Wave, Listen to Me! – 07 – The Evil is Defeated

 

“I have no doubt other women have thought of doing what I did. They just didn’t do it.”Abe Saba, who cut off her lover’s genitals while making love. She also worked at a restaurant, FWIW…

Minare’s first radio job in the field is turning out to be a weird one, but she and Mizuho are able to calm Shinji down enough to talk about his lost dead Slavic girlfriend, Azohara Ritsuko. When he proposed they “cross the line” from friendship to romance, they agreed upon a secluded volcanic hot spring in Zao as the dramatic venue for their inaugural doing of the nasty.

However, after disrobing but before getting down, Shinji passed out from the volcanic gasses. He woke up in a cabin, rescued by good Samaritans…but they only found him. For all he knows, Ritsuko could be dead or still wandering around Zao as they speak.

With his tale of woe out of the way, Minare climbs into the ceiling to investigate the stinky dark liquid, and finds an absolute nightmare: six fly-covered garbage bags filled with what she assumes to be the remains of a petite woman, soaked by a leaking shower line.

Minare calls the police, and Shinji is arrested on suspicion of killing Ritsuko and storing her remains in the ceilng. But at no point does Shinji admit this, or even get overexcited: he merely calmly asserts his innocence, all while Minare is certain “evil was destroyed” in that apartment.

In the face of such a traumatic experience (Mizuho got less of the meat juice on her but still needed three showers), Minare crafts an even more fanciful story nevertheless rooted in reality rather than the supernatural.

She imagines that Ritsuka was a Russian spy, and Shinji proposed the remote site to speak to her without being surveilled. Ritsuka was trained to kill if her cover was  blown, but whether due to her love for Shinji or the effects of the gas, she couldn’t do it.

However, neither the murder and dismemberment story nor the spy thriller make it to her first official broadcast of Wave, Listen to Me! The afternoon before the show she stops by the police for questioning, and the real, unvarnished mundane truth is laid bare: the stinking dark liquids, and the bags from which they seeped, were originally put there…by Minare herself.

They were the remains not of a murdered Ritsuka but of 50 kilos of on-the-bone mutton delivered to her apartment by her parents when she first moved there. She stowed them in the under-floor compartment as a temporary measure but then completely forgot about them. They sank through the floor into the space above Shinji’s apartment, mixed with the leaking water, and the rest is stinky history.

This puts Minare in a bind, as she’s facing charges to be brought by Shinji, whom it’s indisputable was someone to whom she did harm, even if she didn’t mean to, and then went further by having him arrested. But Shinji magnanimously provides Minare with an out: she’ll break down the truth of what happened and apologize to all involved. Shinji is in the booth when she does this, just to make sure.

Not only that, Minare makes the theme of the show for, about, and by “people who have caused countless problems for others” in hopes of finding ways for those people (including her) who don’t want their lives going to waste simply because they’re predisposed to such troublemaking.

It’s not at all what she expected to be doing, but rotting mutton comes at you fast, and it’s actually a great subject for a radio show airing so late at night. An audience will no doubt project themselves in the stranger-than-fiction scenarios Minare puts herself, and appreciate how she’s is open, vulnerable, and ready to be redeemed.

She won’t claim to have all the answers—that’s for that sumo guy—but she’ll have plenty of entertaining questions!

Wave, Listen to Me! – 06 – A Warm Fluffy Towel Drenched in BLOOD

We’ve now reached the halfway point of WLM!, and while this week’s installment lacks the adrenaline high that accompanies a live broadcast and the moments leading up to it, it further fleshes out its eclectic, sometimes eccentric, but always authentic-feeling cast of characters, while setting up stranger things to befall Minare on her path to becoming a radio star.

We learn more about Minare through those she came from, starting with her dad when she accidentally calls him. He’s outside a pachinko parlor on his fifth or sixth beer (Sapporo, natch) so he’s…got some issues, but you can tell he loves his daughter and just wants her to be happy— just as sure as Minare can smell the alcohol through the phone!

Meanwhile, Casa Nakahara is hardly the sordid lovenest Minare might imagine in her more jealous moments. Yes, Makie is living there, but so is Nakahara’s sister Meiko (Minare, Makie, Meiko…dude knows some M’s!), who walked out on her husband with their baby for going to a hostess club. Far from being treated as a burden, Nakahara is appreciative of Meiko for being to get Makie to talk more in the wee hours of the night as the two women lie in adjacent futons.

