Boku dake ga Inai Machi – 04

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In theory, Satoru’s task is simple: if he remains in close contact with Kayo consistently for one more week, and they can celebrate their birthdays together at his house, he believes he’ll be able to change history by preventing her kidnapping and murder.

He makes it a point to try to hang out with Kayo on a Saturday date to the museum, hoping to get her away from her home so her mother won’t be tempted to beat her. And in another amusing instance of Satoru-29 thinking out loud, Satoru doesn’t mince words in asking Kayo on a date.

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Kayo’s mother proves a formidable obstacle to that day of bliss – were it not for Satoru’s truly heroic mother stopping Kayo’s mom from striking her after she admits she wants to go out. With Sachiko there (who knows exactly what kind of person she is), Kayo’s mom, concerned with appearances, weighs her options and decides to allow the date.

Thank goodness after Satoru and his mom left the episode didn’t cut to Kayo’s mom taking out her anger on Kayo. When I saw Satoru and Kayo standing before the stuffed bear, I breathed a sigh of relief.

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Of course, this being far more than just a slice-of-life romantic tale, it’s not all peaches and sunshine at the museum. On numerous occasions, Satoru gets deja vu-style flashes of Kayo saying and doing things she’s already said and done, leading him (and me) to believe that he hasn’t yet taken Kayo off the path that leads to her death, and the future won’t be changed so easily.

The film reel pattern in the letterboxing and the visualization of the various timelines as a tangle of said film is effectively used but not overused, particularly when both fast-forward to the same outcome: Kayo’s funerary portrait and total defeat.

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Satoru sticks to the plan, his courage buoyed, not cowed by his sense of duty to protect and save Kayo. He thinks out loud, in front of the whole class, that Kayo is pretty (her reactions to these slip-ups are priceless), he walks her home before being intercepted by her mother, and he tells her he’ll be at her house in the morning – the morning of Day X, which will decide everything – so they can walk to school together, which they do hand in hand.

If one were to liken Satoru’s quest as a war, we would call his 29-year-old self a grizzled veteran, hardened by the despair of the bad future that didn’t just affect him and Kayo negatively. Yuuki’s in prison and his mom is dead. There’s a lot riding on his success, but his previous 10-year-old self would never have been able to achieve what he achieves during this week, because he lacked that foresight, that loss of innocence, that ability to see beyond himself. This Satoru can.

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So he only very grudingly breaks contact with Kayo on this last day, seeing her right to her door, getting up before midnight to watch over her house and wait for the stroke of midnight. This entire day and in particular those last moments of it, are positively brimming with suspence, so much so I had to make sure to control my breathing just in case something awful transpired.

The episode also made sure to show us what Kenya, Yashiro, and Kayo’s mom – all persons of interest with regards to her potential disappearance – but none of them are anywhere near Kayo, and aren’t doing anything suspicious. When the second hand ticked past the twelve, I felt I could relax a little…but only a little.

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Seeing Kayo in her jammies receive a waiting Satoru at her door was a moment of triumph, as well as another perfect use of her unofficial catchphrase “Are you stupid?” As the hours and minutes until their birthday party ticked away, the suspense started to build all over again, especially when Yashiro told the two to do cleaning duty after school.

Turns out both that, and the suspicious-at-the-time meeting between Yashiro and Kenya that ended last week, were perfectly innocent: Satoru’s friends planned a surprise party for him and Kayo. Isn’t that something? Gee, it’s really dusty in here…or maybe there’s an raw onion nearby? *sniffle*

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The joy and mirth of the festivities are matched, and then some, when the episode inevitably, mercilessly brings the hammer down. At some point Satoru has to walk Kayo home and wish her good night, she promises to give him his birthday present tomorrow, and waves goodbye wearing the mittens he got her.

The promise is never fulfilled. The next morning at school, Kayo is absent. Satoru was able to change the future, but only by one day. I’d say I can only imagine what became of her in those evening hours they were apart…but I honestly have no freakin’ clue.

When confronting Kayo’s mother, Satoru exclaims, beyond the years of his physical body, “when it comes to saving a friend, there are no gains and losses!” And he’s absolutely right. Just as he wrongly thought getting past the X-Day was a victory, he’s wrong if he thinks this latest development is a loss.

Even if it is, and even if he doesn’t have ready acces to an IBN 5100, the results of those past battles don’t matter. The war goes on. It has really only just begun.

10_magRABUJOI World Heritage List

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Dimension W – 02

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Before her first job as a collector under Kyouma, we learn the rest of the conversation cut off last week. Mira shows Mary footage of the murder of Shido’s daughter and mother, not long after she was first activated. This is information that could get everyone killed, so Mary elects to keep Mira under Kyouma’s supervision, partly because he’s competent, and partly because he’s the one who brought Mira to them, along with all her dangerous baggage.

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Mira is determined to become a good collector, which will in turn help her achieve her father’s dying directive: follow the illegal coils. Kyouma wants the coils, Mira wants info about where they came from and who built them. It’s a mutually beneficial partnership. But you can tell Kyouma doesn’t like suddenly having to deal with a partner, especially one who embodies the very technology he rejects.

