up her plan or of Mismis being a real astral mage, things will get far more complicated, but for now, it’s as simple as this: The enemy (Salinger) of his “enemy” (Alice) is his enemy. After all that lounging around in the hotel, it’s time to get to work!

Our Last Crusade or the Rise of a New World – 07 – Stuck On You

Rin and Alice are in full improv mode, as neither expected to have Iska in their custody at the end of the day at Neutral City. But they do, so they have to deal with it. Even Alice may not be able to protect him from his doom in the Sovereignty’s capital, so they head for Nebulis Province 13, Alcatroz, also known as the Prison Sector.

Risya orders Unit N07 to infiltrate the Sovereignty and rescue Iska as part of the larger plan to capture the Queen. They’ll pass through the border with fake Astral Crests prepared by the research unit. Jhin deftly pantomimes placing a fake crest on Mismis’ hidden real one, hopefully allying suspicion that she’s a real witch…for now.

Once Alice and Rin arrive at Alcatroz’ designated hotel for royals, Rin recommends she stay with the handcuffed prisoner at all times while Alice stays in an adjacent suite. When Iska woke up in the car, he voiced his “disappointment” in Alice, who is clearly hurt by the breach of trust caused by Rin’s meddling.

Rin breaches that trust again, twisting her master’s orders to “take good care” of Iska by cutting her own hand with a fruit knife to serve as an excuse for self-defense when she kills him. It’s clear at this point Rin has gone rogue, believing Alice no longer capable of objectivity. Unfortunately, even a cuffed Iska is able to defend himself from her attacks, and Alice re-enters the room to find the two grappling on the couch and puts an immediate stop to it.

Mismis, Jhin, and Nene successfully pass the border and enter the Prison Sector, where Risya briefly meets up to indicate their next destination, the offshore Ollelugan Prison Tower. But she’s hiding the true nature of her mission when she splits back off from N07. Jhin eventually catches on that their unit may not be here for the explicit reasons Risya stated.

Alice decides to chain herself to Iska (unlike with Rin he’ll be hard-pressed to stop her attacks without his swords), but also turns into a complete airhead when Iska brings up the blatantly glaring question of how the two of them will use the toilet, bathe, and sleep while so connected.

Alice has Rin temporarily disconnect them so she can take a bath, only for that bath to kill even more of her brain cells, such that she comes out of the bathroom butt naked but for a loosely hanging towel. As such, Iska sees the positively massive astral crest on her back, and Alice forgets her modesty altogether, as she’s suddenly primarily concerned with what Iska thinks of both her crest—and her in general.

Iska tells Alice about Mismis (without using her name): his captain and an Imperial soldier who is now a “witch” due to gaining a crest, and how he still respects her regardless of whether she’s a witch or has a crest. He doesn’t place the blame for a century of war on the crests, but due to the ideas and positions that divide them due to their opposite nations of origin.

He’s basically saying he doesn’t consider the crest to be the mark of a witch or devil, and doesn’t fight because of them. As for how he regards Alice, he considers her a “rival on the battlefield”, which is precisely what she wanted to hear: that the two of them are equals in his eyes. Now all she needs to do is strip him down so she can see him naked, and they’ll be even for the night!

As N07 continues their separate infiltration, Risya reaches her destination as laid out by the council: the special cell of Salinger, AKA “The Transcendent Demon”—a ripped but bored-looking bishounen who may just be itching for some action, any action. And since it’s Risya releasing him, he just might fight on her side…for a time. As for me, I’m designating both him and Risya wild cards for now.

Bunny Girl Senpai – 02 – Can You See Me? Can You Hear Me?

Sakuta buys Mai some food, and she rewards him by taking his arm in hers. However, they’re still technically “having a fight,” so it’s not all Cloud Nineness. He asserts she’s not being honest with herself about wanting to get back to showbiz, and reveals he knows why, and she slaps him.

But he’s right: it’s not showbiz she hates; it’s her manager/mom, who forced her still middle-aged daughter to pose in a swimsuit against her will. She’s used that to try to justify her hiatus, but in her heart she wants to keep working…it could even be why she’s now invisible to everyone.

Mai intends to spend one of her last precious Sundays out of showbiz with Sakuta in Kamakura, something she insists isn’t a date but puhleeeeze. Sakuta will surely be on time, but he encounters a lost child, then a busybody who mistook him for a pedo, and then the two have to go to the police station to explain why he was kicking her in the ass (because she kicked him first).

