OverLord – 10

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News from Albedo that “Shalltear has revolted” was definitely a nice stab to end last week’s battle with Clementine and Khajit, and left me with a complex response. On the one hand, if it’s true that Shalltear revolted, it means this world is a lot more dangerous than had been apparent thus far.

But if Albedo was simply overreacting based on her latent dislike of and rivalry with the vampiress, it still speaks to a trend of internal court strife that started out playful and harmless but could spell big trouble, even for the Supreme Lord.

I’m pleased, then, that the actually answer to the question of what happened with Shalltear fell somewhere between those two possibilities, with qualities of both.

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I’m also pleased that OverLord’s quality of storytelling did not falter greatly just because Momonga was out of the picture for the vast majority of the episode. He’s a powerful, dominant presence both in the world and show, so his absence, while felt, was mitigated by giving us a closer look at Shalltear, including her downright frightening “attack” form.

Like Albedo and Narbarel, she looks about as far down as humans as one can, but goes further, looking upon them as food, or, at best, an entertaining “playmate.” But someone who considers humans even more as mere food and toys is the accompanying maid Solution, who is beautiful and seductive, but in reality is a shape-shifting slime monster whose boobs turn into a mouth that swallows a hapless dolt whole.

But interestingly, it’s not a total cakewalk for Shalltear & Co., at least not as much as it was for other Nazarickians thus far. Shalltear not only comes across the redhead to whom Momon gave a red potion (which she uses to save herself), but a well-coordinated force of NPCs manages to hold off a few of Shalltear’s attacks, and may or may not have taken temporary control of her mind.

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It’s that event, and its registry on the master screen, that causes Albedo to suspect a revolt. We can be reasonably clear she’s mistaken, however, and that the reality is more complicated; another mystery Momonga has to figure out with that big bony head of his. I appreciate the nuance of the situation, which is far more interesting than if Shalltear had suddenly decided to rebel against the lord she’s always loved (long before Momonga altered Albedo’s personality to love him), which would be way out of character.

And that’s also something the show keeps present in our own heads: the (anti-)heroes of Nazarick who serve Lord Ains Ooal Gown are the product and offspring of their creators, “supreme beings” like Ains who just happened to also be his friends (at least friends within the game, if not outside of it in the “real world”). As such, aside from his love hack of Albedo which was his doing, everyone who serves Momonga is acting in accordance with the parameters set by their creators, i.e. those friends of his.

So if it was Shalltear’s creator’s will that she revolt against Ains, so be it…but neither I nor Momonga are willing to concede that absent further information. For now, he simply has to find Shalltear…and hope whatever she has doesn’t spread to his other generals.

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Durarara!!x2 Ten – 07 (19)

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With the stalker—scratch that, stalkers—initiating their attack on Ruri’s acquaintances, it’s Mikado who takes charge, warning Celty to get to the severely beaten Shinra post-haste, as well as dispatching Blue Squares to foil the stalkers targeting Shizuo (whom Kida is with) and Anri (keeper of the kitten). In this way, the damage the stalkers do is mostly minimized, but a lot more suddenly comes to light that breaks this cour wide open.

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Adabashi, for instance, manages to get Anri where he wants her, but is so fixated on killing the cat that he leaves Anri alone to chase it, and ends up tangled up with a bunch of Blue Squares. He’s more than capable of tossing the relatively weak amateurs aside, but didn’t count on Kida being their to deliver a professional crotch kick. He even manages to recover from that and turn on Kida, but one of the masked Blue Squares sets Adabashi’s back on fire, forcing a retreat.

Kida, who has seen texts from both Mikado and Aoba, assumes his benefactor is the latter, but then Mikado, his nose broken and his forehead split open, removes his mask and reveals himself to Kida. This is Kida’s first encounter with “the New Mikado”, and it shakes him to the core, especially when Mikado asks his friend to wait a little longer for the time when he can make Ikebukuro a place where Kida and Anri can live.

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Kida had worked so hard for so long to keep Mikado out of the fighting, but in his absence Mikado has rendered all that work moot, placing everything on his shoulders. I was expecting Mikado to even ask Kida for help, but he doesn’t: he tells him it’s best if they don’t see each other until his self-imposed ideal conditions have been met.

