Itsudatte Bokura no Koi wa 10 cm Datta. – 03

Miou and Haruki had started to grow just a little bit closer to one another, but the sudden revelation that Haruki’s brother died saving Miou throws their intercept course, as it were, way off, until Miou is suddenly sprinting in the opposite direction.

Even when Saku tells Miou Chiaki was always frail but nevertheless risked himself to save others. Miou living a good life for his sake is “how it should be”, and Miou shouldn’t feel any shame for being the one who was saved.

But she does. She blames herself for Chiaki’s death, and doesn’t see how she can even face Haruki, let alone talk to him, let alone close that 10cm distance.

So Miou suddenly disappears from the center Haruki’s life. She doesn’t get near him or talk to him, and flakes out on the painting competition.

Haruki wonders if there’s anything he did or said to cause Miou to change like this; and he can’t come up with anything, which only increases his frustration. That frustration makes it difficult to focus on editing the film.

When he finally catches her on the rooftop at lunchtime, Miou attempts to retreat wordlessly. Haruki bars her way, and tells her she has to tell him what’s wrong or he won’t understand.

Since there’s no way Miou can tell Haruki what’s really wrong, all she says is that “she’s no good”, and he shouldn’t talk to her anymore.

Haruki’s friends are worried about Haruki, and can immediately tell he’s distracted from the quality of his work. Haruki is mad, because he’s helpless to discern what’s wrong with Miou. Without revealing him the secret he and Miou share about Chiaki, Saku only tells Haruki that Chiaki would have “done what he believed was right.”

All well and good…Haruki doesn’t know what to do! That night Haruki reminisces about how kind and loving his big bro was, and how strong and brave he was, never letting Haruki see him so much as frown, despite his body continuing to deteriorate.

Honestly, I feel for Miou. I don’t know how you’d comfortably broach the topic to Haruki of who saved her from drowning and what happened to that person. I guess you simply don’t do it comfortably. It’s not a pleasant thing to do, but it’s the truth, and I’m of the mind that truth has to come to light if there’s going to be any future for Miou and Haruki.

Both Miou’s secret, how she handled it, and the sudden notice that Haruki has won the chance to study in America, conspired to make this episode feeling very somber, even fatalistic. Here’s hoping next week will bring a ray of light to cut through the gloom, if only a bit.

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.

Shokugeki no Souma 3 – 06

Dark times would seem to be ahead for Totsuki Academy, as Azami is formally elected director by the Elite Ten (well, six of them anyway). His inauguration speech is pretty normal and humble, leading some in the crowd to think “huh, maybe he’s not that bad.” Oh, he’s bad.

Azami moves quickly to isolate Erina, summarily relieving Hisako of her role as her secretary, stating that all Erina needs is her father, who promises “he’ll always be by her side”, which is not only inaccurate (he has most certainly not been by her side for some time) but feels ominous and threatening. Worse still, Erina is incapable of defying her father. What the hell did he do to the poor girl?

Just as Souma is wondering how Erina’s grandfather Senzaemon is dealing with his sudden retirement, the super-cut senior shows up at Polar Star, bringing his impressive set of muscles and his stirring leitmotif. Amazingly, it’s the first time the two have met and talked face to face.

Souma accompanies Senzaemon on his routine evening training, and can barely keep up despite his youth; but for all his physical strength and wisdom, Senzaemon laments there is little he can do about his situation. However, a former student of his (Souma’s dad Jouichirou) told him Souma may be only person who can save Erina from Azami’s wrath.

We get a peek at that wrath, as Erina, once a vibrant young lady who loved to laugh (and also loved her cousin Alice) was essentially brainwashed by Azami into having an extremely narrow and critical manner of assessing taste.

Erina rightly knew that it’s wrong to waste food, but he broke her of that, and with the threat of violence and abandonment, molded Erina into his instrument. He even threw away all of Alice’s letters from Sweden, making Alice think she never wrote back out of malice. What a dick this guy is! I just met him and I already hate his guts.

Erina has been getting better since Senzaemon exiled Azami, and has made friends—first Hisako, and eventually Souma, though she’d never admit it—but now that Azami is back, she could revert back very quickly, as his power over her is all but absolute and she lacks the means to fight him.