It’s quite a story, and so out there it almost couldn’t be made up, and Mai decides to believe that’s why he was over an hour and a half late (she also lied about bailing if he was only one minute late).

While on the train, Sakuta tells Mai why he’s helping her and won’t give up on her; because there was once someone who didn’t give up on him, and he wants to be for Mai what Makinohara Shouko was to him…even if there’s no record of Shouko ever existing except in his memories.

Mai brings Sakuta along on a quick errand to properly inform her mother of her impending change of agencies, but her “Adolescence Syndrome” has advanced so far her own mother can neither see nor hear her. And it’s worse: neither she nor anyone else has the slightest clue who Sakurajima Mai is; not even the announcer who promised not to publish his chest scar.

This starts Sakura on a quest to find out if anyone still remembers her, a quest on which she tags along to a faraway town. There, they check into a cramped business hotel room, and as Mai showers, Sakuta starts calling people. Finally, he learns that his classmates at the high school still remember Mai. Futaba promises to look into it.

After a quick trip to the store to buy Mai new underwear the two awkwardly share the tiny bed. Mai gives Sakuta an opportunity to steal her first kiss, but the window closes. She asks what he’d do if she broke down and cried about not wanting to disappear, he tells her he’d hold and comfort her and tell her it would be alright. Before bidding him good night, she thanks him for not giving up on her.

So far Bunny Girl has been a focused and compelling budding romance, albeit involving a guy with the distinct advantage of being the proverbial “last guy on earth”—though that’ll change if/when they return to the school where some still know her. The clever and playful banter between Mai and Sakuta is a constant joy, and I really felt what they must feel at times: like the two of them are all there is in their world, and maybe all there needs to be.

3D Kanojo: Real Girl – 02 – Half a Year Won’t Be Enough

Last week I noted how 3DK succeeded because it was committed to depicting a relationship of equals from the start, and that continues early this week when Iroha immediately challenges those who whisper unkind things about her new boyfriend.

Hikari doesn’t mind—he thinks he is gloomy, at least at school—but would rather she didn’t call attention to him. But at this stage Hikari is also still weary of getting to deeply into a relationship that will probably end in half a year when she moves (let’s face it, long-distance sucks).

His inexperience in 3D girl relationships rears its ugly head when Iroha gives him a clear invitation to go on a date Sunday, but he doesn’t get the hint at the time, and sticks to his original plan of waiting in line, buying a game, and playing it. But when he sees Iroha with another man, he’s both hurt and angry (and likely calling to mind her rep at school, threatening to  fall into the classthink trap once more).

But suddenly Iroha is throwing stones at his window because she missed him, and assuming the other guy was a misunderstanding, had no reason to doubt her sincerity. Then he babbles about “not having the patience” of
those other guys” and doesn’t know how to find out whether he and she are seriously dating.

Iroha has an idea: take him to a hotel where they can sleep together. She says it’s her first time—another way they’re on the same level—but he feels like she’s “undervaluing herself” by consenting to sex when they still barely know each other.

Then…he runs out, just leaving her there, presumably to pay for the room. Sorry, but that’s just bad form. I understand not being ready for sex and This All Happening So Fast and not seeming as “special” as you thought, but you could, you know, stay and talk with her. Maybe he still had that other guy in his head…or maybe he just panicked.

The next day, Hikari encounters that other guy, who tells them he’s not dating Iroha, and Hikari takes that to mean there’s some other kind of relationship in play, and that Iroha would be better off with a normie than the gloomy likes of him.

The doc, for his part, is a wonderful neutral observer of Hikari, and takes note of Hikari’s lack of backbone. Even if he’s not really involved with Iroha, he would hope someone who is would fight for her rather than scurry off.

The situation is resolved when Hikari calls Iroha to the school roof and tells her about the other guy. Iroha in turn spits out a sequence of lies about the doc being her boyfriend and having a serious illness. But she cops to the lies almost immediately.

There’s a wonderful disarming vulnerability to those short-lived lies of hers, like she’s putting out feelers to test Hikari’s reactions. Eventually, the air is fully cleared (she only visits the doc for her asthma), after Hikari is inspired by his favorite magical girl anime and vows to protect her, which Iroha rightly points out is a bit narcissistic.