Kida is shocked, but then turns around and tells Anri the same think Mikado told him: to just hold on and wait a little longer. Clearly, Kida senses, this isn’t the right time to come clean to his two estranged friends about everything he did as leader as the Yellow Scarves prior to his exile.

In the meantime, we see a new face in a pipe-smoking, monocled fellow who seems to be Yadogiri Jinnai’s immedtiate superior. This villainous-looking fellow wants Celty, Anri, and Ruri for his own purposes, and won’t accept failure; if Jinnai can’t get it done, he’ll find someone who can.

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We only saw a brief glimpse of Izaya last week, but he is already working towards reasserting his primacy in the goings-on of Ikebukuro. He’s recruited a number of familiar faces—including the tomboy dojo instructor, a heavily bandaged Sloan, the girl who tried to murder him in the hospital, and the badly-burned Adabashi, plus at least six others who don’t look like people you want to mess with.

Izaya has welcomed them into the Dollars just as Mikado is attempting to purge the group of unwanted or unstable elements. But something tells me re-introducing instability and chaos is high on Izaya’s to-do list, no matter how much that agenda might clash with the Dollars’ founder. And you know what? I’m glad Izaya is back, about to raise hell that will test Mikado’s resolve.

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Durarara!!x2 Ten – 06 (18)

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Yadogiri Jinnai is the undisputed Big Bad of this second cour of Drrr!!x2, and he calls in a favor from Adabashi, the stalker all the Dollars are talking about. In this episode that largely puts pieces into place for the big stalker arc payoff, we’re given new insight into Ruri-chan’s dark past (and present), Yadogiri’s hold on both her and her family, and her desire to protect her kitten, but Kasuka, even if it means sacrificing herself, knowing full well she may not  have the right to desire such things after all the murders she’s committed as Hollywood.

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Those who adore Ruri the idol want the stalker taken out ASAP (some, like Togusa, are perfectly happy to take him out themselves). Mikado tells Kadota he’s still very much in the Dollars, but now believes part of the absolute freedom of the group includes his freedom to want to restrict the freedom of members he believes aren’t meeting the same standards of quality Dollarhood people like Kadota and Celty meet.

Meanwhile, Izaya, whom Jinnai had stabbed as a message that he can do whatever he wants whenever he wants, has been discharged, and the extend of Jinnai’s hold on Ruri, and his possibly intentionaly nurturing of the monsterous blood within her, adds new depth to the arc.

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First and foremost, Ruri and Kasuka give their cat to Anri (who, through Saika and along with Celty, senses something strange about Ruri’s aura), and then have former stalker Mika test their door locks (the locks fail miserably). Ruri shows Kasuka the side of herself that is drugged and laid out on a table as rich old men in masques poke and prod her with scalpels and watch her wounds heal instantly.

Their manager seems to believe it’s a kinky adult video, but Kasuka, not shaken by these new truths about his companion, doesn’t rule out the fact the yellow-afroed dude might know more. In any case, despite the lock-testing and big bodyguards, and especially the fact that Ruri is a super-strong oddity herself, everyone seems highly vulnerable to the stalker this week.

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Ruri and the stalker story dominate, rendering Kida’s return to Ikebukuro almost a footnote, but I like how casually the episode turns to his independent quest to right wrongs and clean up burned bridges. It doesn’t take long for him to spot someone on the streets he needs to apologize to: Shizuo, who’s with Tom and Varona. Shizuo barely remembers how Kido wronged him, but it’s water under the bridge after a powerful forehead flick. I can’t wait till he meets the New Mikado.

Finally, Shinra’s lock quandary becomes moot when Adabashi, failing at posing as a delivery man, helps himself in and beats the everloving shit out of Shinra. Shin knows plenty of people who can probably easily take on Adabashi, most of all Celty, but she and they can’t be of any service if they’re not there when shit goes down, as it certainly does here.

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Kiseijuu: Sei no Kakuritsu – 24 (Fin)

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After his out-of-Shinichi’s-body experience within Gotou, Migi has decided to go to sleep and think about things more deeply, which he says might lead to him never waking up. It’s a strange and somewhat sudden goodbye that Shinichi isn’t okay with, but it’s clearly for the best. They had some fun times, but Shinichi can’t be talking to his right hand forever.

