Kakushigoto – 07 – What They Grow Beyond

Hime voices interest in a puppy, and researches a bunch to prepare, she comes across the “ten commandments of dog ownership”, one of which is to spend as much time as possible with your dog, as chances are they’ll only live ten years. Having any lifetime put in such stark terms is particularly upsetting to Kakushi, who later equates it to the life of a manga artist.

Kakushi comes around to having a dog when he learns through Ichiko how having one will help an only child feel less lonely (though Ichiko is not an only child), just as Hime learns from some mothers in an alley that they (i.e. what she and Kakushi don’t have) are necessary to properly care for a dog. If they knew Hime’s situation they probably wouldn’t have said that within earshot. Meanwhile, the original litter of puppies all found homes, but Kakushi’s father-in-law produces one for Kakushi to present to Hime.

It’s not just any dog, but the descendent of the dog Hime’s mother had (and the subject of her father’s painting, which one of Kakushi’s assistants find at the ocean house). While the moms discouraged Hime a bit, the sight of the new puppy erases those doubts, and she vows to sleep beside the puppy on its first night home (though later ends up kind of between her dad and the puppy).

Kakushi’s father isn’t done with anonymous gifts for Hime: Kakushi comes home to find a baby grand piano has been delivered. Like the dog with the long and distinguished lineage, the piano is a kind of inheritance. That gets Kakushi and the assistants thinking about how assistants inherit some of their masters’ style, but because they end up doing most of the physical work, it’s more of a new synthesis. Similarly, as master age their skills often wane while their apprentices rise.

In the midst of all this talk of lineage, and inheritance in the present, some new clues are presented in the obligatory flash forward. Hime’s classmates tailed her to the seaside house, continuing their detective club from school, but also because they’re worried about her. Then Ichiko appears, shockingly not in a tracksuit, bearing “good news and bad news.”

This got me thinking: perhaps Kakushi isn’t dead yet in this timeline? Maybe he’s just ill, bedridden, and possibly near the end. Maybe during this time he told Hime about the house, finally revealing the hidden thing he’d kept hidden so long even at 18 she had no idea what he did for a living. And maybe the good and bad news relate to his present condition. Or maybe not.

In any case, the consistent trickle of future information is starting to create a conflict: While I’ve enjoyed the present-day adventures of Kakushi, Hime & Co. (and the ensuing comedy), I’m beginning to care more about these more drama-oriented future events. There are essentially two shows here running in parallel, with the future one by far getting the short end of the stick runtime-wise. We’ll see whether and how the show manages to bridge these two times.

Kakushigoto – 06 – Pride and Privilege

Someone keeps giving Hime expensive backpacks every year, despite the fact her dad already bought her one. Because she’s a kind and gentle soul, Hime tries to wear both at once, inspiring Kakushi. But to him, giving a kid a backpack is a privilege that must be earned and appreciated, not an obligation to be fulfilled.

When this philosophy is applied to the manga industry, Kakushi imagines a kind new world where everything is a privilege to be grateful for, whether it’s the artists being grateful for the privilege of having their art published, or the readers being grateful for the privilege of that art. But when taken too far, Kakushi ends up overextending himself, having accepted the privilege of too much extra work. Rasuna thinks he sounds like a corporate slave, but as he’s self-employed he’s more of a “man-slave”. 

We eventually learn that the mysterious serial backpack provider is Kakushi’s father-in-law, who judging from the Toyota Century is some kind of big shot. Kakushi still seems to hold a grudge for the man’s reluctance to allow his daughter to marry a gag manga. But now that Kakushi has been a father for ten years, he would feel the same way if Hime brought someone like him home. As Kakushi says, he’s “a freakin’ paradox.”

One of the extra tasks Kakushi took on to realize his Kind World was an autograph session, which is booked the same time as his day-date with Hime at the very popular and sought-after Kidzanira, where kids get to try out a bunch of adult jobs in a controlled environment. Fortunately, the bookstore where he’ll be signing autographs and the Kidzanira are in the same mall. But that also means a risk of Hime finding out his job, so his assistants take turns keeping an eye on her.

