Akudama Drive – 12 (Fin) – Good Trouble

You could sense this was going to be a particularly intense finale when it starts with Swindler, Courier, and the kids surviving a violent Shinkansen derailing. Brother thinks it’s all over, but Sister still believes in her big sis. Swindler may have a badly broken leg, but she’s not ready to give up.

She produces the 500-yen coin that started her run of “bad luck” (putting it quite mildly) and places it on Courier’s chest. It’s payment for one last job: ensure the kids get to Shikoku safely. Through their prickly, foul-mouthed repartee, Courier too can sense that Swindler is cashing out.

After wishing the kids godspeed, Swindler limps out into the open and almost immediately spotted and surrounded by police drones. But she finally gets her own official Akudama intro sequence (this show’s version of the magical girl transition) as she pulls off one last Swindle.

At first, it seems like nothing other than stalling the Executioners—whose mundane banter in the midst of such carnage only heightens their monstrousness. She pretends to be an ordinary civilian caught in the crossfire, but she’s quickly identified as Swindler, and is stabbed through the chest by one of the Executioners.

That woman Executioner thinks it’s creepy that the Akudama wears a bright smile even in death, but Swindler has every reason to smile: not only did she succeed in buying crucial moments for Courier and the kids, but also sparked something even the Executioners won’t be able to contend with.

Oh, they certainly put on a show of force in surrounding Courier’s bike with seemingly every Executioner, drone, and airship in the city. A feisty Executioner is even able to lunge at Courier, but Brother comes between them an ensures the wound isn’t deep enough to kill Courier yet.

That’s key, because they still need Courier to help them out of this mess. Of course, Courier isn’t enough, especially in his battered state and woefully outnumbered and outgunned. That is, until, the fruits of Swindler’s Last Swindle are borne. Her execution, ruthlessly carried out while pleading she was just an ordinary person? That was caught on video.

The girl whose parents were killed last week steps between the Executioners and Courier and the kids, and even shoots one of them with a gun she found. She’s not alone. Soon the Executioners and their arrogant Boss are surrounded by a far larger force of ordinary citizens rising up against the violence. Even Bunny & Shark’s message is retooled: the Executioners are the Akudama now.

The resurgence of public unrest keeps the Executioners busy enough that Courier is able to charge up his bike railgun and not only bring down the Police station and its looming tower, but uses the tower wreckage as a goddamn ramp to escape with the kids.

He follows the train tracks towards Shikoku until his bike warns him it’s running low on juice, and in any case there are three Executioner airships still in pursuit. Courier stops near a windswept tree, the kids alight from the bike and continue on foot while he’ll go back and stop the airships…at any cost.

Akudama Drive has never had a problem with absolutely bonkers action sequences, but as expected the finale takes them to entirely new heights, reaching Synthwave Music Video levels of serene awesomeness. Courier dances on his bike to dodge enemy fire as long as he possibly can, but is eventually swallowed up by a railgun beam and seemingly vaporized, all while Brother and Sister run away as fast as their little legs can carry them.

BUT…it turns out Courier isn’t quite dead yet after being turned into a black-on-white sketch—usually a death sentence for most characters, but Courier and the Akudama aren’t “most”! He uses his metal arm to replace one of the two prongs on the bike’s railgun that melted away, focusing the beam enough to land a direct hit on the third and final airship pursuing the kids, and destroying it.

With nothing and no one else chasing Brother and Sister, Courier slumps over wearing a smile of relief and satisfaction as the morning sun washes over him. He just managed accomplished his final delivery mission. Before parting with the kids, he gave them the 500-yen coin Swindler gave him, making his last job technically gratis.

Aside from a parting shot showing the wreckage of the police tower, the remainder of the episode is given over to Brother and Sister continuing on to Shikoku as the end credits roll. They reach a tunnel through which there is nothing but light, and walk through it while holding hands, vanishing into the blinding white.

What Shikoku is like and what becomes of them is left ambiguous; suffice it to saw they are safe and free. So is Kansai, it would seem, with the fall of the murderous Executioners. Swindler’s heroic death made her a martyr, and caused the spark that lit the match that brought about the downfall of the region’s old, unjust order—what the late John Lewis called “good trouble.”