Still, she’s happy Hikari is thinking of her (in his own way). She also invites herself to his house, nearly causing his mom and little brother to lose their shit with vicarious excitement. Having a girl who likes you and who like in your room seems to simple in concept, but it’s momentous in practice.

In the process, Iroha has the same reaction to his anime as he had when he first watched it, and he realizes her open-mindedness has always been a reliable constant since they started interacting. That helps put him further at ease, and the two almost kiss, but are interrupted.

In any case, Hikari learns from the doc that Iroha’s birthday is imminent, and his mom rustles up some amusement park tickets, because she knows damn well how useless her son is with cultivating romance. With help from Hikari’s trusty friend Itou, he creates a clay figurine of Iroha-as-magical girl to give her after a fun-filled day at the park.

This could have easily been weird and a little creepy, so I’m glad it turned out to be a very sweet and heartfelt gesture. He worked long nights during which he’d otherwise have been gaming to craft something of sufficient quality, then offered it at precisely the perfect time as a surprise, complete with a pretty good line if you’re in high school: “You also use magic. When I’m with you, amazing things constantly happen.” For that, he gets a kiss, and since they’re in a Ferris Wheel, there are no interruptions.

Hikari and Iroha made a lot of progress this week towards learning more about and understanding one another. But the fact remains she’ll be out of his life again in less than half a year, and it’s already tearing him apart inside. But if it’s truly love between these two, I’m sure a way can be found to avoid permanent separation.

Koi to Uso – 07

Neither Yukari nor Ririna are remotely ready for…whatever it is Yukari thinks they have to do to not get penalized, so it’s a huge relief to see that they don’t make love here and now.

Romantic feelings have only just started to well up in Ririna’s heart and challenge her head, and it’s never occurred to her until now that her head could lose. She’s afraid of the person she becomes when Yukari gets so close to her, because it’s a person she simply doesn’t know.

As for Yukari, he’s so scared that they’re being watched to make sure they do it, he gets it in his head to try to “pretend” in order to fool them. That’s all you really need to know to determine that his head is already fighting a losing battle…and it wasn’t that great a head to begin with.

Saying the word “pretend” anywhere near an already vulnerable and confused Ririna is just a terrible move, but at least Yukari apologizes, and when she says she just needs some space and time, he gives it to her. You’d think the classic “cultural festival play” scenario would take his mind off of things, but…wait, what am I saying? SHIT no it wouldn’t! Yukari’s a dreary mess.

At least, I thought to myself, Yukari wasn’t chosen to play Juliet. When Yukari drops the figure Ririna gave him and takes a hammer strike to the hand to protect it, he ends up in the infirmary, where a worried-sick Misaki enters, but takes a few moments to collect herself before talking.

She and Yukari haven’t talked in almost a month, because she’s instituted a “Neji ban” on herself, lest fall even more in love with the guy. I would say the ship has sailed on that.

When Yukari is vague even when pressed—saying ‘some things happened and I hurt Ririna’s feelings’, Misaki uses her strong diplomatic ties with Ririna to try to learn more from her. In the process she remembers a story from middle school when Yukari made the best hotcakes, and Ririna learns he can cook.

Still, Ririna says she doesn’t want to see him, but feels terribly lonely without him. Wellsir, whatcha got there is a bad case of being in love. Misaki’s spirits plummet when she hears this, because now she and Ririna are both trapped in a spiral of longing and guilt, trying in vain to organize or balance their feelings with the other person’s.

It turns out Yajima, the ministry officer who messed with Yukari last week was in virtually the same position Yukari now finds himself in. The girl in question who he loved is his Ministry colleague Ichijou (the redhead), who don’t you know it, offered to reject her official match if he, the man she really loved, married her instead.

But he BLEW IT, and now he works beside that person every day, hiding the feelings that have never fully dispersed, and taking it out on poor innocent, dimwitted burial mound enthusiasts. Joking aside, Yajima doesn’t think their situations are truly identical, because in Yukari’s case, even as he harbors feelings for Misaki, he’s developing feelings for Ririna as well.

Yajima recommends Yukari not think too much, since teenagers aren’t good at that anyway. Instead, he should act, and he does, by writing Ririna a long text from the heart telling her how he felt about her taking an interest in his interests, and hoping they can go see burial mounds someday.

