Darling in the FranXX – 19 – Talented Yet Terrifying

Frikkin’ scientists, amirite? It’s said Adam and Eve were cast out of Eden, but the moment they tasted the fruit from the Tree of Knowledge, Eden pretty much ceased to exist anyway. Eden is an impossibility in a world where humanity is aware that there is far more to the world than the limited, tedious paradise they inhabit.

Knowledge is simultaneously what makes humans humans and what constantly threatens to destroy them. It is humanity that developed world-ending nuclear weapons; it is also humanity that maintains the delicate balance that has kept those weapons from being used for over seven decades and counting.

This week on DFX we learn a lot more about Dr. FranXX, formerly Werner Frank, eccentric maverick scientific genius. We also learn that APE began as a collection of elite scientists, and they recruited him to work on something that has always fascinated humans: how to make immortality a reality.

It’s all too poetic that humanity developed the ability that could massacre most of the human population in one day, while we still have a long way to go before we’re all immortal. And yet, I can’t help but think the same thing that staves off nuclear war is the thing that keeps us from advancing too far in achieving immortality.

That thing is fear. If there is ever a global nuclear war, it could end humanity. If there is ever a breakthrough that makes humans immortal, it will also end humanity; just in a different way.

But that’s the real world. Here in DFX humanity advances far beyond the “safe zone” of maintaining humanity as we know it, thanks to brilliant minds like Frank and his colleague Karina Milsa.

Their efforts are admirable, but to quote the incomparable Dr. Ian Malcolm, they were so preoccupied with whether they could achieve immortality, they never stopped to ask whether they should.

The Magma Energy mining system developed by APE ends up gradually  desertifying much of the Earth’s surface. But Magma Energy also grants humans—now essentially immortal—to build grand structures like Plantations in which to live. It’s just evolution, right?

Only Magma Energy has another side effect: the emergence of the inscrutable, ruthless Klaxosaurs. It’s as if the world was trying to correct humanity’s technological overreach, and restore its mortality.

Still, Frank and Milsa’s massive scientific intellects are re-purposed to developing anti-Klaxosaur weapons: a robot that would come to be called the FranXX. At first it had a single pilot. One of the test pilots was Milsa, who loved Frank and married him, but was lost in a prototype accident when the robot went berserk.

Upon losing the only person in his life Frank had a close connection to, he lost another part of his humanity, and so stopped caring about the future of mankind and simply focused on how much further he could progress it; how much better he could make weapons with which to defeat their new enemy.

FranXX became piloted by male-female pairs, restoring a measure of the reproductive drive lost by the proliferation of immortality treatments. Mankind put themselves back into a state of godliness and thus rebuilt Eden and locked themselves in for an eternal stay.

Only the pilots, parasites of FranXX were involved in fighting the Klaxosaurs outside of Eden (or, in the case of Mistilteinn, just beyond its borders). Meanwhile adults lived their endless tedious lives in the Eden they built, and forgot all about Klaxosaurs in the first place.

APE eventually located the Klaxosaur “leader,” and sends Frank to investigate. Of his team, only he is spared by the “Princess”, whom he regards as the most beautiful being he’s ever seen. But she can smell the blood of her Klaxosaur brethren on his hands, and exacts punishment in the form of tearing off his arm.

This ordeal does not discourage Frank in the least. Considering how far he’d come to come face-to-face with such a fascinating being, it stands to reason he’d keep pushing to perfect mankind’s defenses, not for it’s own sake, but like climbing a mountain, because it (being discovery) is simply there.

Frank seeks no earthly rewards or accolades; only more knowledge, and the self-recognition that he progressed the technology as far as he “humanly” could.

This brings us to the present, where Frank is now known as Dr. Franxx, and he’s grizzled and partially mechanized. APE, still his bosses, wiped Kokoro and Mitsuru’s memories without his knowledge or consent, thus in his mind impeding the path he himself set to achieve the results they seek. Frank/Franxx never had any problem achieving results. The problem lay in the means with which he used to achieve them.

Regardless, results are results, and they’ve given him enough clout to allow Squad 13 to have a candid audience with APE in order to state their wishes: for Kokoro and Mitsuru’s memories to be restored. No can do, APE cites; they cannot restore what is no longer there; the memories were removed, not merely blocked.

Upon learning this, Hiro gets upset, and tells APE they can no longer consider people who did such things to them their “Papa”, i.e. their authority to which to be subservient.

