Kamisama Hajimemashita 2 – 12 (Fin)

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Kami-Haji wastes no time piling on the adorableness in its final episode. Lil’ Nanami is button cute, just the kind of person you want to hold and squeeze and protect for all time. But we learn along with Tomoe that that cuteness is tempered by a steely resolve to look out for herself and be wary of men; advice given by her mother, who herself could not escape a life of bad luck with a crappy excuse for a man. We also learn that the women in her family only ever bear more women, all of them beautiful.

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Tomoe is positively transfixed by this educational foray into Nanami’s past, and even though Mizuki tries on numerous occasions to nudge him to put an end to it, Tomoe watches on, even as things go from bad (Nanami’s mother dying, as expected) to worse (Nanami living with her awful dad, who does nothing but goof off and burn their house down). The things that happen to Nanami are almost comically cruel, but for all the slapstick mixed in with the narrative, the episode never makes light of her plight.

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It also makes it clear these are the experiences that made Nanami the young woman she is today, and that something great and beautiful can come out of all that suffering and hardship. With that, Mizuki again confronts the lil’ Nanami to try to coax her back to the present, and again, she flees from Mizuki, who if we’re honest doesn’t have the most trustworthy aura about him.

Tomoe is different, though. Even though he’s a man, Nanami seems to trust him implicitly. Is it the connection she has with him in the present shining through here, or the connection between her family lineage and the god who granted them beauty at a heavy yet bearable and character-building cost?

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Tomoe isn’t just a fan of lil’ Nanami because she’s adorable. He also likes the fact that everything she desires is clear to him here in her flashback world, as things she concentrates more on appear with more detail and in greater focus. Seeing everything she wants to clearly, and having the power to grant it all, Tomoe’s devotion for her grows. Here, when asked if he truly loves her and is someone she can count on, he can answer directly: yes he does.

Heck, he even proposes marriage, and she accepts…but when the grown Nanami wakes up, she’s seemingly forgotten everything about her dream, which deflates Tomoe quite a bit, because he thought he’d actually made progress.

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He laments the fact that the happy-go-lucky yet delicate girl he was able to confess to so easily was lost in the twelve years since, especially when she’s able to single-handedly convince the zodiac sheep to allow the new year god to shear him. Then Nanami surprises Tomoe again and makes him rethink everything when the Year God furnishes her with a photo of her mother.

Now, that wouldn’t seem such an impactful gift, but considering her mother died when Nanami was very young and all photos of her were lost in the fire (a heartbreaking fact), it means multitudes for Nanami to finally see her face clearly. And in doing so, Tomoe sees that neither Lil’ Nanami nor her mother really vanished; they’re still within Nanami.

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Back at the Shrine, Nanami is back to work on her talismans, and Tomoe is back to work denigrating their poor quality, earning her defiant scowls. But when relaxing after a long day ushering in the new year for worshippers and the like, Nanami settles down for some tea and TV with her shrine family, whom she’s been with now for a year.

When she steps outside, the falling snow reminds her of what a shadowy figure once said to her in a half-forgotten memory of the past (which we know to have just happened at the Torii gates), in which Tomoe tells her younger self she won’t always be alone and wary, but be “the lady and mistress of a household more rowdy than she could wish for.”

And so it’s come to pass. She has a family, without having resorted to marriage she’d sworn off. And yet, when asked again, Nanami adds the qualified “probably” to that swearing-off, opening the door for Tomoe, if he wishes to walk through it.

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Kamisama Hajimemashita 2 – 11

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“Dang it Mom, I’m working on my science project!”

Kami-Haji is really in the zone in its home stretch, such that it can abruptly change gears from the Tengu arc to Kirihito without breaking a sweat. Mind you, I was a little skeptical of the choice of gear—there’s only two eps left; get back to Nanami and Tomoe!—I decided to be patient and see where the show was going with this. It was a good decision, and my patience was rewarded handsomely.

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Having built a new portal to the Netherworld…in his house (probably not the best idea), Kirihito—or I should say Akura-oh—prepares to dive back in to look for his body. What’s interesting is the means with which he does so: by using the bracelet he made from Nanami’s hair (quite a bit of it…yikes!) to keep his human body intact while down there. That’s right, Mr. Big Bad can’t do a thing without Nanami’s (indirect) help, and he knows it.

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The Netherworld is just as dark and dreary and unpleasant as it was last time, but it doesn’t take long for Akura to find his body. Just a slight niggle: it’s on top of a volcano, in an eternal cycle of being simultaneously burnt and regenerating.

Yatori tagged along as is ridiculous 90% of the time, but we see why he came when he gets serious and stops Kirihito from doing something reckless. His hair bracelet will be of little use; what he needs is the ability to quell the volcano’s fire…and the best thing for that is fox fire; specifically Tomoe’s.