Ririna doesn’t respond by text that day, to Yukari’s further dejection, but in the morning post a beautifully hand-written letter from Ririna arrives, which is even more honest and moving than Yukari’s text. It even moves him to tears…in front of his mom! In any case, while trying to fix things and getting discouraged, Ririna wrote exactly what was needed to cheer her future husband up.

It certainly feels like they’ll be even more on the mend next week, but now that Misaki is certain that Ririna also loves Yukari, she finds herself stuck between supporting her friends and wishing them the best, and the selfish girl wanting the giant toy in the window.

Misaki believes she has the power to influence (i.e. advance) their relationship with just three words to Ririna—you’re in love—but wasn’t able to when they met up, and probably will continue to have a great deal of difficulty ever doing so, and with good reason: she’s not a masochist!

Koi to Uso – 06

Whoa, hold on, what are Yukari and Ririna doing, making out in bed? Oh, it’s just Ririna’s first sexy dream about Yukari. Little did she—or I—know that by episode’s end that dream would become shockingly close to reality.

This is due to a combination of factors, including a genuine growing affection for one another as they get to know each other better, the scientific process by which they were chosen to marry one another, and oh yeah, a ruthless alternate-universe Japanese government that is NOT FUCKING AROUND when it comes to population growth.

Yes, this episode checks in momentarily with Misaki and Nisaka, and new characters are introduced in Ririna’s new friend Arisa and Yukari’s middle-school classmate Igarashi, but thankfully the focus is on the two people that aggressive government program determined should get hitched, get it on, and have at least 2 children.

To that end, everyone who recently got their notices are instructed to leave school early and report to…a hotel…uh-oh. The strangeness of the situation is definitely felt by our surrogates, Yukari and Ririna. He sees aa classmate with his “pre-Yukari way-out-of-his-league” future wife, and turns inward to wonder if people look at him and Ririna like he’s looking at them.

Then that very thing happens. Ririna arrives sporting a new hairstyle and the gift of a creepy figuring that Yukari loses his shit over. He has a gift for her two, and his classmate and future wife marvel at how well this system seems to pick people who clearly like each other.

Both Yukari and Ririna bristle at that, but as the afternoon progresses, The State systematically runs roughshod over whatever doubts and reservations the two may have. Indeed, Ririna, having only recently researched French kissing, is particularly uncomfortable with all the sex talk going on by the Ministry’s presenter, a True Believer in the Yukari System if ever there was one.

Condoms are passed out. The now-healthy birthrate is mentioned to tout the success of the system. Sex is healthily discussed in terms of its physiological and mental benefits, in addition to just feeling good. It’s gotta be a lot to take in for a bunch of 16-year-olds, and that is no accident on the part of the Ministry.

After concluding the lecture with a very informative porno that leaves Ririna shaking and Yukari desperate to keep Misaki out of his head, all of the husband-wife pairs are assigned hotel rooms and ordered to spend the night together. A random Ministry guy hinting (in jest) that they’ll be “watched” and an overheard rumor about consequences for “not banging” only hikes up the pressure.

Before they know it, Yukari and Ririna are alone in a tastefully lit, comfortable room, staring down a big bed. There are no chairs, as Ririna helpfully points out. Yukari is LOSING IT. He’s stuck in his head, and at least finally realizes it, but when he tries to think of what he can do for Ririna, what he comes up with mirrors the beginning of her dream in which they make out: he pins her to the bed. As she awaits the next move, the episode mercilessly (or mercifully) fades to black…

The Yukari Law was born out of necessity. Japan’s birthrate hovered around 1.46 births per woman in 2015. That’s just not good enough to make up for the people aging and dying. There’s no telling what the economic, social, and cultural consequences will be, but you can bet they’ll be bad. Robots aren’t the answer. People study and work too much to get by or get ahead. Family often takes a backseat to success. A lot of younger people just don’t want it.

These are the harsh realities that face the Japan here, in our world. And while it’s doubtful anything as comprehensively invasive as Yukari will ever be implemented, Koi to Uso still serves as a kind of thought experiment in which a relatively simple fix is applied: get people to make more babies. Simple in concept, but ridiculously complex and problem-fraught in execution.

Its exploration of that what-if scenario, with a focus on four youths going against the grain, is as unsettling as it is riveting.

Nisekoi 2 – 04

I suppose it was predictable that Hana-san would turn out to be a better person than last week made her out to be, so I’m glad I was on the right track in hoping there was love behind her tough, intimidation, uncaring exterior.