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As anyone who’s read my past reviews of this series knows, I’m a fan of Satomi, despite the fact she’s gotten so little to do, and a part of me is glad the show closes on a relatively pleasant note with the two continuing their relationship past high school. They’ve always had a nice chemsitry, when Shinichi isn’t acting like a weirdo.

What I can’t really forgive, however, is that they dusted off Uragami, a relic of my least favorite episode of the show, and brought him back to terrorize the happy couple one last time. As such, this felt more like an extra episode; a spin-off of the show we’ve seen to this point, and at no point did I think he’d succeed in killing Satomi.

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The show tries to create stakes and make some kind of a point that Uragami is the real parasite, feeding off human life while contributing nothing but fear and misery, but I just don’t care about this guy or his goofy sandals or his deluded ideas about humanity and honesty. He also blows Shinichi’s cover, but fortunately for Shinichi, Satomi couldn’t care less what Shinichi is or isn’t, beyond the guy she loves.

So even though she’s forced to witness two rooftop murders and has a knife to her throat for most of the episode, Satomi eventually comes to a point when she can’t listen to any more of Uragami’s drivel and starts laying into how pathetic he is. Go Satomi!

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Shinichi also realizes he’s probably quick enough to stop Uragami from killing him, but when he makes his move, Uragami an Satomi happen to be right near the ledge, so of course Satomi falls. But Migi wakes up long enough to stretch Shinichi’s arm out to catch her, remarking how humans “have the time” to think about and connect with others rather than just consume them, or something. I’m just glad Satomi’s okay.

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When people arrive on the roof to see what’s transpired, Shinichi and Satomi, sprawled out on the roof, can only laugh at the fact those people think they’re dead. But they’re also laughs of relief that no harm came to either of them, aside from Shinichi’s arm getting stabbed, which I assume is fine.

This episode tried to act as a kind of reflection on the show, but came off a little high-and mighty, and thought is was far weightier than it was. So, a bit underwhelming, like much of show ever since Kana died. But again, the nice character beats of the lovebirds made sure it wasn’t a total loss.

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Kiseijuu: Sei no Kakuritsu – 23

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While it felt like momentum-killing padding at the time, in hindsight it was a good idea to expose Shinichi to Mitsuyo’s worldview and advice before seeking out Gotou for a rematch. She instilled in him the idea of not simply rushing to his death half-cocked, but rather constantly using the noggin in his skull to think of ways, no matter how unlikely or ridiculous, to keep living. In other words, to trust his instincts; the same instincts that drive all other living things on Earth to survive.

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It isn’t all that unfair a fight. Sure, Gotou is nigh invincible and far stronger and faster than Shinichi, (I even felt that mega-punch) but he can’t kill him if he can’t find him. This was one somewhat glaring flaw, however; it seems odd that Gotou has virtually no idea where Shinichi is. For one thing, he’s human, which is Gotou’s food…why wouldn’t he be able to smell out a meal? For another thing, there are still Migi cells in Shinichi’s body, which you’d think Gotou would be able to at least detect a little.

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Another glaring flaw is that Shinichi survives the fight early on mostly because Gotou takes his sweet old time killing him, because he doesn’t consider a human to be any threat. Shinichi could have possibly even talked him into letting him live, or at least run far enough away that Gotou wouldn’t bother fighting him. Of course, that means putting more innocent people at risk.

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And that’s primarily why Shinichi confronted Gotou; not out of anger, or for revenge, or because he wants to be the hero, but to prevent others from dying because of him. With poise that would make Mitsuyo proud, just moments before Gotou skewers him, Shinichi remembers Gotou bleeding in a specific location. Lying in a pile of garbage, he picks up a rusty pipe and stabs the lunging Gotou with it. It turns out to be a vulnerable area, and it pisses Gotou off even more.

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But stabbing him there also broke the link between the “head” and the “rest”, and as I had suspected after the uncertain fate of Migi last week, Migi himself became part of that “rest” and is freed when the rusty pipe introduces life-threatening toxins that make the other “rest” parasytes wake up and resist the “head’s” orders.