When the APE members don’t even bother answering Zorome’s naive question about how many Klaxosaurs they’ll have to kill to become adults (because the answer is “you will never be adults”) “Papa” lost their last advocate in Squad 13.

They may need Franxx’s know-how and connections to have any success at opposing APE, but that doesn’t mean Hiro will ever forgive him for what he did to both him, Zero Two, and whoever else he used as mere tools or variables in his grand experiments.

We also learn how Zero Two came to be: when the Klaxosaur Princess attacked him, he managed to come away not just with his life, but a clump of her hair…hair containing her DNA…which he used to clone her, thus, presumably, creating Zero Two.

So will he help Zero Two, Hiro, and Squad 13? Have they rekindled his belief that humanity isn’t really human unless they can love, struggle, and die? I hope so; the kids need all the help they can get.

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Koi wa Ameagari no You ni – 10

Keeping Akira in a constant state of hot-and-botheredness was not sustainable, so I’m really enjoying how their relationship has evolved since The Hug. Akira exploits another opportunity to hang out with Masami as friends (a used book sale), and has no other designs other than to see him in a place where he feels at home, and learn a little more about him, and enjoy the nice weather. She’s not all that worried about whether it’s a date or not.

Masami happens to know one of the booksellers (he frequented his store back in the day) who of course assumes Akira is his daughter, but Akira is the one to correct him by calling them friends. The subject of two people knowing each other so well that they can communicate far more with fewer words, Akira resists the urge to call or text Masami when he wanders off into bookland.

Instead, she channels Victor Hugo by sending just a “?”. Since Masami just told her about the instance of Hugo and his publisher, she knows she can share a moment of knowing with Masami, which gives her no shortage of joy. No drama, no furiously burning flames of passion…just a nice day out together.

In another instance of sending a message with naught but a symbol, Akira eventually sends Haruka a signal she still cares by liking one of the track club posts…even if Akira herself seems to have moved past track, not wanting to undergo rehab to make a comeback.

Similarly, when Masami catches Chihiro on TV calling books and writing his “lover”, he can relate; it used to be his lover too, and he devoted nearly all his time to it, hurting his wife and son in the process. After going through some of his writings, he stuffs them back in the box and puts the box back on the shelf, not ready to chase the “one-sided love.”

The next day, Akira shows Masami the book she bought for herself at the sale, And Then by Soseki. It comes with a charming bookmark of a swallow holding a four-leaf clover, which reminds Masami of the swallow’s nest under the backdoor awning they had to get rid of because of the droppings.

Masami makes sure Akira understands they waited for all of the babies to leave the nest before doing so, which prompts Akira to ask what would have happened had one bird not made it from the nest; perhaps a metaphor for her being unable to join her trackmates, as well as Masami pondering giving writing up.

Masami replies that such a bird may still be able to find some happiness, and even forget about the others, but hopes that the bird wouldn’t regret giving up, lest it keep looking wistfully up at the sky, pondering what might have been.

He apologizes for rambling on, but Akira thanks him for his words, and wants to hear more of them, and perhaps one day read them as well. Akira is signalling to him that it’s okay to keep that dream of writing alive, that perhaps the forgiveness he so obviously seeks isn’t as out of reach as he thought.

Ghost in the Shell: ARISE – Alternative Architecture – 08

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Who is Kusanagi Motoko? It’s a question ARISE has been constantly asking, and which she herself asks, now that this latest arc has become her most personal yet. By the end of last week’s installment, it was pretty darned evident that her love Akira was mixed up in some unsavory conspiracy with Dr. Theid and Col. Hozuki.

A question asked parallel to this is “Who is Scylla?”, a question everyone seems to want to know the answer to except Motoko and her former comrade Kurtz, who gives her a gun with a familiar mark carved into the grip, and the task of “burying” Scylla for good.

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In an interesting choice by the animators, Motoko spends most of this episode wearing hot pants instead of her usual pants, perhaps to accentuate the fact her right leg is still not quite behaving properly thanks to Fire-Starter. She even shows up in a smoking ball gown, indicating whoever she is, she wants to embrace her femininity and have fun with Akira even as suspicion about him continues to mount. Akira says he was drawn to her by her desire, through customization, to make her prosthetic body her own.