A great symbol that Raku and Chitoge were both wrong about her is the cut to her breaking off a piece of her cigarette and eating it. It’s candy she uses for her oral fixation; she quit cold turkey when she got pregnant with Chitoge.

Even so, Hana is not the world’s best mother, though she provides for her daughter. She said all those harsh things out of the mistaken impression Chitoge hated her, for raising her strictly, as she was raised.

She has a drawer full of personally-chosen Christmas presents for her dating back ten years, but has never found the right opportunity to give them to her, and always asks her age because she’s nervous and isn’t sure how to treat her. There’s no bitterness or apathy here; only a lack of communication.

Enter Raku, with his most selfless and awesome heroics yet. It’s up to him to get these two very similar women in his lives who love each other deeply to overcome their misunderstandings about each other, while getting Hana to stop hiding behind her job and face her daughter properly.

It’s unfortunate Raku and Chitoge’s entire class, including the rest of his harem, is present when Raku whisks her off to a five-star hotel room, but there’s simply no time to explain. :3

Not knowing initially what his gesture’s all about, Chitoge is also flustered and overwhelmed, but when Raku explains on the way and asks her to simply “trust in him”, she does so without a fuss, nestling her head into Raku’s back as he pedals with all his might for her and Hana’s sakes.

Hana almost gets away on her private jet, but Raku manages to catch her on the phone, and puts Chitoge on the line to basically beg Hana to come back. Like any momma, the distressed cries of her young create a powerful urge for her to return to her offsprings’ side.

The resulting reunion on the runway goes from hilarious (Raku and Chitoge have to avoid being run down by the landing jet) to so heartwarming one forgets it’s Christmas and snowing out. Nice work, Raku!

Raku gives the hotel room to Hana to spend some quality time with her daughter after they go out to eat, and Chitoge finally learns why she treasures her red ribbon so much: it was the same as a character in a book she loved as a child, and ten years ago during the summer they spent together, Raku told her she’d look good in it.

All this time she’s treasured it because it was a connection to her distant mom, but it also connects her to Raku, which combined with her current feelings for him, lends Chitoge an extra layer of destiny to their reunion ten years later.

With that, Hana tells Chitoge to be a good girlfriend and go to the one who made their wonderful evening of reconciliation possible. Raku really worked his ass of this week like none other, so Chitoge doesn’t wake him up, but puts his head in her lap and enjoys the warmed of the guy she loves.

As for Raku himself, Hana doesn’t offer any revelations about his locket, but does figure out they’re pretend-dating, and wonders out loud if his feelings are really a sham. We know they’re not, and Chitoge’s certainly aren’t, but it’s more complicated than just that, especially in a post-credits scene with Kosaki expressing her relief to Ruri that Raku and Chitoge didn’t really spend the night in a hotel. Kosaki isn’t the best girl right now, but Raku likes her a lot too, so the battle is far from over.

Nisekoi 2 – 03

After a brief detour with Tsugumi last week we’re back to Chitoge. Specifically, Christmas is coming around, and she’s not particularly worried about how to spend it with Raku or the rest of her friends or anything else. Rather, her mind is preoccupied with the impending arrival of her mother, Kirisaki Hana, who is so busy Chitoge only sees her about once a year. Still, from Raku’s perspective, the fact she makes it a point to come ever Christmas Eve means her mom can’t be all bad.

His ridiculously easy defense of Hana would soon be thrown in his face, as Hana is, for all her corporations and billions of dollars and imposing aura, is an emotional deadbeat. Her first question to her daughter is “how old are you”, and while Raku knows Chitoge is wearing the red ribbon her mom gave her years ago, all Hana tells her to replace the ratty thing.

When her umpteenth secretary keels over from over-work (clearly she isn’t even the best manager of people, if she expects everyone to go at her literally peerless pace) Hana conscripts Raku as a kind of test to see if he’s worthy (with the promise of a five-star hotel suite for him and Chitoge to spend Christmas Eve if he succeeds).

Raku is a capable fellow, so he manages to get by by the skin of his teeth. When he finally gets a break he calls Chitoge up, worried she may be feeling down. After spending the day with Hana, he feels she should try being upfront about wanting to see her, not Raku, on Christmas Eve.