For the second time in just a couple of minutes, Shinichi is about to face his death, but this time all he can do is sit there and wait for the blow to come. That’s when the Migi in Gotou’s swinging killing arm meets with the Migi in Shinichi’s stump and BOOM, Migi transfers back to Shinichi right then and there, nullifying the attack. Shinichi’s so damn happy he’s back his eyes glint!

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From there, the duo of Shinichi and Migi is more than enough against the severely weakened and uncoordinated Gotou. It’s very satisfying when Migi goes through him like a wire through clay and he explodes, bringing about the dawn.

Upon inspecting the garbage pile, Migi deduces that the toxins on the pipe that proved fatal to Gotou were proof that “there’s no beating humans,” especially if you corner them atop a garbage pile they made that they can use the contents of to kill you!

It raises questions in Shinichi’s head about whether parasytes came to be to reduce the population of humans, who have spread across the earth and ravaged the environment. Those toxins are representative of human’s status as Earth’s wasting disease…and parasytes could be deemed the cure.

That’s one way to look at things, anyway. So when Migi declines to finish off a member of his kind (to do so would be murder in his eye/s) and leaves Shinichi to decide, Shinichi initially hesitates to finish killing the slowly reconstructing Gotou. When taking enough steps back, Gotou, or what’s left of him, has as much right to exist and survive as Shinichi does.

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Shinichi changes his mind again when he realizes that he can’t live his life all those steps back; not as long as there are people at risk, or people he wants to protect. If Gotounator re-coalesces, he’s not going to stop killing humans; it’s what he exists for. That makes him, in the arena of protecting one’s own small band of humans, not all of humanity, an enemy whose existence is intolerable.

Shinichi sheds a tear before finishin Gotou, and in the brief cuts to the writhing, reconstructing corpse, it does indeed engender a kind of primal human sympathy for the weak and struggling, even if we know full well the monster it will become if allowed to reconstruct.

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Shinichi goes home, having done what was necessary to protect Mitsuyo’s village, along with ensuring he himself will be safe for the time being, along with his father and his beloved Satomi. Gotou is by no means the last parasyte, but he was certainly the toughest. I doubt anything tougher will show up in the finale, which I hope will focus on where Shinichi and Migi go from here, and in particular whether he plans to finally inform Satomi about his deep, battle-tested friendship with the little monster in his right arm.

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Kiseijuu: Sei no Kakuritsu – 22

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Shinichi’s blissful honeymoon with Satomi doesn’t last long; in fact, there’s absolutely no mention of it, or even Satomi’s name, this entire episode, lending it a somewhat disjointed episodic feel. Mind you, more big things go down this week, but once those things are over and done with, the episode kinda grinds to a halt.

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Migi alerts Shinichi that Gotou is on his way, and then Migi steals and drives a car, then ditches it off a cliff, hitting the one Gotou is driving. Naturally, this isn’t enough to kill him, so Migi decides to separate completely from Shinichi to act as a decoy, so the two can execute a pincer attack. However, in his weakened, separate state, Migi isn’t strong enough to fully behead Gotou, and begins to shrivel up.

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Migi decides to stand his ground and cover Shinichi’s escape, saying a quick goodbye. But what’s interesting is that it isn’t just Shinichi who feels bad about this. Migi is no longer the cold, logical bastard he once was. Shinichi has humanized him as much as he’s parasytized Shinichi. Migi even considers Shinichi a friend. What he doesn’t do is wilt away into nothing, at least on camera. We don’t witness his death, so there’s a chance he’s not dead.

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Shinichi runs, feeling like a coward for abandoning Migi, and when trying to steal a drink from an old woman’s backyard, that old woman takes pity on him and takes him into her house.

This woman, named Mitsuyo, used to work in retail, so she can read Shinichi to a degree: he’s not a burglar (he’s too polite), he hasn’t had his right arm for a while (since it’s been Migi), and his injury is the result of being bullied in an unfair fight. She gets the gist right, but never in a million years would she ever believe the details…perhaps even if they were staring right at her.

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Shinichi ends up staying for days, making me wonder whether Satomi or his Dad are worried about him, or if by now they’re used to him pissing off for days at a time. In any case, while under Mitsuyo’s roof, he has another creepy dream in which he communicates with what’s left of Migi within him.

