TONIKAWA: Over the Moon For You – 13 – Love In the Time of LINE

It’s been over eight months since the last TONIKAWA but this extra OVA episode doesn’t skip a beat, delivering all of the notes that made the first twelve episodes so endearing and comforting, especially at the end of one of the worst years of many peoples’ lives. Things are going a bit better now, so it’s especially nice to check in on these two sweet young lovebirds in that context.

Tsukasa’s smartphone finally arrives, which means she’s finally arrived in the 21st century (though she still contemplates how much one could accomplish with a smartphone in the Sengoku era, one more hint that she’s either lived a very long time or carries the memories of past lives).

Something as simple as adding contacts is made much more profound as only one person in their address books can occupy the “spouse” category. But no sooner does she gain a smartphone (and LINE app) than she loses Nasa…if only for the day, as he’s summoned to his old work for a last-minute project.

Tsukasa goes in to work at the bathhouse, only to get bored and start wavering over whether to send Nasa a text or sticker. Aya doesn’t help matters by saying she’s sure he’ll message Tsukasa, since when he doesn’t do so all day, it only adds to her loneliness and anxiety.

While sitting out on the back patio after dark, she tries and fails to hold back tears despite knowing how ridiculous it is to be crying. But is it so ridiculous? Tsukasa and Nasa have been together—and close—for most of their married lives, and love each other dearly. So it’s no surprise that they both feel lonely.

That intensity of their love also makes it that much more satisfying and relieving when we finally hear that little alert sound and Nasa confirms he couldn’t use his phone while working. He misses her every bit as much as she misses him; smartphones or no, their hearts remain tightly connected.

When Nasa shambles home at four in the morning, he fully expects Tsukasa to be asleep, but she’s wide awake, having not been able to sleep “for some reason”. His futon is out, so they lie down together, and Tsukasa, still out of sorts from being without her darling for so long, takes the initiative for the first time by giving him a passionate goodnight kiss.

Nasa is wide awake at this point, contemplating how his wife suddenly seems more aggressive, only for Tsukasa to visit his futon and insist that he hold her tight. Now, I’m not saying they go on to make full-on love for the first time in that early morn, nor am I saying they don’t, but this is definitely the most hot and heavy we’ve seen them.

Even in the morning, with the couple’s faces beet red and smoking it’s not clear exactly how far the two went a few hours prior, but it is clear from Kaname that they “had fun” in the early morn. She’d love the details (as someone with a “sexy radish” as her LINE picture), but also knows these two well and how easily they’re embarrassed whenever they contemplate the prerogatives of their status as husband and wife.

Because this is a check-in OVA, we also check in on Chitose and her maids Aurora and Charlotte, the latter of whom was at the bathhouse and overheard about Tsukasa’s potentially fun night. Charlotte, despite being an adult, has no idea what that “fun” entailed.

After doing a coffee spit take Chitose tells her it’s “far more intense” than the horseplay she and Char get up to. Chitose demonstrates her growth from last season as she doesn’t immediately head to Tsukasa’s house to investigate/put a stop to it. After all, Tsukasa is married; it’s perfectly normal for things to get intense.

After a parting scene of Char teasing Aurora, who actualy would like to hold hands in bed, the standard credits roll. While a couple of decent romances like Horimiya showed up in Tonikawa’s wake, that series grew more scattered and disinterested in its main couple down the stretch. It was nice to be reminded how good, steady, and consistent Tonikawa always was, and how deftly it portrayed young love—or in Tsukasa’s case, very very old young love! XD

Rating: 4/5 Stars

Cardcaptor Sakura – 61 – A Hymn of Twisted Metal

Sakura is flying around late at night…has she become a delinquent? No, she was just converting four new Clow Cards while using Mirror as her decoy in case anyone checks on her in her room. Mirror wants to tell her something, but Touya peeks in, and she has to return to her card form.