Akira’s work, the fruits of which are shown when he and Motoko attend a wedding between two elderly people in brand new young skins, are following a similar path as Motoko: blurring the lines between the technological and the organic. He also considers Motoko’s body to be herself, not merely a tool that allows her ghost to walk about, or choke people. Despite his seedy dealings, I found myself approving of him as Motoko’s mate.

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When Akira’s deal with Hozuki goes sour and he and Motoko are attacked while in bed together, Motoko is quick to blame herself for the targeting, but it’s really Akira the gunmen were after. Detective Togusa’s investigation overlaps with her unit’s, and he warns her that Akira can’t be trusted the way she’s trusting him, and the Qhardi leader confirms that Akira is the “new” Scylla.

After we see how Hozuki and Thied make that happen, and Aramaki and much of the rest of the unit are ambushed at the Vice Minister’s office, the body of evidence is too great and Motoko can no longer deny who Akira is and what she, and she alone, must do.

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Not that she’s looking forward to taking out her lover; someone who seems like a genuinely nice guy who got mixed up with the wrong people and took one too many wrong turns. But it turns out to be more than that: the Scylla in Akira’s brain was once Motoko, and Motoko was once Scylla, aiding the Qhardi separatists back when she was with the 501, before she faked her death.

By shooting him and destroying his cyberbrain, she’s saving her comrades and ending the latest crisis, but she’s also killing a part of her past. She was Scylla, but now who is she? It’s a question she still doesn’t know the answer to. But while she was in Akira’s arms, for a fleeting moment, she knew she was wanted, and that she was happy.

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So ends another tragic chapter in the chronicle of the enigmatic Kusanagi Motoko. But while my heart sank at her having to kill her lover, she’s always proven able to restore and reinvent herself and continue use her unique talents and unique unit to be a force for good in the world. She casts away the explosive “Ariel” parts Akira had furnished her, and rebuilds herself with more customization; if she forgot who the flesh-and-blood Kusanagi originally was, she’ll simply create a new one through prosthesis and cyberization.

The show doesn’t question the rightness or wrongness of such a path, but it does indicate this is all she knows how to do and it’s at least something. It also contrasts her with the all-natural, married Togusa, who impressed her in the last case to the extent that she offers him a job in her unit. With her lover gone that unit is now pretty much all Motoko has, but her offer to Togusa is interrupted by the news that his wife’s water broke and that he’s going to be a father.

Motoko’s look of bemusement as he races off seems to indicate she almost forgot there were still low-tech people like Togusa extant in this world. But in addition to his sleuthing skills, I’ll bet Motoko wants his perspective on her team—a perspective she’s lacked for untold years—as she continues to face threats like fire-starter and rebuild her own identity in the process.

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Ghost in the Shell: ARISE – Alternative Architecture – 07

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Kusanagi has had six boyfriends in six months, if her comrades are to be believed. But what some of them might call a sickness, I call enjoying her independence and the personal freedom of owning her own body again, something that weighed on her a long time. And she deserves to be picky, as she’s a singular catch herself. After watching her fling herself around and throw herself into harm’s way time and again, it’s gratifying to finally see her enjoying herself with something that has nothing to do with work (more on that in a bit).

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Turns out the record for amount of “vacation” time she’s able to have with her new BF is just five hours, as she’s constantly interrupted by those comrades of hers, who ae charged with shutting down a terror plot ostensibly about the sale of water in Kuzan; water being one of the resources about which wars will be fought with increasing frequency and magnitude in the future; something Californians are already starting to feel.

In any case, the terrorist bombing is almost too neatly synched with the explosion of a dam, and a detective is found with a suitcase containing prosthetic legs. Kusanagi’s men prove their eliteness yet again by pacifying the situation and helping to save her from the terrorist leader, who is not only able to break her ghost lock, but inject a virus that creates pain and muscle spasms in her right leg. Her right prosthetic leg. Hmmm…

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All six perps have falsified memories and bear the same tattoo indicating their connection to a Qhardi rebel named Scylla, who might also be the notorious Fire Starter whose virus has been the bane of Kusanagi and her team throughout this show’s run. Only Kusanagi is certain he’s dead, so it must be someone else.

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While conferring with her comrades in person, we see Kusanagi has not only not changed her pants, but cleaned up the tears to make them half-hot pants, a look I dearly want her to continue to sport in the next ep, because its a good look and she’s got the gams for it.