When he awakes, it’s even able to form an eye on his stump…but no more. If anything, Shinichi feels worse than if there was nothing left; those cells being a constant reminder of the fact he’s still alive thanks to Migi’s sacrifice.

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Mitsuyo, ignorant as she is to his specific situation, nevertheless imparts some wise council wizened old ladies tend to impart in these situations. When Shinichi blathers on about “making use of his life” to stop the monster that’s terrorizing the town, Mitsuyo scolds him on his youthful recklessness.

Having lived life far longer than him, she knows full well how precious it is. She won’t stop him from doing what he thinks he has to do (face the monster), but she does insist he exercise caution and flexibility, and not squander his life so readily.

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Deep in the forest, we see Gotou lying as if in wait for a rematch with Shinichi. But the emphasis on his single gleaming eye makes me wonder if Migi didn’t get absorbed into the weakened Gotou, either by his own will or not. That will mean one of two things: Shinichi will have to finish off his friend, or Migi has taken control of the parasytes within Gotou.

The fact that it’s not certain at all whether Migi is really dead and gone, and probably isn’t, detracts from the drama, and makes Shinichi’s crisis of confidence and extended stay with Mitsuyo feel like leisurely padding for a show with just two episodes left. Still, with Shinichi only armed with a rusty old gardening ax thingy, it should be an interesting fight. Here’s hoping this was the final “rest” in the narrative.

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Sora no Method – 07

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As Nonoka, Yuzuki and Koharu near the gravesite of Nonoka’s mother, the day turns cold, cloudy, and grey. I just so happened to myself watching it on a cold, cloudy grey day. While it was just a coincidence for me, for Nonoka the weather reflects her mood; she hasn’t visited her mother’s grave in some time, because she’s been afraid.

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And not because her mother was a mean-spirited, fearful woman — precisely the opposite: she was as kind and loving a soul as one could ever hope to meet, and a wonderful mother to boot. But then she got sick, and didn’t get better, and they moved to Tokyo where she could get care, but she died anyway, leaving a massive hole in Nonoka’s heart.

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Nonoka patched that hole, which was causing so much grief and pain, by essentially letting go of her life before her mother died, and moving forward as if none of it ever happened. In the process, she forgot about a great many other things, like her promise to her friends; something Shione still hasn’t forgiven her for, though Koharu and Yuzuki surely have, and now probably feel a bit silly for ever being angry at Nonoka for moving, something she had to do suddenly for her mother’s sake.

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In the B-plot, Noel, who can’t accompany Nonoka because the cemetery is out of saucer range, sticks with Souta, who is again stuck minding Koharu’s family’s store. Noel breaks the monster photo board thingy, and breaks it again while trying to fix it. After some little-kid negotiations, Souta convinces Noel to assist him in fixing the monster. As with Nonoka’s psyche, the repairs are quick and imperfect, but unlike Nonoka, it doesn’t matter; just as the monster was originally built by Souta, Koharu and Yuzuki as a labor of love, repairing it was a similarly rewarding experience between Souta and Noel, and when Yuzuki and Koharu see their handiwork, they approve.

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As for Shione, she’s in an unenviable situation where she’s held Nonoka to task for so long over lying and breaking her promises that now, even if Nonoka or the others were to explain the very understandable circumstances surrounding what Nonoka did, Shione still seems too proud — or too scared, or both — to lose face by softening her stance or letting Nonoka back into her life. After all, intentional or not Nonoka hurt her deeply.

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It was Nonoka’s mother who allowed Nonoka to become friends with Shione in the first place, by reminding her to smile when meeting new people, especially shy ones like Shione. And yes, it was Nonoka’s mother who indirectly drove the two apart by being the reason Nonoka had to move away and abandon Shione. But when a snowflake melts in Shione’s hand at the cemetery, and when she arrives at places just before or just after Nonoka was there — they’re signs that Shione is ever-so-gradually warming to the idea of reconciliation. She just won’t be rushed.

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Mekakucity Actors – 07

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Last week’s episode started with Takane running as fast as she could (though not swinging her arms the way you’re supposed to), apparently worried for Haruka. To illustrate her state of mind, the entire town around her was blowing up and crumbling to dust. It was as if her world could not exist without him. Ultimately, it wasn’t a case of the world that disappeared around her that day, but of her disappearing from the world, at least in her corporeal state.