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So, okay, Kirihito will be paying Tomoe (and by extension Nanami) soon. Is there really time for that? Never mind; Kirihito’s side of this episode comes to a beautiful end: once Yatori gets him back to the mundane world, the portal starts leaking poison from the Netherworld. At first Kirihito/Akura is unconcerned, even after one of his shikigami turns to dust; he slaved over that portal and he’ll be damned if he’s going to seal it.

But then he remembers he’s in Kirihito’s house, and his mother is at his door with a late night snack. And he seals that portal right up. It’s an incredible feat for someone so nasty and self-concerned, but Akura-oh clearly inherited more than just Kirihito’s body.

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Embedded in Kirihito’s side of the story is a cutaway to Tomoe, the guy who betrayed him by falling for a human woman and thinking he could be a human himself, who is in that moment making hamburger steak for his human/god master, because it’s her favorite.

First of all, BAAAAAAAAW. Secondly, Kirihito may poo-poo Tomoe’s love and devotion for a human (first Yukiji, now Nanami), but he kinda loses his philosophical ground when he puts the safety of his host body’s mother before his own.

Like Kirihito sealing the portal later, Tomoe suddenly feels guilty removes the shiitake mushrooms he meant to sneak into the mix after Nanami expresses excitement about him making her favorite dish. DOUBLE BAAAAAAW.

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The second half begins with Nanami watching a wedding on TV, and brings up the fact she’s agreed to host Himemiko’s wedding when it happens. Mizuki and Tomoe briefly misunderstood her phrasing to mean she was getting married, to which she responds “I’m not getting married. Ever.” And she says it with a creepy face that suffers no debate.

Her stance is harsh, but understandable, considering she comes from a broken home, and the marriage she’s most familiar with—that of her parents—obviously didn’t end well.

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How apropos then, that when Nanami tags alone with Tomoe and Mizuki to visit the Year God, she ends up revisiting those rough years, even transforming into her twelve-year-younger self.

One wonders why in the world Nanami would ever think looking back on her past twelve years would “sound fun”, but call it curiousity and awe at her surroundings, combined with her special brand of hard-headed recklessness Tomoe both loves and hates about her.

And while I maintain Tengu Nanami remains The Best, Lil’ Nanami is no slouch in the adorableness department!

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Tomoe and Mizuki fail to catch Lil’ Nanami (who lands a fantastic jump-kick on the latter, believing him a kidnapper), but they’re able to bear witness to her experiences at this age, from being given a chocolate bar by her deadbeat dad just before he runs off for good, to her mother being hounded by debtors.

It’s a lot for a little kid to take in, but even at her young age, she becomes overcome by shame at enjoying a luxurious chocolate bar as her mother struggles to scrape by. (Mind you, it’s her Dad’s fault, not hers).

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Even in the face of such hardships, the moment Nanami’s mom notices her daughter, her face brightens and she embraces her treasure, as if to assure her that everything will be all right. I had no idea Nanami’s mother was so kind, decent, and loving. Fortunately for us, Nanami took after her mother in that regard.

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So the question is, what happened to make Nanami family-less and homeless? Tomoe learns this after getting a good look (and possibly feeling the aura of) Nanami’s mother: she’s very ill, and doesn’t have long to live. Her mom didn’t run off like her dad…she died.

Being a little kid, Nanami has no knowledge of her mother’s impending death. And as we know, once she’s gone there’s no one else to take her in, until she comes upon the earth god shrine. But Tomoe tells Mizuki not to interfere; he wants to see a bit more. After all, he’s witnessing a side of the woman he loves he’s never seen before. Maybe seeing that side will finally give him the courage to tell her of his love. Here’s hoping.

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Kamisama Hajimemashita 2 – 10

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This episode features the unlikely but increasingly tolerable pairing of Nanami and a somewhat humbled (and therefore more reasonable) Brother Jiro, as they search for the Sojobo’s soul. He’s still stern and no nonsense, but he doesn’t prevent Nanami from following him down into a secret cavern.

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Jiro even tells her this was where Shinjuro got into trouble with a thunderbolt beast, and where Suiro lost his ability to fly by rescuing him. But when Jiro drops into a deeper chasm, even when lightning shoots up, nay, because it does, Nanami goes in after Jiro, not because she doesn’t trust him, but because he had the bearing of a man going to his death.

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The beast rears its head for Nanami first, and while she’s able to fire off a barrier against evil, it counterattacks with a massive lightning strike. It’s in this moment Jiro finally understands why Suiro saved Shinjuro and regrets nothing: the despair of losing his ability to fly was small compared to the despair of losing someone he loves.

Before Suiro knew it, he was moving to save Shinjuro. And before Jiro knows it, he’s moving to save Nanami, whom he admits he’s fallen for, and can’t bear to watch die.

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I love how over-the-top Shinjuro’s reaction to learning the soul is hidden in the same place where he was traumitized, but he quickly composes himself, knowing that not only is he a far stronger tengu now, in part because of that experience, but he’s also not alone: Tomoe is with him and Nanami is further in.