Kero-chan believes Touya is totally on to them but Sakura doesn’t see it. Why would her big bro teases her about everything—from her stomping to her tardiness to the way she eats—yet not tease her about dressing up in frilly dresses and collecting magical cards?

While escorting her to school Touya asks Sakura if he’s gotten a gift for dad yet. He needs a new wallet, but Sakura can’t afford one on her allowance, so Touya and her will pick one out and buy it together. I loved it when Sakura run down a list in her head of people for whom to give gifts…and leaves Syaoran out!

As we know, Touya knows pretty much everything about the magical goings on with Sakura, Yukito, and Tomoeda town in general. He’s pretty much onto Ruby Moon/Nakuru too! It’s just that he’s usually a passive observer and nothing more. I wonder how long he can keep that up when Yukito is growing more and more fatigued.

Sakura has homeroom duties with Syaoran, which I’m sure he sees as yet another glorious opportunity to tell her how he feels, only to be interrupted yet again, this time by Yamazaki’s inane rambling. I daresay this bit has the potential to grow stale, as one can only imagine so many iterations of Syaoran trying and utterly failing to say three simple words.

However, each instance seems to add more dimension. This time, Sakura has Syaoran translate the characters Meiling wrote in her letter, which mean “my dear friend”. Syaoran also tells Sakura that you give people “close to you” Christmas presents in Hong Kong as well, and Sakura tells him she’ll be sure to give him one. Dawww…

Speaking of confessing, Touya has said “I…you…” several times to Yukito without ever getting his intended words out. This week he comes closer than ever, telling the snow rabbit “I know the truth” before Nakuru pops out of the scenery and pounces on him anew.

After listening to Eriol practice a hymn of gratitude on the piano, Sakura prepares to meet her brother, but she and Syaoran sense Clow’s presence. She decides to go with Syaoran, and summons Mirror to go with her brother.

Once Sakura and Syaoran arrive at the location of the presence, they’re confronted by a detached metal railing with a mind of its own, full of sharp, jagged points. It’s one of Eriol’s nastier conjurings, seeing as how the animate twisted metal is a veritable hive of tetanys.

The pair hack at the metal to no avail; it simply reattaches and comes at them again and again. That’s until Sakura summons Mist, which causes the metal to corrode into harmless dust. The aftermath of their battle would appear to be a good time for Syaoran to say what he needs to say, but Sakura, having realized something, has to suddenly go!

As for Mirror!Sakura, she seems happy for the opportunity to hang out with Touya. Even though he immediately notices she’s not really his sister, he’s still kind to her and they have fun shopping and having coffee. Tange Sakura does a lovely job modulating differentiating between Sakura Prime and the quieter, gentler Mirror!Sakura’s voices.

Touya even thanks Mirror for helping Sakura, and offers her a humble gift for Christmas: hair ribbons for her normal form, which he knows has longer hair. Mirror accepts them, bursting with joy and gratitude.

When Sakura suddenly left Syaoran, it was out of a sense of duty to express her gratitude to her cards for helping her whenever she’s in tough spots. She decided to have Eriol teach her the hymn so she could play it (or at least one side of it) and record it for them to listen to.

Mirror, the only card who can communicate verbally with Sakura, warmly accepts the gift, and reveals that what she had wanted to say to her all along was thanks in return for changing them into Sakura Cards and taking care of them. Sakura’s cards love her—and who can blame them??

In the most heartwarming part of the episode, upon returning to card form, Sakura notices green ribbons in Mirror’s hair—the very ribbons Touya gave her. I have no idea how that worked, practically speaking, but it was hella sweet nonetheless!

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.

Wave, Listen to Me! – 03 – Graveyard Slot

Takarada fires Minare right after the festival, and no amount of ranting or begging can change his mind. After going out for commiseratory drinks with Takarada, he casually suggests she move in with him. After a quick simulation of their time together, she concludes he’d end up stabbed to death (though not by her!).