Makie confides in her that after her parents died in the mountains, her brother grew obsessively protective and locked her up like Kaspar Hauser…which explains her manner. Meiko tells her she shouldn’t feel ashamed for using the car accident as an opportunity to reclaim her agency freedom, which she has every right to have.

After a thoroughly confusing little sequence involving Minare’s dad talking about a dream of “decades ago” and a “brutal accident”, we suddenly cut to Minare talking to her mom this time. Unlike her dad, her mom is a littler sterner, insisting she seek out “a life people can respect”, not just one in which she’s happy, and not to listen to a “loser” like her dad. And her little “It makes me sad…oh, very sad” line about Minare telling her dad about her radio job first—*Chef’s Kiss*

Still, her dad still managed to buy her daughter a slick Sky Sensor 5900 radio as a cute “good-luck-in-your-radio-pursuits” gift. Makie’s family may have bitten the tragedy bug, but it’s refreshing that our protagonist Minare not only has both parents still living, but on talking terms with her (if not one another). Like Makie, her parents feel like longingly-rendered real human beings.

Her dad was also responsible for delivering four whole Aramaki salmon, which won’t fit in Minare’s little fridge. After Nakahara drops off his ideas for Minare on possible radio story ideas (hilariously, she reads them and immediately apologizes for even asking him!) she decides to hang the fish from the doorknobs of her neighbors, which Nakahara mentions could be construed as some kind of criminal mischief.

By the way, another absolute doozy of an exchange: Minare describes her dad to Nakahara, and all Nakahara can see is Minare. Drunk half the time? Check. Either in dirty joke-telling mode, venting mode, or preaching mode? Check. Goes off on random tangents? Check. Makes no sense at all? Check. Can’t have a proper conversation? Check!

Granted, these are exaggerations of who Minare really is, but sometimes the rougher edges stick out more…especially from the perspective of someone like Nakahara, pursuing her with little to show for it. Another main takeaway from the fish-hanging scene is that Oki Shinji, who accepts one of the fish without hesitation, looks very out of sorts, and Nakahara notices the stench of rotting protein emanating from Shinji’s apartment.

The strangeness continues at the studio, where Mizuho shows Minare a creepily-scrawled fax about a dead girlfriend who hasn’t forgiven the writer…who happens to be Oki Shinji! Minare wants to shift gears to something more fluffy and less occult, but Matou is eager for her to learn the full ropes, which means she and Mizuho are going on a field recording adventure!

After reiterating her commitment to always protect her (something Mizuho doesn’t remember her saying before), Minare drives them to their destination: her former apartment building (note that Mizuho calls Minare’s car a “mini” but it’s not a MINI Cooper, but rather a Daihatsu Mina Giro Minilite. IMO the Giro’s cooler than any Cooper!) They also dress for the occasion, like an onmyouji and a shrine maiden.

Shinji welcomes them in without so much as a flinch from Minare’s stellar long-range joke about the same woman showing up drunk to his door also showing up to appease a spirit since “rituals, sake, and women” have been inexorably intertwined throughout history. Still, Shinji has good reason to be the way he is, because something very very strange and gross is happening inside his apartment.

Reddish-black liquid starts to ooze from the ceilings and drops on what couldn’t have been a cheap costume rental. Then again, it’s likely the station will cover the dry cleaning, just as Matou promises to bail out Minare should things take a turn. After all striking out into the untamed wilds diagonally below her old place means she’s no longer an amateur, but a professional, like Mizuho…risking their very lives for entertainment.

Wave, Listen to Me! – 05 – The Irregular at MRS High

Minare arrives at the station with a birthday cake for Mizuho only to find that Matou has already presented her with a cake. Mizuho smooths things over by telling Minare she’s never been happier to celebrate it twice on the same day, and the preparations for Minare’s first broadcast as a pro begin.

Matou has devised a “broadcast gaffe” that will break into and out of the normal late night music a la War of the Worlds. He makes sure Minare understands that the ceiling for success is as high as the stakes are low. There isn’t a sponsor, which means they have a little more leeway to go wild.