Hey, I never thought I’d be quoting a civil rights icon in a show about goofy Danganronpa-style archetype criminals on the run, but here we are! In its finale Akudama’s lyrical action sequences, heart-wrenching character moments and operatic soundtrack all combined to elevate a previously goofily over-the-top series to an epic cinematic experience. And like any great movie or series, I’m holding myself back from immediately watching it all over again.

Cardcaptor Sakura – 15 – A Little Time Apart

Fresh off the loss of the Storm card to Syaoran, tempers flare between Sakura and Kero-chan. Kero is irritated by Sakura’s “moronic” voice, while Sakura is outraged that Kero threw all the contents of her desk drawer on the floor to make a home for himself. Their bickering puts Sakura in such a lousy mood her footsteps shake the whole house and even the normally mocking Touya is cowed by her dark aura!

The two don’t leave things in a good place, so when Kero-chan opens a package containing alcoholic chocolate, he eats it all and checks out of the Kinomoto residence altogether, leaving Sakura wondering where her familiar went off to.

Kero ends up sleeping one off on a couch in an alley, and is found by a little girl named Akane. When he wakes up to find himself in her home, he quickly learns that her dad has passed and her mom is busy at work, so she’s usually home alone and lonely. Kero’s heart is too big to ditch her so he adopts her name for him—Chau—and keeps her company.

Since Kero is also the responsible and technologically savvy sort, he sendsa facsimile—that’s right kids, a FAX!—to Sakura letting her know he’s fine. Tomoyo quickly uses her hacker skillz to pinpoint Kero’s location based on the fax number, just as Akane learns Kero can fly and starts to float out her own window. At first it’s fun, but soon Kero realizes the Float card is causing Akane to fly to dangerous heights.

Thanks to Tomoyo Sakura is able to Fly to the vicinity and catches Kero just as he runs out of gas trying to catch the ascending Akane. Sakura seals Float, then uses Wood to grow a tree that cushions Akane’s fall. Akane then moves away with her mom, who switched jobs to spend more time with her, meaning she won’t be lonely anymore.

Kero returns to Sakura’s, where she prepared a neat little mini-apartment in her drawer, acknowledging his need for privacy. However, their reconciliation is curtailed when he breaks the cardboard bed she made for him and he questions the craftsmanship. But as the past day’s events proved, they’re much better working as a team than apart!

GOD EATER – 07

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In a welcome surprise, Lindow doesn’t simply lead Lenka and Alisa back to Fenrir; they take a detour into a forest—the sight of which amazes the two new-types—within which lies something even more unthinkable: a civilian settlement for those who Fenrir turned away…including the little girl in pink Lenka saved. The show packed a punch when it sent her off, but I’m glad the show didn’t carelessly discard the character for good. She is, among other things, the embodiment of the future Fenrir is fighting for.

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The reason the village is able to survive and even thrive is that the trees of the forest are really Aragami the people have raised as a protective barrier. Even so, large Aragami like Vajra can still force their way through. When a Vajra does just that, Alisa is soaking in a bathtub to try to clam her nerves and steady her hands, and failing at both. She knocks over the tub and crawls into a closet to hide. I like that the show has the guts to keep one of its strongest characters out of commission for the entirety of the crisis, upping the difficulty level for those able to fight.

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Lindow also peaces out for what reason we don’t know (though testing Lenka by risking all the people he worked so hard to protect doesn’t sound like a logical one). He sends Lenka to deal with the Vajra and protect the people by himself. Lenka is not to let anyone die, especially himself, and Lindow urges him to trust in his God Arc, even though we saw how ineffective it was last time Lenka tried to use it.

During this crisis, GOD EATER once again exposes its difficulty with pacing in such situations. As soon as Lenka returns to the village, the Vajra has already done a ton of damage, and you’d think he’d already killed a good number of settlers, but time seems to grind to a very noticeable crawl to halt as Lenka slowly figures out who and what he has to work with and what the plan should be. Honestly, it’s like the show presses “pause” on the Vajra attack.

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Fortunately, despite of Alisa’s emotional incapacitation, the episode is not bereft of proper Girl Power, as the unlikeliest (or most predictable, depending on how you look at it) person volunteers to help grab some ampules from the warehouse for Lenka to draw the Vajra away: the little girl in pink. She puts the lion in civilion (if civilan were spelled that way, of course), acting with uncommon courage and determination, and not only comes through for Lenka, but saves his life in the process.