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Tomoe dispatches the “kitten” with his superior fox fire, but he isn’t able to bask in the light of Nanami’s gratitude for saving her as he usually does. Nanami is too concerned with Jiro, who is badly injured and loses consciousness.

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In a really nice icebreaker, the defeated thunderbolt beast, suddenly not so fearsome-looking anymore, coughs up the Sojobo’s soul like a hairball. Kamisama Kiss has always been great at tempering or punctuating its more serious scenes with lighter fare. Unlike, say, Violin girl, its slapstick never ruins the mood, but rather keeps it in check.

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Nanami’s continued concern for Jiro irks Tomoe, because he doesn’t like the idea of Nanami, whom he likes, worrying about another man. Still, he’s able to comfort her by assuring her Jiro will happily bear whatever consequences he must, because he got to save Nanami. He speaks form his own extensive experience: saving Nanami is always worth it.

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Kamisama Kiss puts on a romantic comedy/drama clinic this week, perfectly balancing Nanami’s joy and relief when Jiro comes to (thanks to her peach pills) with the embarrassment of walking in on a nude Jiro being bathed by Suiro.

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Tomoe initially playfully teases Nanami, but as usual goes a little bit farther than he should due to his own frustration of holding in his true feelings for the lass. When he tells her it makes no difference to him whether she goes back home with him or stays with Jiro to get to know him better, it clearly wounds Nanami, who contrary to Tomoe’s jealous suspicions, hasn’t simply flipped her love switch from Tomoe to Jiro.

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Still, Jiro did manage to do one thing Tomoe hasn’t been able to yet: clearly confess his feelings for Nanami. So at the cherry blossom tree viewing/Sojobo & Jiro recovery party (that’s a mouthful), Nanami is receptive to Jiro’s own attempts at courtship, which aren’t bad for someone who’s never laid eyes on a woman before.

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The beauty of the restored cherry tree makes for about as romantic a locale as one could hope for, but as much charm and respect Jiro has for Nanami, when she tells him how precious the peach pills she used to save him are, and how she wants Tomoe to have them if anything ever happens to her, it becomes clearer to him that he’s barking up the wrong tree.

Consider: when he flew her up into the tree, in a moment of fear Nanami called out for Tomoe. Also, when she has too many high-proof sake-filled steamed buns and gets wasted, she repeats his name again and again. With the walls of sobriety down, she also lowers her toughing-it-out mask. The only one she wants is Tomoe, and she’s far more happy being carried on his warm comfortable back than being in the middle of a cherry tree with Jiro.

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She even unabashedly lets off an “I love you”, not her first nor her last directed at Tomoe. And perhaps knowing she’s passed out and won’t hear it, he says he loves her too out loud. It’s a small step, but he knows it’s a necessary one.

As Shinjuro tells him, it’s precisely because human lives are so short, that if you have to say something, you’d better say it before it’s too late. Tomoe has technically said what he needs to say, but this time doesn’t count. Can he do it when Nanami is conscious? We’ll see.

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Kamisama Hajimemashita 2 – 09

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I had a feeling this “heist” episode was going to be a good one, but I wasn’t prepared for how much ass it kicked, much of it courtesy of our heroine Nanami. It’s quite simply one of her finest hours. It’s all because she has to be herself, which means tapping into her stores of morality, decency, and emptahy along with her increasingly potent divine powers.

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But first of all, I just want to reiterate that Tengu Nanami just made my year. He/She is so friggin’ cute she makes Botanmaru look like a pile of puke! The spiral glasses are a particularly nice touch. But along with that cuteness comes great strength.

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But anyway, the reason Nanami is able to steal the show is that the (somewhat) carefully orchestrated operation doesn’t go according to plan. Kurama had hoped to get Jiro drunk on mundane world medicinal alcohol, but the bull has formidable tolerance.

Tomoe, furious that Jiro hurt Nanami, tries to work his magic, posing as a slightly sultrier Nanami to throw Jiro off his game (helped at least a little by the booze). It works for a time; at least long enough for Nanami to find the Sojobo.

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Kurama and Tomoe are undone when Tomoe breaks character and brings up Nanami, the maiden Jiro met, and even threatens violence. Kurama stops his “familiar”, but Jiro imprisons them both in a strong, anti-yokai barrier prison. With these two out of commission, it’s Nanami’s game to lose.

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She doesn’t lose. The plan fails mostly because she and the others weren’t aware of the existence of a yokai under Jiro’s employ (Yatori), or the fact the Sojobo has been petrified as a result of his soul being extracted.

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Nanami, in top heroine goddess form, doesn’t cower in fear before the bombastic Jiro. In fact, when he smacks Botanmaru, she gives him a stern scolding, one he probably hasn’t heard in a long time, if ever, and sorely needed. He blames Botanmaru for being weak, but Nanami points out Jiro hasn’t been running this mountain himself, all alone. Even the strongest have people they rely on.