Speaking of gams, Kusanagi pays another visit to her BF for a “tune-up”. Again, it’s nice to see this cute, playful, tender side of Kusanagi. She’s downright disarmed by this guy…as he checks out her legs. We later learn that he runs a high-end prostheses business, and Detective Togusa comes to him with questions about the legs found by the dead detective, who was himself at least partially cyborgized.

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And that’s when the episode throws down the gauntlet in the form of everyone’s least favorite metal Easter Island headed military official, Hozuki, in cahoots with Kusanagi’s BF. I tell you, Motoko-chan can’t catch a break. Is this arc setting her up for betrayal and heartbreak, or is all her lovey-doveyness an act, and she already knows who she’s sleeping with, and is sticking close to gather intel? We shall see.

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GARO: Honoo no Kokuin – 20

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First of all, I enjoyed how subtly the fact Leon and Ema have slept together is treated this week. They don’t even interact all that differently, as they’ve always been a pair that bickered. Prince Alfie, who invites them to the palace to discuss Mendoza, is content not to pry, but does notice Ema’s new hairstyle.

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And good for Alfie, he also at least somewhat suspects Octavia, because not only does she look really really suspicious with that look of constant guilt and worry on her face, but because he saw her sneaking around the church late at night. Now, Alfie isn’t the sharpest tack on the board, but Octavia seemed due for some kind of slip-up this week, so I gave it even odds she’d be found out…whatever it is she’s actually up to.

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Alfie, Leon, and Ema use a neat trick by hiding the sound of a horror-detecting bell by rining a regular bell to bring in wine for the King, who is still bedridden but on the mend. It at least determines Octavia isn’t a horror, but it isn’t the end of Alfie’s suspicions.

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But that’s all he has to that point: suspicions, because Octavia has proven very adept at staying out of trouble, even as she smuggles food to master Mendoza, who faked his death after all, but his body seems to have paid a price; it’s aged and frail. Still, he’s the same old Mendoza, confident no matter how much snooping around those punk kids do, they won’t be able to stop him.

Considering the Garm has Herman serving Mendoza in capacity, it’s hard to argue with him; the only question is what is he up to? Is he making another play at the throne, or does he have further villainy in store for the world? Whatever the case Octavia will do anything to serve him, including give up her life.

Not so fast, Mendoza says: he doesn’t want her to be in a hurry to die for him, because that would trouble him. These are truly two trod-upon hearts warped by loneliness and despair into kindred creatures raging against the world and the god that forsook them both. Their designs may be dark and twisted (we’ll see, won’t we?), but one has to appreciate the mutual devotion on display here.

At the same time, the fact they’re up to good always keeps the idea allive in my mind that while he says he’ll never toss her aside, he may still do just that when he no longer needs her.

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The show had us for a second, too, when Stakeout Alfie confronts the cloaked figure who emerges from the secret underground passage…but it’s only Laura, a young maid serving under Octavia, gathering purer water for the King. It’s an innocent enough reason to be down there, but there’s a hint of recitation in Larua’s explanations, as if Octavia were using her as a decoy to throw Alfie off her trail. Laura also teases a potential love interest for Alfie, who is the only guy in the main cast who hasn’t yet had any.

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Still, the trio continue their investiagtion, springing a thread trap that Octavia, bouyed by a premature sense of security, snags, throwing her into Survival Mode. As I said, Leon and Alfie aren’t tactical geniuses, but Ema is, and Octavia was due for a slip up. What I didn’t expect was how expertly she’d pull out of her nosedive not only totally above suspicion, but with the King and Alfie’s warm regard for her courage and devotion. In other words, in a stronger position than ever.

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That tenacity was born of her upbringing. The other members of her family were devout worshippers who believed God would save them from anything as long as they prayed; even if they didn’t pray, as Octavia’s Laura-like little sister remarks. But unquestioned faith in God can be a tricky thing if things don’t go well in life, which they don’t for the skeptic Octavia.

For all their prayers, a pack of wolves devours her family in front of her and none of her fellow villagers lift a finger to stop the slaughter. From that point on, Octavia was officially through with whatever God her doomed family believed in, and put her faith and her life in her savior Mendoza’s hands. He hasn’t let her down yet.