During the morning session Kakushi is convinced everyone in line is either someone he knows (Ichiko), a friend of someone he knows, or people paid by his editor to stand in line. The way he phrases his questions to the latter group furthers his misinterpretation of events. It’s not until after spotting a poster for a famous painter that he realizes that those in the line are there because they are legitimate fans who love and respect his work. Even a father and young son are united in their love of Balls of Fury.

Just as his confidence returns and he yells “I’m a manga artist, damnit!”, his exuberance accidentally knocks down a partition, revealing Hime in a cloud of smoke. For a moment it looks like the gig’s up, but Ichiko swoops in with a tremendously creative save, telling Hime she and Kakushi are at the “Kidzanira for adults” trying out different jobs. Even so, Hime doesn’t even recognize her dad in his manga uniform, so he didn’t have to worry. What he may have to worry about? Hime wanting to work in a bookstore!

Fast forward to the future, where the older Hime opens the “17” box to reveal envelopes full of manuscripts. At first she seems unmoved by the manga, which is about a father, mother, and daughter. It’s all so boring and ordinary…which is why as she continues to read the tears start welling up. There may not be swords or magic on those pages, but there is a bunch of real life; a life very familiar to Hime.

This closing scene is one more emotional “bomb” that had been intricately constructed in the “past” sequences that preceded it. All those mundane moments of her and Kakushi just living life together given gain deeper resonance in the future where he’s suddenly absent.

Despite Kakushi’s reservations—not to mention his father-in-laws about him—Hime may well fall for someone like him. Not because that person will be a gag mangaka, but because they’ll be kind and loving, and consider loving and caring for her to be an honor and a privilege…because that’s exactly what it is.

Just Because! – 03

Izumi’s entanglement with Komiya Ena proves all to brief, as she’s forgotten the photo that she wants permission to submit. Showing zero consideration for Izumi, she zooms off on her moped to grab it, and it’s no surprise when she returns, in the rain, to find he’s gone.

The next day is Christmas (?), and everyone seems a bit listless, mimicking the somewhat grayish day with their moods. Izumi and Natsume type messages into LINE, but delete them without sending, seemingly hesitant to make any forward motion that will evoke a response from the other. It’s a stalemate, I tellya!

Things are dreary at Casa Morikawa too, as Morikawa confides to Yoriko that her life plan after high school doesn’t include furthering her trumpet performance, but rather college, a job, and eventually taking over the family business. It’s all said with the enthusiasm of someone inspecting turnips.

Left unsaid is any discussion of starting her own family, and as Morikawa seems almost criminally oblivious to Souma’s feelings (mostly his fault, BTW), that’s not surprising.

When Komiya reaches out to Natsume for info on Souma, Natsume uses it as an excuse/opportunity to message and meet up with Izumi. When they meet up, they’re still very cold and distant to one another, and the energy completely changes when Komiya spots her elusive transfer student.

Komiya’s casual nature with Izumi doubtless irks Natsume even more, since neither she not Izumi know what the heck they’re doing or what they should do. And while Komiya’s mission to get Izumi’s permission or LINE ID fails, she doesn’t seem like the type to give up easily.

Meanwhile, Souma is invited by Yoriko to join her and Morikawa for a walk, and his resulting meandering bike ride to their location is a constant source of suspense…will he ever get to them?

He does, only to freak out when Morikawa’s dog barks at him, which he thinks is a deal-breaker where dating her is concerned. Frankly, he should be more worried about, you know, telling her how he feels about her and asking her out on a proper date…but who am I?

When Souma reports the dog incident to Izumi and begs him for help getting better with dogs, Izumi tells him he has no pets, but Komiya stealthily enters the frame and offers her help…in exchange for Izumi’s LINE ID, which he gives her.

Interestingly, Komiya makes it clear she’s “over” the fact Izumi didn’t give her permission to use the photo, but with his ID, maybe she’s playing a longer game. Heck, maybe she just likes the cut of Izumi’s jib and wants to be friends…or more, which would complicate the love polygon even further.

Speaking of complications, Souma, unaware of the deal Izumi struck with Komiya, messages Natsume about helping him with dogs, since she has one too. This basically puts Natsume in the friendzone area of helping her unrequited crush get along with his own crush.

Over the most mundane circumstances, and in the absence of direct, honest, face-to-face conversation regarding how people feel about one another, the web of conflicting or one-sided romantic interests grows ever more tangled.