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Jiro doesn’t know how this litle whelp of a tengu knows about such stuff, because he doesn’t know he’s talking to a human land god. When Nanami brings up Sojobo’s soul extraction, Yatori butts in a shoos Jiro away. In case you were wondering, yes, this guy is up to no good, and is simply using Jiro to secure an army for Akura-oh.

But Yatori is just as clueless about this tengu lad as Jiro, and when he threatens to off him and Botanmaru, the wig and gloves come off and Nanami enters Full Bad-Ass Mode, a mode she remains in for the duration of the episode.

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With Mamoru by her side, she casts a barrier against evil that easily dispatches Yatori. One could say he’s dealt with too easily, but this has never been a show about long, drawn-out physical battles, but rather battles of wits, timing, and ideals. In any case, it’s awesome to see Nanami wield such power so comfortably and confidently, and we know why: the people she loves and cares are counting on her, and she won’t let them down.

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Even in disguise, her words prove just as powerful a weapon against the big dumb mean bear that is Jiro, within whom lies a precocious but insecure boy desperate to earn the Sojobo’s approval.

When he isn’t watching where he’s going he bumps into the three adorable little tengu we met last week, who all expect to be reprimanded severely for getting in his way. But Nanami’s words echo through his head, and suddenly picking on a bunch of little kids seems stupid. Good for him. Better for Nanami!

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Jiro’s sudden crisis of the heart also means his hold on his “encampment” is tawdry at best, and Nanami takes advantage. Ignoring Yatori’s pleas to keep him around since he’s the only one who knows where the Sojobo’s soul is stashed, she decides to simply cancel out all of the barriers in the compound with one big barrier against evil, and find the soul herself.

As she “tears” through the place, she scares the bejesus out of various tengu who’ve never laid eyes on a woman before, and even leaves a gleaming golden trail in her wake. Once her barrier is cast, the whole place starts to sparkle. When Tomoe and Kurama’s prison fades away in the golden light, Tomoe knows exactly what’s up: his Nanami is demonstrating precisely why she’s worth falling for.

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Kamisama Hajimemashita 2 – 08

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The tables are turned on the human Nanami early this week as for once she is the one being regarded as a rare and strange supernatural creature, a “celestial nymph,” by Jiro. He’s not the gentlest soul to her, either, roughly grabbing her arm and threatening to break it before Mamoru, true to his name manages to spring her.

Scared, trembling, and sporting a sore arm, the sight of the far gentler Tomoe is enough to make Nanami collapse into his bosom ing joyful relief. This is the side of Nanami that makes Tomoe want to protect her with everything he’s got. And I’m sure Nanami would always prefer for Tomoe to be waiting with open arms whenever she gets into such a state.

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After being treated roughly and then gently, Suiro continues to talk to Nanami while facing Tomoe, as if her countenance is too awful to look upon. When she forces the issue, he admits he’s simply not used to interacting with women, especially, as he says, “beautiful maidens.”

After glimpsing his impossibly gorgeous face, Nanami has to wonder if he’s just being nice. Don’t get me wrong, Nanami is super-cute, and I wouldn’t call her plain, but it’s clear her’s is a more normal, casual beauty compared to all these magazine cover bishounen. 

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Suiro, perhaps the most classically feminine of the characters in the room, has always mothered Shinjuro, and now that he’s back it’s as if nothing has changed: he still sees him as a little kid with mussed hair who can be placated with apples and promises “it will all work out.” Only Kurama isn’t a kid, and isn’t buying it. Nothing will work out this time unless he acts.

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When Kurama storms out to cool his head, Suiro asks Nanami and Tomoe not just to leave themselves after giving the peach pills to give to Kurama’s sire, but to take Kurama with them as well. He can tell that Kurama left a lot behind in the mundane world to come to the mountain, and he shouldn’t be expected to abandon the life he’s lived for seventeen years.

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Nanami’s response is simple: she and Tomoe aren’t leaving until Kurama says he wants to go. They both find Kurama surveying Jiro’s heavily-fortified compound, and Kurama comes to the same conclusion Tomoe does: he can’t do this alone. Nanami volunteers to help in anyway they can, because she’s not just someone who runs scared into the arms of others. She’s both vulnerable and strong; scared and brave; all seemingly contradictory traits that perplex Tomoe so.

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Kurama doesn’t even have to ask Nanami, but he does anyway as a courtesy; not an easy thing at all for him to do, considering he prefers to shoulder all the burdens himself. What’s so funny is the cliff they’re on is so windy, Nanami doesn’t quite hear him ask for her help, and Kurama is too bashful to ask again. Thankfully, Tomoe heard.

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Meanwhile, within compound they intend to infiltrate tomorrow, it’s plain to Yatori—and us—that Nanami has had an effect on Jiro. You could say he’s been enchanted; his heart and mind are in disarray. His instincts made him act forcefully to a potential threat in the nymph, yet he cannot deny her presence in his mind has been all but constant ever since their meeting. You can call it puppy love, but no doubt he sees it as a weakness, one he’ll hide from his subordinates at all costs, even as he continues to cull young tengu who aren’t strong enough to pass muster.