Thankfully, just as Azami is moving quickly to put his bird back in a cage, that bird’s friends move just as quickly to prevent that from happening. Enter Alice and Ryou, who encounter a beside-herself Hisako and spring into action, getting Erina out of Nakiri Manor.

The question is, then what? As various options for where she should be harbored are shot down for various practical reasons, and a heavy rain starts to fall, Erina considers giving up and going back, lest she cause problems for her friends.

But those friends would much rather have those problems than let Azami take her from them. Her retreat is interrupted by Megumi; the rescue group and Erina have stumbled upon the grounds of Polar Star Dormitory. Megumi welcomes them all in to shelter.

Souma arrives from his talk with Senzaemon to find the one he’s supposed to save in his dorm, which must feel pretty surreal. When the prospect of harboring her is floated to the other dorm members, they’re mostly weary…until Hisako tells them the story of how Erina grew up, and they instantly change tack, welcoming her with open arms and appalled she had to go through such hell.

This is another reminder of how nice and close-knit the occupants of Polar Star are; it goes beyond cooking (though they are excited to feed the God Tongue and hear her critique their cuisine); they’re a family, and are more than willing to welcome another member to that family, especially if there’s nowhere else she can go.

Souma, for his part, is pretty hands-off, which is just as well; the warm and caring nature of Polar Star is such that he can depend on them to keep her safe even when he’s not around. He may not have promised Senzaemon he’d “save Erina”, but he does want to get her to earnestly call his food delicious…which is pretty much the same thing, when you think about it.

There are certainly dark clouds in the horizon as Azami tightens his grip on power, and there’s no telling what he has in store for those who try to steal away his God Tongue, the linchpin of his so-called “revolution” that will transform Totsuki into a “Utopia” (which, if you’re recall, means “place that cannot be”). Let there be no doubt: Nakiri Azami is a bad man who has done awful things, and he must be opposed and defeated at any cost.

This was one of the strongest Food Wars episodes, and it didn’t need to get anywhere near a shokugeki; all it needed to do was unleash the tremendous collection of characters it has nurtured, and all I needed to do was sit back and watch the wonderful spirit of togetherness and solidarity surround Erina in her hour of most dire need. I’m even more excited than last week to see where this goes, particularly when in regards to Souma and Erina.

Subete ga F ni Naru: The Perfect Insider – 09

subf91

This is Hannah filling in for the Magical Churl, Preston.

This week Magata Labs opens up; not only do the police arrive, but so does Moe’s rival in love, Gidou Setsuko, whom we hadn’t seen since the pilot. Not only does she make fast friends with Shimada (though later denies it as they get drunk together), but she also wastes no time effortlessly pushing Moe’s buttons by describing how Sohei uses her place “like a hotel.” Moe, a brilliant but very emotional young woman, finally purges the thought her man actually did as Gidou claimed.

subf92

With the police there, and unwilling to maintain the fiction that Magata isn’t alive for a week, the time to solve the locked room murder mystery grows short. After looking at the video files and the code that recorded and compressed them, Saikawa has a pretty good idea what happened, and encourages Moe to deduce it for herself rather than telling her.

She comes up with the theory that Magata Shiki entered the room with child, and the child she’d give birth to was the one who murdered her. But he still doesn’t know how that child left the room, when there’s no record of it. That is, until Moe provides a spark to a new line of thinking, as she promises she’ll solve the case “more or less” by 7:00 PM.

subf93

That “more or less” gets Saikawa thinking about how the release of Red Magic and the more recent blackout effected the labs’ clocks. Turns out they were delayed by a minute, so when the system went back on, a minute of footage was overwritten—the very footage of Shiki’s daughter leaving the room.

It was just a minute, but it was all she needed. Saikawa rushes to Shimada to confirm, to find her drinking with Gidou. And you have to hand it to Horie Yui and Hikasa Yoko, they know how to shoot the breeze while downing brewskis.

subf94

One of the final pieces of the puzzle comes when he and Shimada do some hacker stuff (I’m no expert) and find some suspicious code many tens of thousands of hours ago governing Dr. Magata’s door. Saikawa then avails himself of Moe’s talents, asking her to multiply 256 by itself, then calculate how long ago 65,535 hours before 7:00 AM two days ago.