Minare takes the barebones, improv-filled script and runs with it. It involves the moment she just killed Mitsuo by stabbing, making good on the threat from her last broadcast. By amazing coincidence, a different woman has bound and gagged Mitsuo and is about to stab him when Minare’s program suddenly interrupts the music.

Had the mundane music continued, she may well have murdered Mitsuo for real. But are these events actually happening? I would say yes, since it isn’t Minare in the role of the murderer, and the woman hasn’t carried out the murder yet. They’re out of sync in a way that’s very advantageous for Mitsuo, who lives to break another heart.

The buildup and countdown to the broadcast gave me goosebumps, in the same manner as the tension and anticipation that immediately preceded a performance in Showa Genroku Rakugo Shinjuu, Shigatsu wa Kimi no Uso, or Hibike! Euphonium. Those are all five-star anime, and I don’t mention them or compare the emotions felt during Minare’s monologue lightly.

As with her previous shows, Sugiyama Riho absolutely knocks it out of the park, taking scarce narrative crumbs and creating a chocolate mocha mille-fille. Minare flubs yet a single word yet comes off as unhinged, vulnerable, empty, grateful, and above all raw and human. She may not know it, but her passion and talent saved Mitsuo’s life.

More importantly, while Minare walked in an emotional mess due to witnessing Nakahara inviting another woman home, she walks out of the station at the crack of dawn feeling like a billion yen. Matou is genuinely impressed, and Mizuho is proud of her.

That night, due to the talk of Martians and UFOs (an homage to War) she dreams of having to save Mitsuo via a nutriet-absorbing facehugger that turns out to be one of Mizuho’s turtles sitting on her face…and shitting in her mouth!

That morning, Minare and Mizuho discover a lively online discussion, which is exactly what Matou both hoped and worked towards, discretely  posting the audio online as if he were an independent listener. As he suspected, Minare’s the kind of voice that creates buzz, and he’s eager to have her create more.

As for Minare, it’s back to working at the curry restaurant a mere five hours after she left the recording booth. And yet a group of men have already come to the restaurant as one of them recognized her voice. Minare loves the attention, and in the break room she declares to Nakahara that from now on she’ll be pursuing her radio career full-on.

She knows that what she felt in that booth and afterwards isn’t something she can get from that white waiter’s tunic—or from a man for that matter!

Wave, Listen to Me! – 04 – The Pleasure of Despair

The first day of Minare’s life gets off to a rough start as in the space of what feels like just a second or two, she oversleeps three hours. It’s a very relatable experience, and why I find myself so invested in Minare as a person. Like any other person, she’s often forced to react to things—good or bad—that come at her quite suddenly.

Far faster than the turtles she agrees to feed. One of those things is the breakfast Mizuho prepared for Minare. It’s so considerate and tasty she jokes that she’d marry Mizuho in a heartbeat and make love to her every night…until she finds the way-too-detailed feeding instructions! Suddenly things aren’t as simple as the seemed.

She sets out on a job-hunting excursion in slim hopes of gaining both an employer and sponsor. When Katou informs her of the massive cost of sponsorship, she basically gives up. But by having Nakahara join her, she finds life suddenly tossing her back into her own job, as Takahara and her replacement were injured in a car accident.

While it’s a dream come true for Nakahara—he always dreamed of running a restaurant as husband and wife—Minare is more ambiguous, and with good reason. Leaving Voyager felt like a step forward; returning there erases that step. And she’s still not sure about Nakahara as a partner; she asks him to wait until she’s 30…which is four years. Nakahara might be the kind of guy to wait that long, but does she really want a man who’ll do that?

Then the fourth woman in the pencil-sketched ED is introduced: Tachibana Makie (Noto Mamiko), the sister of the man who caused the accident involving Takarada. She comes offering her services for free, filling a much-needed labor gap.

She starts out washing dishes, then waits tables, works in the kitchen, and develops a new menu item. She even updates the blog, and gets rave online reviews for her gentle, quiet manner. And yet she seems to make Minare uneasy and suspicious—why would someone go this far on behalf of their brother?

There may be no need to be dubious of Makie’s motives, but because Minare feels something’s off, so do I. In the meantime, Minare comes home from the restaurant to share a meal and booze with Mizuho (whom we see refusing Koumoto’s advances right after regaling him of how she met Mr. Kureko. I also love how Mizuho is voiced by Iwami Manaka—Honda Tooru herself!