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This episode is immediately made better by frikking having Tomoe in it, saying more than one line; although a few of his lines are obviously defensive barbs loosed against the girl he’s fallen for flustering him simply by existing. As fate would have it, they share a bedroom that night.

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Nothing really happens, despite what these images might suggest, but when coming back from the bathroom, Nanami accidentally curls up in Tomoe’s bed, and while initially freaked out, Tomoe is surprised to find himself embracing her, right up until she comes to. It’s all very “romawkward”, as one would expect from two people still on the very fringes of a romantic relationship, and still not comfortable openly talking about it or even acknowledging the mutual attraction exists.

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That morning, we see the plan that will get them into the compound: Kurama will pose as the land god Nanami really is, Tomoe will pose as his familiar instead of Nanami’s, and Nanami will pose as an apprentice tengu, which introduces us to Nanami Tengu Drag, which might be the most adorable thing I’ve seen all Winter.

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Kamisama Hajimemashita 2 – 07

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Botanmaru’s wretched state (he passes out from the mundane world “poison” and has welts from lashings) convinces Kurama to return to his home mountain from whence he descended seventeen years ago, when he wasn’t much bigger than lil’ Botan. I like how he admits he’s far more into the mundane world scene because of all the cute girls.

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One of those cute girls insists on tagging along in case she can support Kurama. Nanami constantly referring to her damn white talismans is a nice little running gag, but it’s also a more serious sign that she’s no longer one to sit on the sidelines as friends—or even mere acquaintances—face challenges. And fixing the problem on the tengu mountain is definitely a challenge.

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Kurama didn’t just hesitate to return because there are no women on the mountain. When he says he’s a failure, he means it; and not only did he flee the mountain, but he fled after his beloved brother Suiro, who was the fastest tengu on the mountain, saved him from a cruel trial, costing his mentor his wings, which, for a tengu, are everything. The one who put Kurama thorugh that trial is now poised to succeed the dying leader.

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The mountain is also covered in thick, nasty misasma in which evil spirits lurk, one of which exploits Kurama’s weakness and takes Suiro’s form. At first I was like “Okay, this guy is kind of lame for spouting all this exposition like this” but it turns out he was an imposter. The real Suiro is much kinder, though notably cold to Nanami, sending her on a trek to the outhouse.

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The somewhat mannerless Yatori has slinked his way into Jiro’s court, which is troublesome, since we know Yatori aims to hand this mountain over to Akura-oh. As friendly as he’s being with Jiro, this guy is no ally. Jiro, all puffed-up and tough; the yang to Suiro’s yin, doesn’t see Yatori as a threat, which could prove fatal as the crisis on the mountain worsens.

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The change of setting would be refreshing if it weren’t essentially a bunch of thick green-gray fog and dead trees. The mountain is a very dreary place right now, though Nanami is hopeful she can bring some light and joy, if only to a few wary fledglings, one of whom had his orphaned boar piglet slaughtered by Jiro while cradling it in his arms.

Jiro is all about tough love and strength; he has no time for the weak or sentimental. But it’s not at all certain Jiro is the right one to ascend to leadership—especially with Yatori hanging off of him.

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Jiro is built up throughout the episode as a bit of an ass, but these are dire times and he has cause to put up a hard line. So when he spots Nanami under the cherry blossom tree she temporarily restored and seems to be instantly smitten (and why not; Nanami is a cutey), it’s clear this guy isn’t your normal villain/usurper. But while I realize this is the introduction to a more tengu-focused story arc, I was still miffed by Tomoe’s exceedinly scant presence.

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Kamisama Hajimemashita 2 – 06

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Following the Divine Assembly, this week’s Kami-Haji is a bit of a disjointed grab bag, with some parts superior (in terms of my interest in them) to others. I’ll get right to my favorite part: the aftermath of Nanami’s talk with Mikage. Despite Mikage’s blessing, without knowing explicitly why Mikage wants Tomoe to “choose” her so badly (beyond wanting him to be free of him), Nanami remains hesitant in her courtship of Tomoe, especially when Lord Okuninushi recommends against it.

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Nanami even travels home separately from Tomoe in order to give her situation more thought, but thankfully, she gets another viewpoint, and one she should give more weight than Okuninushi, who as far as we know hasn’t ever truly loved a human. That other viewpoint comes from Himemiko. It only takes one look at Nanami to sense her uncertainty, and wastes no time setting her straight.

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Nanami thinks she’s being reckless and foolish to cultivate a romance with Tomoe because she knows she’ll die long before him, and thus knows she could break his heart when that day arrives. She’s doubly concerned with the fact this would be the second time in Tomoe’s existence that he’s survived a human lover. But I, like Himemiko, think Nanami has it all backwards.