It only takes her a few seconds to determine it was Feb. 10, 4:00 AM, seven years ago: the day and time Red Magic version 4 came online. And that version was always meant to go haywire exactly when it did, orchestrating the events that led to the murder of Magata Shiki and Shindo. This is one of the always-adorable Moe’s finest moments, and she savors all the profuse praise Saikawa sends her way.

subf95

When Moe’s uncle arrives at the lab, it’s past 7:00 PM and time for Saikawa to make his presentation on the locked door murder. Specifically, he intends to tell the killer herself, thereby inducing a confession due to said killer’s pride. That killer would be “Michiru”, the alternate personality of Magata Shiki, who now resides within the lab’s computers.

In effect, Shiki got what she always wanted: she shed her limiting physical body. And now she’s finally “meeting” Professor Saikawa. We’ll see if he’s able to impress her, as Moe impressed him (and me, and everyone else) with his brilliance. And let’s not forget this latest epiphany only came because Moe mentioned how it didn’t really matter whether his watch was off or not with regards to solving the case by or around 7.

8_brav2

Subete ga F ni Naru: The Perfect Insider – 08

subf81

After spending much of the previous episode apart, this episode almost revels in pairing up Moe with Saikawa once more. With dawn approaching and the police soon on their way, Moe believes she can get her uncle in the police department to keep Shiki’s murder a secret for the length of time the lab needs; that way no one has to lie. Moe goes to the roof to try to determine how Shindo’s killer could have gotten on or off the roof from the outside, but more than anything she’s just happy to be with Saikawa.

subf82

As for that sunset, it’s a really lovely scene during which the sky gradually lightens and the sun comes up over the trees as Moe and Saikawa lean on the rail, enjoying each other’s company. Moe talks about how she hurt her when she lashed out in her mad grief all those years ago, but Saikawa never held it against her; “glasses can be fixed.” It was more important to him that Moe knew she wasn’t alone, even though her parents were gone.

subf83

The pleasant domestic theme continues when Moe takes a shower and Saikawa makes a hearty breakfast of bacon & eggs, and then Saikawa lets Moe doze off for a few hours, then for the two to keep each other company during a slightly scary blackout as the lab’s computer is rebooted.

Saikawa notes how differently he and Moe think: he sees the path and carefully walks along it to find the answer, while Moe grasps at random facts and tries to make connections. Saikawa implies Moe has much to learn, but can’t deny that she presents ideas that he wouldn’t have come up with. They make a good team.

subf84

With Moe, who feels much lighter since  by his side in the dark as he puffs away at a cigarette, Saikawa comes upon what he believes to be a truth that may turn everything on its head: the Magata Shiki Moe spoke to via teleconference wasn’t really Magata Shiki. The episode also brings up the possibility of passing Miki off as Shiki, despite being taller and more filled out…but what if Miki IS Shiki?

What if that whole English conversation Saikawa had was with Shiki? Could the whole “sister” thing be one long con? Or, even more distrubing, did Shiki cut off Miki’s longer limbs to pass her corpse off as her own, thus faking her death? Shiki considers bodies mere containers, so she’s definitely capable of it.

All this time I’ve been operating under the assumption Shiki was definitely dead, even if a part of her still existed in, say, the computer system. But now even that fact is in dispute. If Miki is Shiki, that’s a whole new ballgame.

8_mag

Subete ga F ni Naru: The Perfect Insider – 07

subf71

This week Saikawa and Moe have very interesting encounters and conversations; I just wish the vehicles for those conversations weren’t, in the case of Moe (at least initially), an overly aggressive otaku researcher Shimada, and in the case of Saikawa, what felt like fifteen years of Kase Yasuyuki and Kaida Yuuko speaking in very rough English. Hey, Anime: If the seiyu isn’t fluent, don’t make them play a fluent character. This. Never. Works.

It’s ironic that Moe ends up plunging into a sensory deprivation chamber, where she’s closed off from the outside world, because the bad English pulled me right out of the world of Subete ga F. It was painful, but I don’t blame the seiyuu; at the end of the day the producers and director have to step in and say this isn’t going to work. I get it; Miki is from America…but why can’t she just speak Japanese? People speak a lot of languages in America.