Just Because! – 02

Izuki reacts the way he does to Souma’s text about Natsume being at the school because, as we learn in another flashback, he liked her in middle school. Unfortunately for him, Natsume liked Souma, something Souma never knew.

Back in the present, Izuki and Natsume reunite in a similar situation, with Souma nearby with another girl, this time Morikawa. He’s unable to properly confess his feelings to her, but instead manages to invite her, along with Izuki and Natsume to the aquarium on the weekend.

Morikawa accedes to the wishes of her two little brothers and brings them along, further muddying the “date” waters for Souma, but he comports himself well, even earning the brothers’ trust and showing Morikawa he’s good with kids, which is definitely something she’d look for in a man…were she looking.

It’s a pleasant, cozy trip to the aquarium, and by the end Morikawa and Souma are virtually exuding warmth. As for Izumi and Natsume, well…they’re less warm together, even if I got the sneaking suspicion that Izumi still likes Natsume despite his aloof manner with her.

Similarly, the more time she spends with Izumi, the more comfortable she seems interacting with him. It’s far from lovey-dovey, but it’s a nice low-key resumption of their relationship.

While Souma and Morikawa have a kind of “talent anchor” (baseball and trumpet, respectively), I appreciate how Izumi nor Natsume don’t really have those anchors, and are also alike in being on the wrong side of an unrequited love.

With the benefit of future episodes—as well as the flashbacks they’ll likely contain—we’re sure to learn more about these kids and who likes whom, and what Komiya plans to do with Izumi now that she literally has him in her grasp. I like that JB! is taking the time to flesh out the various characters and not rushing things.

Just Because! – 01 (First Impressions)

With a rookie director, two rookie seiyuus in the lead roles and a super-vague synopsis, I had no idea what to expect from Just Because! —all I had to work with was a script by the guy who wrote seven scripts for Gundam IBO. What I did know was that Just Because! is a pretty nifty title.

We begin with an extended introduction to the neck-of-the-woods where we’ll presumably be spending time, and the show seemingly blows its entire suspended monorail budget in those first few minutes. Still, it’s a nice slow, but not flashy, establishment of this world.

The slow unflashiness continues at school, where there seems to be a dreary atmosphere; a malaise waiting to be snuffed out. Like the transfer student we eventually meet, we’re thrust into this school without knowing quite who to follow or what to do. That lack of bearing is essential to putting us in the mindspace of the protagonist, before he’s even anywhere near the center of the frame.

I’ll admit, I was dubious when terms like “transfer student” and “disbanding tiny club” came up; I consider myself just about clubbed out (both dance clubs and tiny school clubs in anime) and combined with the leisurely pace, I was starting to get a bit bored and depressed with this place. Especially when there’s no one or two people in focus for most of the episode. Even the camera feels afraid of showing us the players in this story.

Then Izumi Eita and Souma Haruto unexpectedly reunite on a baseball field after not contacting each other for the better part of four years (after Izumi moved away). He’s back for one semester, and while he and Haruto are initially a bit cool to each other, they manage to reconnect via baseball, with Izumi pitching and Haruto eager to hit a home run (I speak literally here, not in sexual euphemisms, BTW).

As their pitch-and-hit session heats up (hehe), it gradually garners the attention of the three other protagonists: the girl who is angry the photo club could be disbanded (the fiery Komiya Ena), the girl who plays the trumpet (Morikawa Hatsuki, providing the incidental score to the final act), and the former student council president who seems both jealous and part okay with the fact her friends went off to have fun without her (Natsume Mio).

Izumi and Souma are the magnets that draw the others together, though their individual vantage points keep them from realizing they’re all watching the same thing. This drawing together of disparate gazes also brings the show into focus. Finally, at the very end, we see people having fun, smiling, and laughing, after three quarters of an episode of somberness and ennui approaching existential dread.

Having hit a home run like he intended (but never thought he’d actually do), Souma goes off to ask Morikawa out, but he and Izumi exchange texts, and Izumi learns that Natsume, whom he also knows from the past, is also attending this school. Neither Izumi nor Natsume seem particularly happy at the start of this episode, but perhaps that will change when they reunite.