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And he continues not to when he presents her with a talisman she should use when she’s in trouble. While on the run from Ema’s trap, she activates it, summoning a horror beast that obeys her every command, spoken or thought. She has the beast consume Laura, who was by the dozing King’s bedside (Yikes…R.I.P. Laura ;_; ), then rouses the King, warns him that Laura turned into the beast, and has the beast attack her for good measure, biting off the right leg Ema’s string is connected to.

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When Alfie, Leon, and Ema arrives, it is plain to see that Octavia is valiantly protecting the King with her own life. It’s a phenomenal ploy by Octavia, and it shows that behind that worried face, she possesses great stores of courage and faith in her Mendoza, all of which is rewarded when the knights she hates so much turn their suspicious gaze away from her.

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It’s not as if Octavia wanted to get attacked by her own horror beast and lose her right leg, but she did what she had to do to stay in the game and, as Mendoza bid her, stay alive at all costs. The last thing she wants to do now is die, not only disobeying her master but making him grieve for her. Like I said, they have a great dynamic, not so much the one-sided manipulation it looked liked in the past.

With Octavia cleared, the case remains open for the Scooby Gang, but Herman suddenly arrives to curtail their sniffing around. Leon doesn’t take kindly to this interference, and he and his shitty dad draw their swords to do what knights do in such situations: fight it out. There’s still every indication Herman is simply obeying orders, but one also senses a glimmer of pride in his calmer, more mature, more badass son.

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GARO: Honoo no Kokuin – 19

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The amount we didn’t know about Ema Guzman had always outweighed what we did, and while that made her more cool and mysterious, it also kept her at arm’s length. Whenever she’s darted into Leon’s story, she’s made an impact, but she’s never been on screen long enough. That injustice is corrected this week…and then some.

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All the while Leon and Herman and Alfie have been through a diverse array of adventures, Ema’s basically been on the same single mission: she’s hunting for a powerful horror named Luciano Guzman. When Garm tells Leon Ema is going to die, Leon goes after her, which is a good move, because had he not intervened, she may well have died. Not because she’s too weak to defeat Luciano, but because she doesn’t particularly care if she dies.

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That’s because Luciano was once a man, a fellow Makai Alchemist, and her beloved lover and husband. As a pair they were unstoppable, but Luciano wanted more than to just hunt horrors; he wanted to save them. When not out fighting, he was in his lab, working furiously to find the spell that could prevent humans from turning, or turning them back, but got nowhere. The pain of his powerlessness eventually overcame him one night, when he sprouts giant black wings and disappears into the night…

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…Leaving poor Ema crushed by the wreckage in his wake. More than anything, she wants to take out the horror who did this to him, put him out of his misery, but the Makai knights she worked beside wouldn’t let her, only to end up slaughtered. She deems ending Luciano as her right and duty, and no one else’s.

Leon trades Zaruba’s knowledge of Luciano’s whereabouts for this story. Little does Ema know that, as it did for me, that story only made him care about her more and want to protect her, both from Luciano and her own obsession to destroy him even at the cost of her life.

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She doesn’t dare show a softer side to Leon, but privately, after sewing up her own abdominal wound (this chick is seriously badass), she seems intrigued, flattered, and a little impressed with Leon’s words. She caught a glimpse of him with Lara, but she still regarded him as naught but a boy, untouched and untested by the true horrors of the world. And we know that’s not true. Leon is no longer a clueless whelp. Now he has the strength of body and conviction to back up his big words.

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The night of the final showdown with Luciano commences, and to my surprise, it’s a thrilling aerial battle, calling to mind Last Exile or Pilot’s Love Song. Familiar vibes aside, Ema’s elegant system of gliders she hops to using thread and hooks, and the sleek alien stealth fighter design of Luciano’s horror form, are all very creative touches.

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The fact the battle weaves between cloud systems and is lit by the full moon gives it that much more of a dramatic, artistic flair. Ema has always been an acrobatic fighter, so it stands to reason when she gets really serious she takes to the sky itself. Especially when Luci opens up a barrage of red particle weapons at her, this is mostly just immensely fun stuff to watch.

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And Just as Garm foresaw, Ema does end up in a position where she really should have died. Using a spell of her own, she’s able to awaken a part of Luciano that still loves her, and he catches her before she’s impaled on a church spire. But he’s still a horror, and Ema doesn’t possess the ability to change him all the way back, any more than he did, so as he prepares to eat her, she’s ready with a giant sword made out of her thread. With the only thing keeping her suspended over that spire, killing him means her death too…if it weren’t for Leon, that is.