I don’t want to belabor the point any further; I just hope there’s little to no more such dialogue in the final four episodes. Because the content of the conversation was actually pretty poignant and enlightening. By talking with Saikawa, Miki is able to summon a memory of when she hurt herself, and Shiki told her the human body is only a container for the brain; a mechanism; a doll.

subf72

Miki also suspects that while they never met, Shiki and Saikawa would have gotten along, because she thinks they’re probably pretty similar people, hiding intense emotions behind a cold, sterile exterior. Shimada actually likes how “cold” Saikawa seems, even if Moe says he’s actually very nice. Shimada also likes how warm Moe is, and while she says Moe doesn’t have a chance with someone she deems the opposite “temperature”, it’s not like hot-cold relationships are impossible. Opposites can attract and compliment each other.

Once the English conversation is over, we dive into Moe’s mind, no longer receiving signals from her senses in the deprivation tank. This is what Shiki was getting at: in the tanks, humans shed their bodies and shed the physical world, and the brain takes over, creating worlds from the stuff stored inside. Moe’s dreamscape starts by chasing Saikawa around campus, defying gravity and physics in the process. It’s very light and fun…until Saikawa’s office turns into the room where Moe spoke to Shiki.

subf73

This is where Moe’s trip to the tank seems more than a mere lark by Shimada to see her in a bikini, but a legitimately profound, eye-opening experience. A “dream Shiki” purports to have been “called there” by Moe, where they continue their past conversation. Moe’s parents died in a plane crash, Moe was distraught, and the purple dress she wore that day was thrown out because it had become bloodstained.

Shiki helps Moe remember where that stain came from, which is the same reason Moe was able to survive despite losing everyone dear to her in her life. The blood came from Saikawa, who was there for her. Mad with grief, she struck him in the face, but that didn’t stop him from doing what had to be done, which is simply to hold her and allow her to let it all out. Moe wasn’t alone; she had Saikawa.

Now we know for a certainty why Moe cares for him so much, and stays by his side, and why he won’t reject her, but feels uncomfortable taking things in a romantic direction. Her flashback is a gorgeous sequence that made my heart hurt more than a little, and made up for all the Bad English earlier.

subf74

Shiki seems to be happy for Moe, but at the same time, she pities her and everyone else in the “restricted” physical world, where she’d clearly accomplished everything she thought she could. As more pieces of the puzzle fall into place, the possibility arises that Magata Shiki found a way to leave her physical body behind, and still exists somewhere in or about that lab, or possibly in the digital either. The end credits have been hinting at that all along.

On the other hand, everything Moe experienced was more likely all in her own straying mind. The Shiki she conversed with was really just herself. Sure enough, fifteen years ago, after taking the first steps towards freeing herself from the restrictive world by killing her parents, Shiki predicts that she and Shindo will one day be killed. All they can to in the meantime is “live righteously, believing in human pride.”

Is she speaking of her own pride and Shindo’s, or the pride of those who will eventually kill them?  If it’s the latter, than I imagine Shiki, tired of the physical world, wanted someone to kill her and send her to some other, immortal realm; to true freedom. But is that just death, or something more? And if no one could get in or out, did she kill herself, her body possessed by one of her three alternate personalities?

8_mag

Subete ga F ni Naru: The Perfect Insider – 06

subf61

With five episodes behind us and five ahead, we’ve reached the middle of Subete ga F, and it’s predictably a crossroads of a kind. Last week ended with a disagreement between Saikawa-sensei and Moe, as well as the introduction of a knife and Shiki likely bringing Shindo into her plan to murder her parents.

Saikawa and Moe have had access to numerous clues, but haven’t solved anything yet, so they return to the campsite, if anything just to get some distance from all the messed-up shit they experienced at the lab.

subf62

Alone on the beach, Saikawa goes over what they’ve learned so far, while Moe does the same in front of her educational colleagues, who wrongly assumed from her demeanor that she confessed and Saikawa rejected her.

She drowns her frustrations in non-alcoholic beer, but somehow, amusingly, gets drunk anyway. Some “non-alcoholic” beer can still be 1% ABV or more, but the can says 0.00%, so I don’t think that’s the case here? As for the can, it seems to be a cross between Sapporo (with the red star) and Kirin Free (white and green can). In any case, Moe is apparently a mean drunk.

subf63

Things get seedier on Saikawa’s end when Yamane offers him a bribe to be a party to conspiracy. They have a big NASA contract coming up, and the police discovering Magata would ruin over a year of work. Saikawa is disgusted, and returns to the other campers.