There’s no inner monologue mention of Chitoge’s present feelings for Raku, and at least on the outside this week she tries to keep a distance from him in the affection department, but it’s nice to see that even in an episode where her love life is on hold due to family issues, Chitoge still can’t help open up to her real/fake boyfriend, and is clearly heartened and grateful by his advice.

But the pace of this episode just didn’t indicate to me this was going to be resolved with a nice happy lovey-dovey ending with Chitoge and her mom. Chitoge tries to grab hold of the swirling tornado that is Kirisaki Hana, but ends up recoiling her hand, burnt by the sheer winds. Chitoge could maybe be clearer and more emphatic, but her mother cuts her off and hangs up, leaving her feeling like just another of her thousands of twenty-second calls with underlings.

Raku is there in Hana’s office when she rejects her daughter, and gosh bless him, he braves her wrath to call her out. Hana’s noblesse oblige self-defense is thin, and a little pathetic. Sure, there’s no one else who can do what she does quite the way she does it, and she’s needed everywhere all the time, but she’s also the only mother Chitoge has, and Chitoge needs her most of all.

If Hana’s corporate empire is so delicate that a month or a week or even a full day in which she’s not intricately involved in every facet of it will cause it to collapse, then it’s not much of an empire, is it? I get it; she had Chitoge when she was very young; maybe a part of her sees her as a mistake; a living breathing symbol of the failure she narrowly avoided. But I want to think somewhere in that cold, micromanaging heart of hers there’s some genuine love mixed in with that bitterness.

Still, Hana doesn’t deserve a daughter like Chitoge. She deserves Xanthippe Lannister Voorhees. Well, Xan’s “bad-girl” persona, anyway.

Saenai Heroine no Sodatekata – 06

An ongoing theme in Tomoya and Utaha’s friendship has been mutual inspiration. In their first encounter (they’re classmates, but hadn’t interacted before) Tomoya expresses how much Utaha’s work inspires him the moment he steps up to her table at her book signing. His remarks leave an instant and lasting impression. Fast forward to that “fateful” snowy day when Tomoya declines to read her latest manuscript.

Utaha, you see, never come out and told Tomoya he inspires her as she did him. Offering him the manuscript is her way of showing it. But he rejects that approach, and even though it’s for perfectly understandable reasons—he’s a fan, and doesn’t want to influence her creative process any more than he wants a sneak peak at an unfinished work—it still feels to Utaha that he’s rejecting her, which wounds her deeply.

Utaha had never quite forgiven him for that…until this week, which is another showcase of Saekano’s knack for placing its characters in relatively confined, intimate places. Even Tomoya’s date with Megumi at the mall felt like it, since the crush of people made them have to stick that much closer together, and the mutual fun they were having made that crush blur and fade into the background, until it was just them.

The confined space here is more concrete: a hotel room, where Utaha was going to spend the night, but invites Tomoya in when he drenches himself in the rain in the act of what she deemed as chasing after her. It’s an assertion he can’t and won’t deny, though he wasn’t expecting to end up on a bed with Utaha, both of them in bathrobes and nothing underneath. The optics are a constant source of nervous titillation, but I frankly like how it puts the two on the spot.

Bathrobes concealing nakedness and nervous joking aside, Tomoya cut his date with Megumi short because he now knows what doesn’t sit right with him about her first scenario draft. He didn’t like how they left things in the club room, but at the same time, were it not for his date with Megumi, he wouldn’t have been able to express his reservations anyway, which ironically reflect the positions Megumi and Utaha occupy with regards to Tomoya’s life.

Utaha’s plot is much like her plot with Tomoya thus far: seemingly bound by fate, or from a past life; something sprawling and dramatic and epic, like spending the night in a hotel room (but this is all-ages, so…) And Tomoya likes that, but he’s found he also likes what Megumi brings to the table: a steadfast decency wrapped in utter normality; the beauty of the mundane; the way a flat character can draw a reader when suddenly big suddenly happens. Megumi isn’t bland; she’s universally relatable.

God, the timing, framing, and sound effects of this little sequence were so deliciously awesome. Utaha types away in this new direction, but she’s clearly upset by it; it’s as if the romantic ideal she represents has been suddenly usurped by Megumi. Both reality and the fiction being discussed and created are inextricably linked in this show. But Utaha and Tomoya do work all night, and the fact that she was able to summon this much passion and belt out something both of them can be proud of is a testament to the mutual inspiration I mentioned earlier.