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After a meaningful discussion with the extremely perceptive Ayano in the hallway, Takane realizes she loves Haruka. I was fully prepared for Haruka to end up dead when she returned to the hospital. But before she can even leave the school, she collapses, and that’s the end of Takane That Was. It’s a horrifying and profoundly sad moment in an episode full of bad things happening to good people, possibly due to hasty decisions they make.

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During her transformation to the avatar we were first introduced to, we catch a glimpse of a small girl in black, who is most likely responsible. She also seemed to speak with Haruka in the hospital and hastily struck a deal that put him in a new body as well. Did Ene transform as a result of her wish to be with Haruka, who had just lost his body too? That small girl in black also resembles the “monster” in the post-credit “fairy-tales” (this week’s almost moved us to tears). She kinda reminds me of Shinobu so far.

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Obviously, this monster girl is up to something, messing with the lives of people who used to be normal. But more and more connections are being made between those people, suggesting they may be able to figure a way to respond to what’s been done to them. These “small world” connections needn’t necessarily be over shared supernatural powers.

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A primary purpose of friendship in general is to enrich one’s life, as well as affirm it through continued contact and familiarity with others. Takane, Haruka, Ayano and Shintaro were once ordinary friends. Takane is now in Shintaro’s phone and computer, trying to be the girl “he needs” Ayano couldn’t, but now she’s on the cusp of reuniting with Haruka. On the one hand, she’s been cursed. On the other, she has a second chance.

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Pupa – 08

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In tonight’s quick dose of unpleasantness, word gets around about Utsutsu’s quick-healing ability, and his sister’s tendency to eat him when she’s hungry. A thug with a knife kidnaps the siblings and “has fun” with Utsutsu by slicing him up with said knife and marveling at said healing. This is done in an abandoned warehouse, the standard venue for such activities.

Not wanting to escalate the situation, Utsutsu simply takes the punishment, but Yume eventually steps in to beg for the thug to stop. The thug is rough with her, setting Utsutsu off, who slugs him and then gouges out his eyes. Yume is horrified at what her brother has done for her sake, but then Utsutsu is tased and the two surrounded by more unsavory people.

Yume can’t go into Beast Mode when it would be useful to do so, i.e. to protect Utsutsu from the baddies. Thus the siblings continue to serve as the show’s heavily-abused punching bags; wretched repositories for all of the misfortune and despair that can be imagined, and that can be inartfully censored with streaks of black and white.


Rating: 5 (Average)

Kill la Kill – 20

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Episode the Twentieth: Wherein Ryuko, crying bitter tears inside, abjures Senketsu, Mako, and the others to go alone to Honnouji to destroy Harime Nui and Ragyo; in which Satsuki finally engineers her daring, naked escape; in which Nudist Beach unveils its aircraft carrier courtesy of the Takarada Conglomerate; and in Nui reveals she’s a life fiber being as much as Ryuko, and thus understands her plight; and in which Ragyo forces Junketsu upon Ryuko. Thus Ryuko shifts from being the pawn of her father to that of her mother; and is brainwashed into doing her bidding. Thus do Ryuko and Satsuki officially switch roles, with Ryuko as the frighteningly-powerful and arrogant villain, and Satsuki and her Elite Four as the scrappy underdogs with their backs to the wall.

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What started out as a simple selfish tantrum of self-loathing and anger, leading to her running off on her own, turned into something far more potentially devastating, as Her Hot-headedness is perverted through Junketsu into an instrument that could potentially destroy what’s left of a free mankind. And better still, it’s a transition that makes perfect sense. That’s right: no unsightly leaps in logic or ridiculous contrivances are necessary to justify Ryuko’s inversion: she’s always been susceptible to manipulation, and much of her exploits thus far have taken place while she was unwittingly serving as a guinea pig or pawn to others. Every time she’s learned the truth about her involuntary roles in the schemes of others—many of whom have turned out to be her relatives—she’s grown more bitter and lost. Here she was, thinking she was living her own life, while all along others were truly driving her course.