It’ll do Nanami no good to conceal her love the rest of her days, or settle for someone she doesn’t love. Rather, she should treasure what time she has in the living world with Tomoe, expressing her true and unfiltered feelings, not letting those years go to waste and lead to regret. Himemiko speaks from experience: the pain of one day losing her human love Kota will pale in comparison to the regret she’d have in her heart had she never pursued him.

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As great as Himemiko and Nanami’s day of shopping and love talk is, it doesn’t quite fill a whole episode, which is a good thing, as I preferred the montage (during which a lovely arrangement of the first season’s opening theme plays) to a more heavily-padded shopping scenes. Still, that means the balance of the episode must be filled, and in this case, it’s filled with less compelling stuff.

Kirihito/Akura-oh’s quest to restore himself has promise, but the introduction of Yatori is sudden and shrug-worthy. Sure, I dig Yatori’s Sia Wig and crazy green eyes, and the fact he’s aware Kirihito is really Akura-oh (and Kirihito believes him to be a fool, which he isn’t), makes for an interesting dynamic. But nothing happens yet; Yatori only promises to raise a force and begin a campaign against the tengu mountain of Kurama in Akura-oh’s name. Kirihito’s just, like…“um, thanks?”

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The mention of Kurama calls to mind Nanami’s crow-tengu classmate and sometime-ally Kurama, who just happens to be having a concert that Ami invites Nanami to (Tomoe outright refuses). She then accidentally steps on a little tengu named Botanmaru who just happens to be looking for a fellow tengu who came down from the mountain seventeen years ago.

Botanmaru is specifically after this tengu because he doesn’t believe the commonly-held opinion among his peers that leaving the mountain made him a failure. He also looks up to him as an inspiration, because both of them are late-bloomers (Botan still can’t fly) and hopes he’ll be able to offer some advice.

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To Nanami’s surprise, the one Botanmaru seeks is Kurama. With her extra ticket, she takes Botanmaru to his concert, where he’s in Full Fallen Angel Idol Mode, and not anywhere any guy, particularly Tomoe, wants to be. The episode concludes without the two tengu meeting yet, but it seems the next main storyline will be about this, and I suspect Tomoe will object to Nanami intervening in tengu affairs, for no other reason than it means having to hang out with Kurama.

Nanami’s observation at the end that Kurama never actually plays the acoustic guitar he breaks out on stage for his “ballad”—it was just a prop—is a funny way to close.

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Kamisama Hajimemashita 2 – 05

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Nanami and Tomoe weren’t actualy apart that long these last two episodes, but as Nanami remarks, the netherworld had a way of skewing time, making it seem like far more than four days of separation, for her as well as me. Now Tomoe is a yokai again, and in prison. Is it Nanami’s turn to save him?

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Well…he asks for space, insisting it’s his decision whether to become her familiar again. And in his yokai form, he’s a bit of a short fuse, so Nanami gives him that space and tries to focus on work as Tomoe sulks in the dark. But in fine dysfunctional courtship form, both of them can think of nothing but the other, as if they had cast spells on one another.

Mizuki tells Tomoe his feelings for Nanami won’t go away just because he’s no longer contracted with her. So what does Tomoe do? Break into her room at night and contract with her, with the customary kiss, and boom, just like that, the Tomoe Yokai Experiment is resolved.

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The fact that a contract or lack of same had no effect on his feelings for her has a profound effect on Tomoe. It occurs to him he has fallen for her, but he can’t help but express that fall by yelling, scolding, bullying, and teasing. Matters aren’t helped by the fact that Nanami reiterates her love for him, but knows he’s not interested in her in that way at all. If he wasn’t, things would be much easier.

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Just when you think he’s realized he’s gone too far and comforts her, he follows it up by trying to strip her! In any case, this is a classic case of someone reflexively taking their romantic frustration out on the very object of their affection.

Tomoe doesn’t like himself in this state anymore than Nanami does. But once the Divine Assembly officially concludes with a big divine party, Tomoe is able to be civil and even debonair as her escort. Then Nanami chases a familiar butterfly that leads her to Mikage.

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Nanami’s duties at the diving assembly, which she was performing in Mikage’s stead, involved distributing strings of destiny to and fro with the other gods, deciding who will be matched with whom in the mundane world. What Nanami didn’t know is that a similar string connects her and Tomoe; a pairing facilitated explicitly by Mikage himself.

He knows Tomoe better than anyone else in any dimension. And so Mikage knows—and it has been confirmed time and again to us by Tomoe’s behavior towards Nanami—that Tomoe believes humans to frail and fleeting in their existence to devote his full soul to. He had done so once before with Yukiji, who passed away while he lingered. Human and yokai relationships are taboo because of the vast difference in lifespans.

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Mikage brought Nanami to Tomoe to teach him that humans aren’t weak. Nanami was cast away by her family and gone through innumerable hardships, but never gives up, never hesitates to help others, and never fails to flash a big adorable smile when Tomoe is around…and not acting like a dick.