Later that night, after Moe’s slept off the NAB, she and Saikawa have a nice moment where Saikawa lights a sparkler and talks about how he used to fear fireworks and not comprehend how people could enjoy doing something he perceived as so dangerous.

That’s enough for Moe to deduce that Saikawa’s not leaving the island after all, which means neither is she. She doesn’t care how dangerous it is, she wants answers. She’s close to this, after all. And as long as Saikawa is by her side, she believes she’ll be fine. They go to Yamane and agree to stay quiet for a week if he gives them unfettered access to the lab.

subf64

United by their desire to see this through to the end and discover the truth for themselves, they restart their investigation with a full head of steam. Saikawa believes the killer wrote the three messages on the computer.

Moe discovers a change of elevator positions during the emergence of Magata’s body on the cart. Saikawa observes that all the encyclopedias on Magata’s bookshelf only go up to fifteen, the number of years she lived there. Is “fifteen” the “F” that one message said “everything becomes”?

subf65

Then the final kicker: we watch how the murder of Shiki’s parents goes down. When Shindo hesitates, she takes the knife she gave him and stabs her mother herself. He grabs her from behind, and they essentially plunge the knife into her father together, getting blood all over her and the doll in the process. She spares her aunt, who witnessed everything, and she looks extremely satisfied with how everything went down.

So there we have it: we now know how Shiki killed her parents, and maybe one of the reasons why as well (to free Shindo from the shame of their becoming lovers). It’s yet to be determined how much the details of this incident informs how and why Shiki and Shindo themselves were murdered, but as Moe—who like Shiki, is into an older man—said: Shiki seemed “overcome” by death.

But did she really go “mad” as a result of that? What is “madness” to someone with such a towering intellect? In the second half to come, I imagine we’ll find out; and hopefully it will be an elegant unveiling.

8_mag

Subete ga F ni Naru: The Perfect Insider – 05

subf51

It was probably present before, but this week more than others I noticed the common theme between the two “couples” in Subete ga F: Shiki and Shindo in the past; Saikawa and Moe in the present. In both cases, the men are unfulfilled, wanting more freedom but being tied down; fearing the very freedom they crave because of what it might cost.

And by the end of the episode both couples arrive at a turning point, as well as a philosophical impasse of sorts. The apparent murder case, so prominent last week, takes a back seat to how being in the Land of Magata Shiki is affecting Saikawa and Moe, even as they act out a very similar scenario to that of the now-dead couple.

subf52

Suffering vivid dreams of the day her own parents died, Moe ends up pumping Shindo’s still-in-shock widow for information. Losing her husband has left her untethered, floating free; but she doesn’t know what to do with herself, so she bakes too many cookies and is happy to tell Moe whatever she wants to hear about the day Shiki’s parents were killed.

But no matter how many details Moe learns, she comes no closer to understanding Shiki or her crimes, to say nothing of accepting them. It’s when she confers with Saikawa that a rift starts to form between them: the playful flirting replaced by increasingly harsh debate over who and what Shiki was.

subf53

Bright as she is, Moe wears her heart on her sleeve and owns herself. She doesn’t feel “tied down” by having one personality she settled on as she grew and matured as a human. Saikawa, however, feels more trapped, both by his job and by the decision most all people make when they grow up to eliminate the contradictions and choose one personality with which to interact with the world…and fit in.

He admires Shiki for never doing that even as she grew up; he even believes she was fulfilling more of her potential as a human than he or Moe or hardly anyone else. He even goes so far as to call her “pure”, which considering her murders and fooling around with her uncle, would sound strange to anyone with conventional ideas of love and ethics…ideas Moe happens to have.

To Moe, when Saikawa starts waxing poetic about Shiki, even though he’s making no direct judgments on her, she feels rejected; it’s as simple as the guy she likes liking another girl more than her. But Moe does have one variable in her favor Shiki lacks: she’s still alive.

subf54

The bookend-ing of flashbacks completes with Shiki purchasing a survival knife for Shindo, calling it “a tool to free oneself.” That could mean many things. Shiki’s parents clearly are unaware of the affair she and her uncle are engaged in. “Freeing oneself,” in that case, would mean making sure that affair stayed secret. Cutting the ropes that tie you down, to be with Shiki, the one who glides over all.