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She’s not even sure who or what she is anymore, and it disgusts her, so she lashes out at everyone close to her and sets of on a nihilistic errand. Harime, who has the same life-fibrous heart as hers, even asks point-blank what Ryuko hopes to get out of killing her and Ragyo. Ryuko doesn’t have an answer, because she hasn’t thought that far ahead, and falls into yet another trap. The blissful montage she sees when Junketsu wears her is a life that never was, but it’s enough to overpower Ryuko’s already brittle grip on her identity, and thus reality itself. Koshimizu Ami changes up Ryuko’s voice accordingly, to something simultaneously more feminine and unhinged—in other words, a lot more like Ragyo’s!

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Fortunately for Ryuko, there are those less quick to rage and reckless action who are determined to get her back. Among them are Mako, the Mankanshokus, the Elite Four, Mikisugi and Nudist Beach…even Satsuki. She may have had her own problems to deal with this week—breaking out of prison with a sharpened false toenail in unfathomably badass fashion—but as contentious as her interactions have been, we don’t think Satsuki wants to lose Ryuko to darkness and evil. In this, she and Senketsu are of like mind, which is why in a sensational latest twist, Senketsu lets her wear him, thus giving her at least a chance against her sister. The two have been in quite a few scraps, but this one is gonna be something else.


Rating: 10 (Masterpiece)

RABUJOI World Heritage List

Pupa – 06

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This episode of Pupa takes a page from Steve McQueen, pointing its “camera” at a thoroughly disturbing scene and simply refusing to pan away; lingering on the scene long after the audience have had their fill of it (no pun intended); sucking them into the horror of the moment. This is three minutes of Yume eating the shit out of Utsutsu as they lie together in bed, presented without comment and with minimal dialogue.

The sounds of Yume eating are thoroughly disgusting (or oddly relaxing, if you have ASMR), and the scene manages to make three scant minutes feel like far longer. There’s more than a little sexual/incestuous subtext what with the siblings’ position in bed, the clothes strewn about on the floor, and Yume’s gentle cooing as she feasts. It’s all quite unsettling and gross…and it doesn’t give a shit.

But more than that, the three minutes illustrate how banal and workaday this whole process has become to the siblings, underlined by the lighthearted music that comes in at the halfway point. Utsutsu lets her eat him, day after day, so she won’t eat others, and he knows he’ll always heal. Just as Pupa is not the anime many were looking for (or necessarily deserved), the plight of the siblings may not be ideal…but they’re managing.


Rating: 6 (Good)

Pupa – 02

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Time for our weekly check-in on Utsutsu and Yume, and there’s even time for a little backstory, which is about what you’d expect to be these poor kids’ history: both they and their mother were beaten mercilessly by their scum of a father, and after their parents divorced their mother lost interest in parenting altogether and abandoned them.

So yeah, not exactly childhoods full of love, and yet they still love each other, and neither of them is a bloodthirsty demon, right? Until now, that is. Some “researcher” named Maria shows up to tell Utsutsu that his voice won’t reach hers, but then he finds Yume in the woods chomping on some random bit of person and they can understand each other perfectly.

Unfortunately for Utsutsu, her little sister’s actions are now being driven by animal instinct, so when she tells him ‘she wants more’, she means more meat, now, and Utsutsu gets a gaping neck wound as he’s the closest meat around. That can’t be good! We’re still not quite sure what to make of these comically short series, but it definitely has a macabre, Kafkaesque allure about it.


Rating: 5 (Average)

Pupa – 01

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Well, this will be brief! Pupa is about a guy whose sister sees red butterflies one day, meets a puppy that turns into animate viscera that attacks her, and then she sheds her human skin and becomes a vicious man-eating demon. Any questions?

We have some. For one, why is this show so damn short? If this was an attempt to make something compelling as possible in as short a time as possible, it didn’t quite succeed. There wasn’t enough time to set up any kind of drama or suspense, and we can’t be expected to recoil at gore if it’s censored.

We also entered this thinking Ise Mariya would be the voice of the older sister, but the sister turned out to be a brother, and Ise’ll probably only voice the younger him in some future four–freakin’-minute episode. Oh well, that’s what we get for not doing our homework.

4_fair
Rating: 4
 (Fair)