Mikage’s aim was to “rekindle Tomoe’s bond with humanity”, by choosing Nanami, taboo be damned. But while Nanami and Tomoe have yet to figure out how such a thing will work, but the fact he came back to and contracted with her unbidden by anything other than his love for her, proves there’s is no shortage of sparks at the heart of that kindling.

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Witch Craft Works – 11

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Ah, the Penultimate Final Battle Buildup Episode…we know them well. If there’s still a fair amount of information to convey to the audience, a PFBBE is the time to do it, so that there’s time for both the resolution of said final battle and a proper cool-down period that checks in on everyone one last time. Cram too much into the end, and the end can feel rushed and unsatisfying. We still consider the second episode to be the best of this series, and we’ve been legging it out in hope of a strong ending.

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After this week, we’d have to say there’s still a good chance of WCW pulling it off, since this PFBBE packs a lot of setup and exposition, identifying the final threat—Weekend will blow up all the people in the city if she doesn’t get Honoka—and fielding the force that aims to thwart her: Ayaka, drawing from Honoka’s power. Honoka’s little dreamworld excursion is suitably trippy, and Mikage-sensei provides enough info for us to get the jist.

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While there’s a lot of talking, there’s also a lot of fighting, first between Kasumi and one of Weekend’s underlings in another giant teddy battle, and we will state for the record we have officially seen enough giant teddy-fighting. We’re also a bit astounded at how ineffective Tanpopo’s crew is this week; they literally just stand around. Fortunately for them their master Medusa managed to escape from her captors and takes the enemy out with some badass petrification.

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As Honoka convalesces, Ayaka leaves him in Atori’s care (she talks through a puppet…HOW KOOKY.) and tries to take her “prey” Weekend on alone, but Weekend has been planning this op for more than a year, and has more than enough magic stowed away to repel her. It takes a feverish Honoka voluntarily going to Ayaka’s side (showing he’s been practicing his broomflying) to charge her back up. So the stage is set for the final battle. We wonder if the powerful Chronoire and/or Kazane will have anything to contribute to it, or if it’ll be strictly an Ayaka/Honoka-vs.-Weekend affair.

7_very_goodRating:7 (Very Good)

Witch Craft Works – 10

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We asked last week if Weekend could keep the good guys on their toes for more than an episode, something no other villain in the show has been able to do as of yet. After the events of this week, the answer seems to be yes. This is an episode bustling with activity in which pretty much everyone is out of their comfort zone and has to improvise in the midst of all the chaos Weekend has caused.

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You have Rinon and the workshop witches trying to pick up the pieces and negotiate with Weekend, who has wrecked the city, injured several witches, and strapped bombs to others that will go off in a half-hour if they don’t bring Honoka to her. Kasumi has enlisted the aid of the Tower witches living in her house (who can still use magic, since they’re not Workshop), while Chronoire is pissed that her house is wrecked but intrigued by Weekend’s power and gets ready to face her.

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Meanwhile, after witnessing Weekends handiwork (for which Honoka briefly freaks out but then composes himself) Ayaka leads Honoka further below the city to its very core, which kinda resembles the Forest of the Deer God. In order to restore the good guys’ ability to use magic, Honoka himself must form a new contract with the city. On the way to the core (a pretty epic journey in its own right), they meet the stone golem witch Gibraltar, but Ayaka deals with her, not with magic, but with muscle, showing her mother taught her well.

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Honoka gets the magic flowing again just in time for Rinon & Co. to save the hostages, punch Weekend in the face, and capture her, and it looks like another bad guy has been foiled. But then Weekend reveals that, like Ayaka, she doesn’t rely on magic alone, using conventional grenades to blast her way out of her cell. She lost this week’s battle, but the war is still on, with both Kazane and Chronoire likely to enter the fray in the near future. This show’s in good shape to have a strong finish.

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Rating: 8 
(Great)

Witch Craft Works – 09

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Ayaka finally heeds Honoka’s insistence she teach him how to fight properly, unsealed seals or no. She throws him into a regime of unsuccessfully taming fire demons and being dropped off of skyscrapers, certainly run-before-he-can-walk situations. For his part, Honoka does conjure a gigantic translucent Ayaka in a nurse-miniskirt to catch him before he falls to his death. Doing so saps all of his magic, and he passes out; something we’ll call “amagica” (rather than anemia).

We also get a strange and very beautiful dream Ayaka used to have when she was younger, in which Honoka tells her they’ll be together, providing further evidence they were destined to be together, even though Honoka never saw it coming. Most gratifying about this episode, though, is that it finally ends without an enemy being easily defeated or becoming another mouth to feed in the Takamiya household. That’s right: the real leader of the Tower witches, “Weekend” (Hirano Aya) finally reveals herself and executes the scheme she’d been carefully preparing.