When Utaha gets dressed and prepares to set out for her busy day, she doesn’t hesitate to make a joke about post-evening afterglow, not to mention the fact she wickedly took a picture of her in bed with Tomoya while he was asleep and made it his background.

But while there wasn’t any of that kind of action last night, it was still a night Utaha will cherish, because it showed her, just as it showed us, that Tomoya isn’t just her muse, but has the makings of a great creator in his own right. She leaves that hotel room feeling a lot better about the two of them, but not just because of the progress they made with the plot, but in the battle for Tomoya himself.

Rewinding to yesterday, Eriri “bumps into” Megumi at the mall and sketches her, which is clearly her way of commiserating over the fact that Utaha is off somewhere with her Tomoya. Misery loves company, so it gives her great solace to see that when properly stimulated, she’s able to pull back Megumi’s stoic mask just that little bit.

Like Utaha’s “coup” this week, this not only makes Eriri optimistic about developing a good heroine from Megumi, but also that she’s still in the running for Tomoya. Megumi is adorable, but she’s not invincible.

Koimonogatari – 05

Hanekawa explains the town’s events to Kaiki, as well as her impression of Sengoku as someone who doesn’t actually love anyone. Kaiki continues to visit Sengoku to curry favor. The day to deceive her arrives, and he and Senjougahara share a bittersweet phone call. Ononoki meets with him to warn him, out her and Gaen’s concern for his well-being, that he will fail, as he failed to resolve the situation with Senjougahara’s mother. At the shrine, Kaiki tells Sengoku wishes spoken out loud can never come true, and she won’t be able to kill Araragi, Senjougahara, or Oshino, because they died in a traffic accident. Sengoku immediately detects deception.

The past four episodes we’ve seen a Kaiki thoroughly throw himself into the role of investigator, carefully collecting information while carefully manipulating Sengoku into liking and trusting him for the big day when he deceives her. He’s been a picture of efficiency and competence. But as he himself admits to Ononoki, he has no more idea of what he’s doing than anyone else in the world. That proves true in the very last scene, when he’s unable to take candy from a baby. For all her childlike dalliance, Sengoku sniffed out his lie immediately. So it sure looks like he’s failed. More to the point, Gaen, who knows everything, said he would fail, so failure was inevitable.

The question is, why? The never knowing exactly what your doing is part of it, but there’s something else too. Regardless of whether he’s merely putting on a tremendous performance deceiving Senjougahara and us, the audience, Kaiki must be defined by his actions and not his words. Again, as he said, the moment thoughts and wishes are given form in words, they become dramatized and lose their power. The words he exchanges with Senjougahara during their long conversations may have been all over the place, but his actions speak for themselves: affection for her plays a role. there’s a sutble paternal concern and disapproval lurking beneath his digs at Senjougahara’s relationship with Araragi.

When answering what she sees in the boy, she says first and foremost: “He’s not you,” something a daughter might say. There’s been a strong familial cordiality to their dealings, and as the mission is about to wrap up, both admit a part of them will miss each other’s company. Kaiki has always marveled at how Senjougahara has survived and endured her life despite seeming so fragile. She is a miracle to him, one he feels compelled to preserve at all costs. This arc hasn’t documented a strictly dispassionate business transaction. It really has been a love story…just not the one we expected.

Rating: 8 (Great)

Stray Observations:

• Interesting name drops this week: the vampire Episode, whom we have only a cursory familiarity with, and Numachi Rouka, who we don’t know at all.
• Kaiki is still keeping secret to everyone what was in the forbidden closet, dismissing its contents as unimportant. Wonder if that will change now that he’s failed to deceive Sengoku…
• Gaen/Ononoki’s attitude towards Kaiki shifts this week their concern he’s meddling in a town where Gaen has plans, to something like genuine concern Kaiki is repeating history, to the detriment of his physical and emotional well-being.
• What’s Kaiki’s next move? Will he be shocked Sengoku didn’t believe his story? Will she add him to her kill list? Or was his lie about the accident merely his first move, with many to come?

 

 

Koimonogatari – 04

Kaiki finds a note reading “Stay out of it” on the floor of his hotel room. He flushes it and calls Senjougahara, reporting on his encounter with Ononoki and Gaen’s warning. The conversation evolves to a discussion of whether anyone is aware of Senjougahara’s contact with him, then Senjougahara warns him about visiting Nadeko too much, lest he become “charmed” by her; he considers scaling back his visits. The next day he gives Nadeko an offering of ¥20,000, more string, and a bottle of Sake, which she accepts. When he leaves the shrine he encounters Hanekawa, who is back from overseas to exchange. They share a cab back to the city and meet in her hotel room to exchange information.