That knife could be the weapon that killed Shiki’s parents, and the doll in the room is Machiru, one of the personalities she carries. By gifting him the knife, Shiki is also forcing Shindo’s hand one way or another; asserting her authority over all these adults in her life by the primacy of her intellect, not things like familial bonds dictate who’s in charge.

8_mag

Subete ga F ni Naru: The Perfect Insider – 04

subf41

Another week, another episode with more questions than answers. More than once I conjured in my head those words from Alice in Wonderland: Curiouser and curiouser. There is so much that is curious and suspicious about this whole situation.

Saikawa and Moe explore Magata Shiki’s quarters and find quite a few more clues with which they start to piece together a narrative, sticking with practical matters like how the killer dismembered Shiki, stuffer her limbs down the garbage chute, cleaned up the quarters, and got to the roof to kill Shindo in the helicopter.

subf42

But with each new strange discovery they have to amend their working theory, while remaining ignorant to the identity of the one whose actions they’re trying to construct. On her PC, Shiki left three separate notes of farewell and good luck, one of which states the show’s title, “Everything is F”…in lieu of Wonderland’s “Eat Me” or “Drink Me.” But there’s nothing else on the hard drives, just the latest version of Red Magic – two whole versions beyond what the staff had.

The night turns to morning, but there’s no way to know with no windows in the quarters, as if they’d either abandoned by or released from time, depending on who you talk to. As Moe inhabits the space where Shiki once sat and talked to her via video conference,  talking about Shiki’s wedding dress, Saikawa recalls a dress Moe used to wear when she was young, that made her look like a doll.

Dolls are both unfettered by time (as they do not age) and by conventional existence (they lack free will, and can only be manipulated by outside forces). Shiki seems to have built a robot: a kind of doll that thinks and moves on its own, but for a seemingly very limited purpose (locking or unlocking her bedroom door). And I can’t overlook the fact parallels are being drawn between Shiki and Moe, not just in their doll phases, but the fact both lost their parents when they were young.

subf43

The show returns to the past with Shindo in a room with a young Shiki who wants him to touch her, after carrying on conversations between herself and her other personalities. Shindo appears flabbergasted and ashamed, but somehow powerless to cease this strange, alarmingly bright young woman’s whims. He says he’s “falling down a slope”, just as Alice went down a rabbit hole into a completely different world.

And at the end of the day, everything Moe and Saikawa find themselves tangled in that same world. It’s Shiki’s world, and they’re just living in it. She was presented as a doll on a robotic cart, and even before that seemed to invite manipulation from others like Shindo. But the good professor and his bright young protege could now be dolls under her control. Furthermore, she may not be fully gone; though her body is dead, Mahiru and Red Magic Version 6.0 invite so many intriguing possibilities.

7_mag

Subete ga F ni Naru: The Perfect Insider – 03

subf31

I went into this episode hoping for some answers but prepared for more questions, and got both. First, the indisputable answers: the figure in the wedding dress on the robotic cart is, in fact Magata Shiki. Magata Shiki is dead, and because her arms and legs were amputated, someone murdered her.

The rest—how she was murdered when no one went in her room, nor did she ever leave, in fifteen years—remains, well, a mystery. To say nothing of the identity and motive of the killer.

subf32

As a result of encountering Shiki’s delimbed corpse, everyone, including Saikawa and Moe, are in a bit of shock; not knowing quite how they feel, let alone how they should feel. But Saikawa and Moe are also two uncommonly smart cookies, so they soon find a bit of solace from the horror before them in trying to unravel the mystery that comes with it.

The geography of the room and its apertures (one big, one small); the impeccably-kept surveillance tapes spanning a decade and a half (they didn’t rewind-and-reuse, like convenience stores); the custom security system called “Red Magic” that is so flawless, last week’s error seems planned; there’s a lot to sift through, and Saikawa attempts to do so; sucking down cigarette after cigarette in the process.

subf33

Then Director Shindo arrives on the island via helicopter with Shiki’s younger (but notably more adult-looking) sister Miki, who is shocked to learn Shiki is dead. Moe, while going over in her head the part of her video conversation with Shiki relating to her feelings for Saikawa, thinks it somewhat coincidental that Miki, the last surviving Magata, should arrive around the same time her sister is found dead and mutilated.