While Mizuho is glad Minare is working and making money again (far from a guarantee in these trying times!) she doesn’t want Minare to forget about radio. Whether Mizuho is on orders from someone at the station to encourage Minare or not, she seems to genuinely believe in her talents and doesn’t want her to feel overwhelmed or that Matou is overestimating her.

Life keeps coming at Minare fast on the night of Mizuho’s birthday. Minare gives a curt goodbye to Nakahara and Makie after closing, but doubles back to grab the cake from the kitchen fridge. That’s when he finds Nakahara confronting Makie about staying in the staff room…then offering to let her stay at his place, just as he did with Minare.

Clearly something is going on with Makie that makes her hesitant to go back to her home (if she even has a home). And when you put a man who loves hard-luck cases and a woman in an apparently uncertain emotional place, shenanigans are more than possible. Minare has taken Nakahara for granted as a will-they-won’t-they certainty, but Makie threatens that status quo.

Fortunately (or not), life isn’t done coming at her that night, as she gets a call from Matou urging her to report to the studio immediately to rehearse for a 20-minute slot that will air at 3:30 AM. It’s Go Time. No doubt her experiences with Nakahara Makie, and all the stuff that keeps coming at her will inspire her material. And no doubt it will be eminently watchable.

Usagi Drop 3

Daikichi’s name means “excellent luck”, but there are some in his life who’d consider him unlucky, suddenly having a six-year old aunt dumped in his lap to take care of. He simply can’t keep working overtime while sending Rin to the temporary nursery school; he’ll eventually burn out. So after consulting with another co-worker who is a parent, he decides to make a professional sacrifice for Rin’s sake.

This certainly means demotion, and the disappointment of his peers, but to my mind, there’s no question whether he made the right choice. By having a set time to go home, he can pick Rin up earlier and spend more time with her. She is a very good little kid, but she is having wetting problems stemming from grief over her father’s death, worry about Daikichi dying, and of course, fearing her own death. This fear trifecta is a lot for an adult, let alone a six-year-old.

I’m also glad Daikichi’s family more or less took the sticks out from up their asses and warmed up to Rin. The way they acted at her father’s funeral was inexcusable (when adults are in a bad mood, the kids feel they’re to blame), and after they spend more time with her they realize she’s not a bad kid after all. Of course, the fact remains, her mom (her father’s maid whom she hates and thus “forgot about”) is out there somewhere. But Daikichi’s actions suggest regardless of whether he finds her, he’s in for the long haul.


Rating: 3.5

Hanasaku Iroha 15

At one point in this week’s proceedings, in which Ohana arrives to the rescue of the same inn her class is staying at, she proclaims with surprise: “I’ve learned my job!” She was taught so well, she wasn’t even aware of when she transformed from more of a Yuina-like liability to a serious inn professional. Her “waitress’ instinct” wouldn’t allow her to stand by and let the inn’s service suffer. So in her free time, she volunteers to work.

Nakochi and Minchi soon join her, and they do what they do best. Yuina goofs off around town a little longer, but eventually returns to the inn to find that her friends are hard at work preparing dinner for the class. She stops by the bath, where an annoyed Yosuke tells her if she doesn’t want to work by his side in the inn when he inherits it, there’s no way they can marry. What’s interesting is that Yuina laid out her desired future so confidently and bluntly, and it turns out she isn’t nearly as sure about everything as she would let on.

All it takes is Yosuke praising Ohana and even suggesting a girl like her would be more suited to be his wife, and Yuina grabs a mop and starts scrubbing. This is a girl whos classmates call her princess, and she is in a lot of ways, having never done much manual labor. But she’s determined not to let Yosuke fall (settle?) for Ohana: she can work to, she just chose never to do so.

Yuina indeed helps Yosuke finish cleaning the bath just in time, and the dinner is a success thanks to the Kissuiso staff. The experience not only makes Yuina rethink whether an inn has no place in her future, but also leads to Yosuke rethinking his managing style. It also reinforces the friendship of the three Kissuiso girls, who proved that no matter where the inn is, they can make it rain, so to speak. Rating: 3.5