In case there was any doubt, this episode makes it abundantly, cymbol-crashingly clear: we’re dealing with noir here. He may not wear a hat or smoke a cig, but Kaiki is every bit the cynical, trench-coated, hardboiled private dick, while Senjougahara is the Damsel in Distress. The overarching mystery to be solved? How to keep her and Araragi alive. In this regard, Nadeko is the mob boss Senjougahara owes, big time, while Gaen represents the commissioner warning him to stop snooping around her town, while Ononoki being her beat cop liason. Finally we have Hanekawa: while she may not carry herself like a femme fatale, we know from her striped hair and troubled past that that’s kinda what she is.

What made this episode and the arc in general so enjoyable is that it pays homage to those historic, timeless archetypes while putting a decidedly Monogatari twist on them. Indeed, it’s twisting them into a cat’s cradle; something of a very precise pattern and structure; every movement fussed over. Kaiki’s call to Senjougahara is sumptuously decorated by the constantly changing colors on Kaiki’s phone, the undulating patterns on the floor and walls, and the dazzling city outside. Dotted with natural gas flares and sporting a giant LCD panel showing Senjougahara performing very familiar movements, things get very Los Angeles 2019…”Kaiki Deishu” even sounds kinda like an anagram of “Rick Deckard”. Will we get the abruptly happy ending the financiers pushed for here as well?

Rating: 8 (Great)

Stray Observations:

• Kaiki’s shower requires comfort with one’s own body, as it displays it for all to see, as rich people’s showers tend to do.
• Not sure we’ve mentioned this before, but we love Kaiki’s notebook is full of chibi diagrams. The art style is identical to the Bakemonogatari next episode previews, the Fire Sisters’ first appearance.
• Kaiki pulls a Catherine Tramell in Hanekawa’s room.
• We never did find out what was in Nadeko’s closet, while this week we don’t figure out exactly what Hanekawa has to say.
• A couple more references: Kaiki’s red sports car in the OP is very Magnum P.I., while Tokyo is lit much like Neo-Tokyo in Akira.
• Another nod to black-and-white of film noir: Tsubasa’s B&W hair.

Sukitte Ii na yo – 11

Kai confronts and lambastes Megumi for trying to bring Mei and others down. When Asami and Aiko tell Megumi that Yamato and Mei are going to spend their first night together, she tries to bribe them and fails. Her attempt to banish Momo from her circle of “friends” also backfires, and they all abandon her. She leaves the agency before her shoot and pigs out on junk food in the dark. Meanwhile, Yamato and Mei spend the day at Land. Their plans are sidetracked when they’re stuck with Nagi, but they stay at the hotel anyway, and settle for spooning. In the morning the modeling agency calls Yamato saying they can’t get ahold of Megumi.

We knew Megu-tan would be in for a world of pain following her abortive scheming last week, and indeed, the hammer of reckoning comes down hard on her. However, we didn’t expect that witnessing her comeuppance would result in us actually feeling sorry for her. Damn you, Sukitte Ii na yo! Why can’t she just be one-dimensionally evil like King Oberon! We kid. Basically, Megumi’s current situation is the result of going down the wrong road to happiness: making herself cute and beautiful, becoming a model, and using her fame and wealth to make friends. The thing is, none of this is making her remotely happy. After a particularly bad day in which everyone gives her a dressing-down at once, she decides she’s had it, retreating to her flat to gorge on chips of various kinds.

The episode does a great job balancing Megumi’s downfall with the rise of Yamato+Mei, one more thing Megumi isn’t happy about. The episode teases us with the possibility of the lovebirds spending their first night together, but their chance encounter with Nagi puts the kibosh on that right quick. But as contrived as that happenstance was, we didn’t really mind it that much. We just couldn’t see Yamato and Mei jumping into the sack so suddenly considering their mutual nervousness, and their decision to take it nice and slow is true to their characters. They probably could have come to that decision if they’d had the room to themselves, but Nagi just made it that much easier. What we fear, however, is Megumi and/or Yamato feeling guilty for Megumi’s meltdown.

Rating: 9 (Superior)