For the record, we also learn how Moe met Saikawa (when she was a fifth grader) and why she developed feelings for him (he was the first adult she ever met who was smarter than her). The implication is, her towering intellect had made her hunger for stimulation; for a challenge.

While she initially hated Saikawa for being smarter, she clearly now sees him as a means for her to exercise her intellect. He expanded her humdrum world, by doing nothing at all but existing.

subf34

It seems like Moe is about to mention something about her (deceased) parents, but Saikawa is concerned with how late Shindo is; when they return to the helipad, they find him dead from a knife to the back of the neck. It’s another surefire murder,  and just as Shiki never left her room, he never left the helicopter cockpit, and only used thumbs-up from inside. Perhaps the killer was there all along. But then what’s Mika’s part in all this?

Even more intriguing—and more than a little, well, wrong—is another monologue by the director accompanying another flashback (the one in the car last week was indeed a flashback involving a younger Shiki). This past Shiki is confirmed as only thirteen, but as he puts it, it’s “a long thirteen years”, in which she absorbed and retained everything she possibly could, and now wanted to “lose” something…which is pretty heavily implied to be her virginity.

It was up to Shindo, the adult in this situation, to put a stop to whatever was going on in the car and Ferris Wheel, but for various reasons, he couldn’t. Now both he and Shiki are dead; murdered…by who? How? Why? We’ll need quite a bit more ‘expository dialogue’ to find out.

7_brav2

Subete ga F ni Naru: The Perfect Insider – 02

subf21

Professor Saikawa leads a group of college students on a camping trip to Himaka Island, but as far as Moe is concerned, it’s a golden opportunity for just the two of them to spend some quality time together outside of the university, smitten as she is for the young professor.

As much as she was looking forward to this trip (according to her butler), she gets pouty whenever the subject of the island’s most (in)famous inhabitant, Magata Shiki, comes up. Could it be she pulled strings to contacte Magata and had that recorded conversation just to get to better know the person she’s battling for Saikawa’s attention and enthusiasm?

subf22

Once they arrive at the island and set up camp, Saikawa is quick to branch off on his own, as is his wont, while Moe is just as quick to join him, the two of them alone like she prefers. Here Moe shows a little more dimension beyond infatuation when she calls Saikawa out, asking straight up why he keeps her around “if he doesn’t like her.”

Saikawa’s frank response—that he doesn’t do anything he doesn’t want to outside of work hours, such as the present time—appeases Moe, but also emboldens her to want to go to the beach at night and drink alone with him; but Saikawa demurs, pulling the age card, even though he knows full well despite her looks Moe is nearly twenty, and capable of making these kind of decisions.

subf23

Then there’s a raven-haired maiden in a white shift being driven by the director of the Magata Lab. Curiously, she demands the same basic things that Moe demands: to see the beach at night, drink alcohol, and the like. Furthermore, she inquires as to what the director’s wife is up to and what his own obligations for the evening are, then places her hands upon his as he clutches the gearshift and gives him a look that’s equal parts seduction and menace.

subf24

To be honest, I have no idea what’s going on in that car, or even who the girl is: is it Magata’s little sister, whom the lab’s second-in-command helpfully informs Moe and Saikawa is off retrieving when Moe’s fake headache grants them access? Or is it Shiki herself? We see that Moe is either also interested in learning more about Magata, or is doing what she feels is the best way to get to Saikawa: by helping him meet his idol.

As for the lab itself, arriving there, exploring it, and being introduced to the various employees, it all has the flavor of an Agatha Christie novel, complete with shifty expressions, mysterious loyalties and backgrounds…and a locked room, wherein Magata Shiki herself has apparently dwelt for fifteen years without stepping outside…

subf25

…A streak that appears to end after an apparent system-wide bug dramatically flashes the lights as a white-veiled, red-lipped Shiki, or something looking just like her which Moe insists is Shiki, blasts out atop one of the robotic trays that carried headache medicine to Moe not ten minutes earlier.

Naturally, Moe uses this frightening experience to grasp her beloved professor’s arm tightly, but something tells me that despite Shiki’s murderous past, she’s not going to be a physical threat so much as a psychological one, a possibility reinforced by the director’s monologue about his life being “ruled…and toyed with”, or rather wanting it to be “ruled…and toyed with”, by the girl in his car.

Again, still not entirely clear what’s going on, but I’m definitely intrigued, if a bit bemused.

8_brav2