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A younger, less seasoned-by-life Leon would have surely tried to put an end to the fight before it began, but especially after hearing her story, he holds back until it’s over, only swooping in to save her after Luciano is gone. He does it because Ema is a friend, and she is someone he can protect, so he does. 

But his actions means more to Ema than he knows. She was willing to give up on her own life to release Luciano, he wasn’t. All of Ema’s disdain for Makai Knights was borne from the way they’d always swoop in like scavengers while undervaluing what she and Luciano did, and more importantly, when those same knights detained her, preventing her from taking care of Luciano a long time ago.

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But Leon is proof that not every Makai Knight is necessarily a shithead. He tends to her wounds and comforts her. In every encounter, including the early ones this week, Ema had mockingly referred to Leon as a boy, but suddenly, in that dimly lit room she realizes he’s no longer that boy in her head, but a man; the first man she could truly let her guard down and trust in a long time.

It’s a huge epiphany for her, which is why I don’t remotely begrudge her going in for a kiss. This new matured Leon proves her instincts were right by neither blushing or recoiling but kissing her right back, even taking things further, the risk of wounds opening be damned. It’s a very sexy scene,  and a great note to close on…and it’s earned.

For so long on this show Ema stood apart, out on the periphery, with us not knowing exactly what she was after or why. Now we not only know what she wanted to do; but she did it. Leon saved her, finding someone new to protect in the process. Now they’re standing a lot closer together, and the show is all the better for it. The question now is, do the two go separate ways the next day, or stick together for a time?

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Stray Observations:

  • With Lara, Ximena, and now Ema, we are officially in Garo’s Feminist Period. Seriously, it’s loaded with badass women.
  • On that note, let’s not forget Octavia, who’s still lurking in Alfie’s palace. Wonder if she’ll get a fleshing out.
  • I’ll admit, there were a couple poorly-drawn moments, but the episode more than makes up for it with that dogfight along with its usual stylishness.
  • Ema’s thief’s outfit in the flashback reminded me of FFXIII’s Lightning’s Ignition garb.
  • Ema kinda has to tell Leon about Luciano, since Zaruba is in a particularly chatty mood this week. “I’d rather say it myself than have a ring blab about it!” I LOL’d.

Kamisama Dolls 7

Gosh darn,that was a beautiful, tragic, moving episode. Easily the best of this series so far. All the more astonishing considering it’s all a flashback primarily about Aki, with a cold open and only a brief punctuation mark at the end bringing us back to the present, with Kyohei telling the story to Hibino. By the end, the rain stops, but the tears start for Hibino. I can’t really blame her.

We go back to the time when Kyohei was still a seki, and before Aki lost it. Prior to this week I hadn’t had much reason to root for Aki’s character beyond a general sympathy for his alleged rough life. Well, damn it all if I don’t feel for the guy infinitely more now. A bastard child, he was adopted by the Kuga clan, and chosen to be Kuramitsuha’s seki. However, his penchant for killing animals let the kakashi to pass to the one it was originally promised to, Aki’s stepbrother Asushi.

Asushi is, as Aki succinctly describes him, scum. He’s a shaky seki at best, and his antisocial tendencies probably surpassed Aki’s at the time. When a beautiful young substitute teacher, Senou Chihaya, arrives in the village, Asushi grabs her by the arm and demands she become his girl. She refuses, and he proceeds to ruin her reputation, making her a pariah in the town…like Aki.

Senou falls for Aki, who saves her from being molested by Asushi, and they end up sleeping together. But photos are taken of them, and she’s fired from her job. As if that wasn’t bad enough, Asushi kidnaps her, kill’s Aki’s dog (his best friend), and calls him out. After raping Senou, he then tries to kill Aki with Kuramitsuha, but Senou leaps out to protect him, killing her. And that’s the last straw for our friend Aki. Regaining control of Kuramitsuha, he massacres Asushi and anyone else around.

When Kyohei finds him, the scene makes it look like Aki killed Senou too, although he later learns that wasn’t the case. Aki may have gone too far in his vengeance, but there’s a possibility he couldn’t control his actions. He was ready to die to protect Senou. Losing her crushed him, and perhaps his humanity along with it. But Kyohei was also in love with her, and her death and Aki’s revenge led him to give up being a Seki.


Rating: 4