Fune wo Amu – 11 (Fin)

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Last week restored my faith in Fune wo Amu’s ability to engage and pull its audience in with an up-against-the-wall crisis that requires a tremendous group effort to pull off. But that same goodwill didn’t quite carry over in the show’s eleventh and final episode, which only reinforced a problem I’ve had since the eighth episode pushed us forward so many years without warning.

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I understand how the show basically needed to show us the ultimate payoff of a published Great Passage, but I maintain that it didn’t have enough time to tell that story, nor would extending the effort across, say, a full 26-episode series would have been possible before getting stale, monotonous, or over-contrived in an effort to stoke up some drama.

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Before the dictionary officially goes on sale, Matsumoto suddenly succombs to esophageal cancer he only told his comrades a day or so before his death. His death has been telegraphed so much, it didn’t elicit a shock in me so much as a shrug. Again, his death only underlines the problematic nature of leaping so far ahead in the dictionary’s timeline to a point where most people only look slightly different, but suddenly Matsumoto is at death’s door.

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The missing words episode was a temporary diversion from the fact the development of the dictionary didn’t feel as epic as it should have because the show skipped too much time.  Ditto Matsumoto’s death. He seemed like a nice guy and all, but he was a character with a tendency to spout flowery philosophy and little else. Post time-jump, it was hard to get a handle on the characters were; spending so much time with the new hire didn’t help matters.

So yeah, Fune wo Amu was, to me, the definition of “watchable,” but I won’t lie: I’m glad there’s no twelfth episode, because I’ve been mostly checked out since episode 6, when Majime’s attainment of Kaguya was sold as the Most Important Thing going on in the show, without ever really getting into why the two liked, let alone loved, each other.

The show had glimmers of greatness, but couldn’t help but feel either too drawn-out (earlier in the story) or too rushed (after the time jump). And there’s only so many ways you can present the metaphor of a ship lighting the way.

Considering how carefully the dictionary at the heart of its story was planned and prepared, Fune wo Amu too often felt unsure of itself and random in where it chose to focus its attention. That made it hard to stay involved.

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Fune wo Amu – 10

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There’s a missing word in The Great Passage. The ship has a hole in the hull before it’s been launched. That’s actually a good thing; better now than when it was on sale. But Majime can’t let this one word go.

There could be others, so he mobilizes a small army of temps, and together with Kishibe and Araki, sets to work re-checking each and every one of the Passage’s 240,000 words.

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It’s a massive undertaking due to the limited time frame — which is never actually stated, but must limited, or else everyone wouldn’t work almost around the clock and not leave the editorial office. Fatigue inevitable sets in, and like it did in “33”, the first (and best) episode of Battlestar Galactica, it’s engrossing to behold.

Not necessarily Majime’s too-on-the-nose dreams of words escaping through a tear in his “construct“, but in the way people start to get slower and more tired, but still have a job to do, and struggle through. It adds a welcome touch of adventure to the proceedings.

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Of course, eventually Majime has to send everyone home to get some real sleep (no Cylons chasing them, thankfully), and he comes home to a Kaguya who is nothing but warm, loving, and caring, feeding Majime a home-cooked meal before sending him back out to fight the good fight.

Kaguya understands pride in one’s work; she’s an accomplished restaurateur. She knows it’s pride that drives her husband to ensure without a shadow of a doubt that the ship he’s building is as perfect as he can make it.

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Marking time throughout the episode (in addition to the changes in people as they tire) is a huge table where each section completed is marked in red. For much of the episode less than half of it is marked, but it eventually becomes fully red.

In the surprisingly thrilling final minutes, Kishibe, Araki, and lastly Majime officially finish the checking, immediately after which the legion of temps, all of them having just shared a life-changing experience they won’t soon forget, either cheer in exultation or breathe deep sighs of relief it’s finally over.

Only it isn’t. The book still must be printed, bound, put on sale, marketed, and most importantly, it must sell, or everyone involved will likely have to fall on their swords, Majime most of all.

As for Matsumoto, he’s seemed ill since the time-shift (which the show somewhat cheekily nearly admits was pretty abrupt, as hardly anyone’s appearance has changed), and the episode’s final shot in his empty house seems to suggest he may not live to see The Great Passage leave port.

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