After tricking him into saying he loves sleeping naked (she doesn’t), she decilnes, assinging him the nickname Zenra (the fancy way to write “naked”). That said, she’ll him in mind should she fall into truly dire straits. Takarada feels used…but he wants to be used if it’s by someone like her.

Minare returns home…or at least she thinks it’s home, but there are immediately two troubling signs: her shoes aren’t lined up neatly in the genkan, and there are other pairs of shoes. The creepy man who ended last week’s episode and cold opened this one lifts her off the ground, and she goes into Self-Defense Mode and calls the cops.

Turns out she’s the one committing a crime, as she’s not in her apartment, but her neighbor Mr. Oki’s. He’s been the one returning her blackout drunk self to her own bed and lining up her shoes. If he simply kicks her out of his place, she shows back up, or otherwise bangs on his door and sobs.

The revelation of not being an end-of-the-night neat and organized drunk hits Minare like a ton of bricks; indeed Oki likens her dramatic epiphany to that of Neo when he’s unplugged from the Matrix.

The sheer difference in scale between Minare’s plight and Neo’s, as well as the care with which the reference is visually presented, makes for a ludicrous moment that had be howling with laughter. There are other overt pop culture references, but this was one I got without the need for research.

With only about $2500 in savings and $2600 in incoming expenses, Minare finds herself at a crossroads. She can either go back to school, or see where this radio host thing takes her. It’s not a tough choice…especially when Matou agrees to let her crash at the radio station’s storage facility. She arrives with a full rucksack strapped to her back, as if she’s about to climb a mountain…and in a way, she is!

As one would expect of a more mature form of media, the path to success is a slow and gradual climb, if the climb happens at all. Katou doesn’t want Minare to be under any illusions of instant celebrity, but maintains that she Has What It Takes, just like his idol Sissel Komei, who be believes Minare resembles in both appearance and style.

As it turns out, Minare isn’t allowed to crash in storage; for one thing, there’s no heat there. For another, assistant director Nanba Mizuho is happy to let Minare crash on her floor for a while, and is actually excited to drink cheap Chablis hang out with her one-on-one.

At first Minare pretends to be drunk as a kind of social defense mechanism, but Mizuho sees through the ploy, and admits she was never much of a social butterfly. That said, even though she’s never even had a boyfriend, she felt deeply connected to Minare’s fiery words when she came in for her first live session.

Sometimes before I go to sleep I listen to the Shipping Forecast on BBC Radio 4. Especially on a cold or stormy night, there’s something comforting and relaxing about hearing a prim and proper voice flawlessly deliver the conditions around the British Isles, as well as thinking about all those ships at sea, out there, somewhere, in the middle of the night.

I’m far from the only person who thinks this way about it. The BBC once tried to get rid of the Shipping Forecast, and its loyal (and predominantly land-based) audience practically rioted until the Beeb caved and brought it back. Like the big fax machines at the station, it’s not going anywhere anytime soon.

As Mizuho switches on the radio at 3:30 to hear the beginning of Sound High Tide before nodding off, Minare stays awake, and starts to speak as if she were on the air, with the sounds merely a backdrop. If all goes well, her yet-to-be-produced new show will replace Sound High Tide in that 3:30 slot.

Will her very different, non-ambient, provocative style catch fire in that dark depths of the early morn, and sway the small but likely passionate legion of High Tide listeners? Only time will tell…

Ai Tenchi Muyo! – 26

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Tenchi patrols the hallways after lights-out, notices lights on, and discovers Yuki and Rui bent over some contraband ramen like a couple of junkies. However, they offer him a cup and he goes easy on them. As they tuck in, Tenchi learns a lot more about the Science Club girls.

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For instance, while Fuka built Gouriki’s basic structure, she has no idea what powers him; that Kinojou isn’t technically a club member and has no memory of her past, and Fuka and Rui are simply helping her look for…something. Gouriki’s head’s “treasure detector” indicates is below their dorm, but they find nothing and Yuki shoos Tenchi away.

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