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Also fortunately, the screeching halt of the action picks up nicely during the entirety of Lenka’s final gambit, squaring off with the Vajra David & Goliath style with his crossbow of ampules. When the Vajra halts its retreat and prepares to skewer him, Lenka finally figures out what Lindow meant by trusting in his God Arc by pumping an ampule into it, brining it back to life so he can use it to push the Vajra into the river. The other civvies finish the job by opening the damn, and good ol’ mass and gravity finish the job.

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It’s a great moral-boosting side-victory for Lenka; a performance that inspires the girl in pink, impressed Lindow, who knew he had it in  him, and worries Alisa, who is not happy that she’s been so useless of late, but has no idea how to fix it. Sure, she could get drugged back up in Fenrir, but the drugs can’t fix her underlying crippling fear of the Aragami, and she can’t be sure the drugs will always be around.

Alisa’s continued struggles continue to make her the one of the more interesting characters, and while I realize that’s not saying much on this show, her retreat from heroism absent courage-endowing drugs nicely mirrors the girl in pink’s progress absent exceptional strength or ability. It’s a dynamic that keeps me emotionally invested, though I’m also hoping Alisa doesn’t remain a defenseless damsel for too long.

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Space Dandy – 05

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Even though he ends up mired in them almost all the time, Dandy doesn’t like complications, or things that will tie him down or threaten his transitory nature. He does what he wants and doesn’t do what he doesn’t; taking orders from no one. While he may ‘sign’ every other line with “baby”, an actual baby would be anathema to Dandy. The moment someone starts a family they cease to be the most important person in their lives, and they cease to be their own boss to boot. That’s partly why Dandy doesn’t have a family; just a robot and a layabout cat-alien for company. This week, if only this week, that formula changes with the addition of Adélie, an alien who’s been humiliating alien hunters with a huge price on her head. Turns out she’s just a little girl looking for her family, and finds a fleeting one in Dandy.

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This is almost the inverse of Michiko and Hatchin, in which a wronged mother seeks out and snatches up her daughter (we really need to get back to that show someday…): Dandy had no intention of hanging out with a little brat, and indeed, he doesn’t seem he’d be guardian material, considering all the sleazy places he hangs out at, and the dangers his vocation lends. But with the Aloha Oe impounded, the 8 million Woolongs are worth a space train ride to the registration office with said brat. But like Hatchin, Adélie proves a match for Dandy’s robust personality, which is after all so much bluster and bravado…and boobs. At first they can’t even agree on the proper condiment for eggs, but they gradually warm to each other, and have fun adventures on their journey.

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We’ve said that Space Dandy never fails to put on a hell of a show with whatever genre-of-the-week it decides to focus on, and this kind of story is no different, hitting all the right comedic and dramatic notes. Of course, its effectiveness could have suffered had too harsh or bratty a voice been selected to play Adélie. Fortunately she’s voiced by Kanazawa Hana, provides a perfect balance of cheek, angst, and vulnerability. We imagine anyone would be eager to play such a beautifully-fleshed out, believable character even for one episode (though who knows, she may be back), who just happens to have stingers that can transfer peoples’ consciousness to plushies—a power that’s always used cleverly. More than anything, this episode redeems Dandy as someone with a heart of gold, which is beautifully revealed as his emotional stake in Adelie grows along with ours.

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After checking into a motel, Dandy announces he’s going out for a night of Boobies (which we know to be his church), leaving Adélie to stew alone. Our hearts literally soared when it turned out he was feverishly investigating the whereabouts of her grandfather, her only living relative. The reunion at the station goes delightfully un-smoothly when Adélie bristles at their apparent parting; accusing Dandy of abandoning her because she’s inconvenient; being no different from the other adults. Dandy’s daring rescue of her from the scorned alien hunters—while stuck in a stuffed penguin—was truly inspired. In the end, they do have to part ways, but not after changing one another’s preconceptions. Dandy met a decent kid and got a taste of fatherhood. Adelie met a decent adult and got a taste of daughter-hood. Hell, for all we know, Dandy IS her real father…


Rating: 10 (Masterpiece)

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