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She does so by rather cleverly neutralizing the town’s most powerful Workshop witch—Kazane, whose status as a Crafting/Workshop Witch means she’ll always put the protection of the townspeople ahead of all other considerations. When Weekend sets off massive explosions all over town, Kazane’s magic is drained saving the innocent from harm. By the time she’s all recharged, Weekend plans to be very far away with Honoka, the vessel for the Princess whose power she seeks. In crisis mode, the other Crafting Witches (including Rinon, interestingly) meet with Ayaka and Honoka in a lavish secret bunker

Here, the couple is promptly taken captive and thrown in a dungeon, ostensibly to keep them out of Weekend’s clutches until Kazane can recover. Weekend still finds them, but Ayaka uses her message plushie to blow a hole in the wall, and off they go. But as we said, Weekend isn’t simply brushed aside like previous threats. The battle to protect Honoka is far from over, and Ayaka remarks it will have to be fought without magic, at least for a time; an enticing prospect. Weekend may so far be your typical smug, aloof villain, but at least she’s got the good guys’ backs against the wall. We’ll see how long she can keep them there.

7_very_goodRating:7 (Very Good)

 

 

 

Witch Craft Works – 06

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To a casual observer it may appear that Honoka is indeed a burden to Ayaka, both as a result of the power sealed (and now unsealing) within him, and in the growing school unrest with his constant proximity to her. But neither he nor the student body get to decide who’s a burden to Ayaka or not; only Ayaka can—and we know she’s never going to do that. As far as she’s concerned, she exists to protect him, and derives quite a bit of pleasure in doing so.

When the student council’s factulty advisor, Mikage, uses magic to trap Honoka in a fantasy world at the president’s behest, after swiftly defeating him Ayaka realizes they need to try to make Honoka more palatable to the students. Her hastily-prepared plan involves flexing the authority given her by her title as school idol or “Princess”: she sacks the existing president and installs Honoka, then bribes the Vice President into giving up her job. While the coup doesn’t endear Honoka with his fellow classmates, he forgoes Ayaka’s threatening cue cards and simply asks them to bear with the situation and withhold judgement until they’ve given him a chance.

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Their new titles will make them provisionally acceptable to the school, but Kasumi is tired of Ayaka edging in on her precious brother time. This week she does a fair impression of a Tower Witch, acting with only her own interests at heart, with the guise of protecting Honoka. She pulls no punches taking Ayaka down with a burning car and tranq darts, but she doesn’t get far on her magical plane when a powered-up, pissed-off Ayaka appears to exact punishment in a fairly thrilling aerial battle.

With Medusa and her crew holed up in Honoka’s house, and no signs of Chronoire after Kazane captured her, the major threat facing Honoka isn’t external, but internal: the white princess gaining power within him. Honoka hasn’t told Ayaka about it, but it’s only a matter of time, and it’s likely Kazane already knows, as she’s coming to his house to talk to his mom/would-be wife. The time may come when Honoka looks with fondness upon such comparatively trivial matters like fostering amity at school or being kidnapped by Kasumi. We hope it happens soon, as we’re growing weary of the general lack of peril.

7_very_goodRating:7 (Very Good)

Kamisama Hajimemashita – 12

Upset with the town’s rumors that her shrine is rundown and haunted, Nanami begins planning an autumn festival. Among the events is a Kagura dance, which Nanami only has one week to learn. Normally not clumsy, she cannot remain calm around Tomoe, and progress is slow. Making matters worse is the wind deity Otohiko, who doubts Nanami can truly succeed his friend Mikage. He unleashes a cloud of miasma that envelops the shrine, and Nanami cannot disperse it no matter how hard she tries. Having accomplished nothing, a dejected Nanami flees the shrine. Meanwhile, an ominous sealed box she knocked over in storage breaks open.

All episode titles up to this point have been pretty accurate in describing what the episode will be about (“God Gets Kidnapped”, “God Goes To The Beach”, etc.) So with a title like “Nanami Quits Being a God”, combined with the fact it’s the penultimate episode, we knew despite things ending on a happy note last week, some final conflict would commence this week, and Nanami would indeed quit being a God. Nor were we surprised that the architect of that conflict is the deity who had only played a bit role up until now – the bizarrely-attired Otohiko – whose formidable power and devotion to Mikage pointed to an inevitable clash with Nanami. So what was surprising? Simply put, the manner and speed with which Nanami gives up.

That there’s only one episode left after this underscores the need to get things going, but 9/10ths of this episode goes at a very leisurely pace, replete with scenes of Nanami practicing the Kagura dance – which is fun, but repetitive. This lollygagging is to the detriment of creating a plausible scenario in which Nanami would truly say “I can’t take this anymore” and flee. The episode does not  fully succeed in doing so. One could say Tomoe’s “you need not come” remark was the straw that broke the earth deity’s back, but we’re talking Nanami, who has not only gone through quite a bit of hopeless situations, but also has nowhere else to go (besides Kurama’s again). Nanami’s rather rushed retreat aside, the series has more than earned our confidence it will recover with a strong finale.


Rating: 7 (Very Good)