Their first target as a pair is to extract the illegal coils being used by the flamboyant celebrity criminal Loser, who is staging a very flamboyant public robbery of an art museum for his legions of giddy fans. This crime-as-entertainment is another interesting detail of this futuristic society.

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Kyouma tells Mira to find the jamming devices hacking the communications grid around the museum, and it should lead her to the coils, while he goes after Loser himself. Kyouma goes off on his own, while also putting trust that his new partner will get her part of the job done.

Loser’s son and partner in crime is in constant contact, and does some research on Kyouma in the middle of the chase. Loser shows just how useful illegal coils can be when put to good use, learning about his enemy as he flees from him.

Among that which Loser learns explains how Kyouma can keep up with him despite lacking any coils of any kind. Our boy was once a member of Grendel, a kind of elite anti-coil assault squad. Kyouma is now using his skills and training from his dark past to pay the bills.

Then Loser tells him a bit abot him self, showing him his horribly burned, disfigured face, mentions his lost legs and wife, and blames New Tesla for all of it. He’s on a quest for revenge, and Kyouma would do well to stay out of it.

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But Kyouma will do no such thing. He’s on the job, and he’s not leaving without the illegal coils he came for. The museum curator inadvertently helps him lose the police, locking the place down to prevent them from discovering he himself uses illegal coils to power his sexy twin bodyguards.

What the curator doesn’t know is that within his most cherished work of art lies one of the “numbers”, special classified coils that are Loser’s true goal with the heists. He busies himself extracting the coil while Kyouma very easily dispatches the bodyguards.

Meanwhile, after racing to the highest point she can, Mira finds the devices she was looking for. They were disguised as pigeons flying amongst live ones, but her extra-human vision discerned differences in their patterns. After collecting the illegal coil-equipped robotic birds, she makes her presence known to their controller, Loser’s son, who can’t believe she’s human. But considering her sentience, I believe he’s mistaken. Though she is more than a human, she’s definitely a human.

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When the police start banging on the door to the chamber, the curator tries to fiddle with one of the illegal coils and sets it off, and we see for the first time just how terrifyingly awful a “dimensional collapse” can be, and how dangerous illegal coils are in the wrong hands. The curator is caught in the rift, which then hardens into a horrifying mass of duplicated robogirls mixed with pieces of the curator, who is still alive and conscious for it all. Yikes!

Illegal illegal coils are no joke. And while Mira doesn’t get any info from Loser, who is determined to get his revenge and so won’t recklessly reveal his sources, she did show that she’s collector material, and can work in concert with Kyouma even without supervision. This was another thrilling, stylish romp. Two eps in, Dimension W is looking…very good.

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Rail Wars! – 06

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Um…what in the ever-loving name of nationalized railways was that? What a train wreck of an episode. There were better ways to deepen Naoto and Haruka’s relationship…like any other way imaginable! Instead, the show decides to turn everyone into crazy people. Ugh, where to begin? Better go into…RABUJOI LIST MODE…List Mode…List Mode…

1. Everyone in D4 is supposed to be under house arrest for the events of last week, but no one is actually home. What does that say about the level of discipline at JNR? I didn’t even think what they did last week was that bad. Was it punishment, or forced leave due to trauma?

2. Never mind, because no one is home anyway. Naoto receives a letter in the mail that he does not read or inspect completely, and decides to break the rules of the organization he claims to love so dear to meet up with Haruka and talk about this letter. Why didn’t he just meet at her house, or vice versa? At least then one of them would still be home.

3. Anyway, Aoi, who is also not home, just happens to spot Haruka, who is meeting up with Naoto. Alright, fine; coincidences happen. But then it happens again. And Aoi, for some reason, decides to take out her loaded and ready-to-fire sidearm and point it at Naoto and Haruka across the street. Aoi should be in jail.

4. Some giant mascot thingy that bumped into Naoto and Haruka also bumps into Aoi, causing her to discharge her firearm. Aoi should really be in jail! Naoto and Haruka think it’s a sniper, and bolt from place to place, hand-in-hand. Yet despite spending the entire episode together, Haruka is unable to fully express her feelings to Naoto. Not the most irritating shortcoming of this ep, but just putting it out there.

5. “What’s going on?! Why are there cats?!” Why Indeed, Naoto…Why Indeed.

6. As the cute couple runs around the city like lunatics for no reason, Haruka sheds clothing article after clothing article, until, by the climax of the episode, she’s completely naked. No bra or panties; apparently they were “torn off” by random guys in masks. Sorry, but that’s just dumb. And WTF is with the guys in masks?

7. Shou is barely in the episode, only appearing for a few moments on an LCD screen, having won a curry-eating contest. Again with the defying of JNR regs. I don’t watch the show because of Shou, but…after this episode, now I’m questioning why I’m watching this show at all.

8. Where does one go when being ruthlessly pursued by clowder of assassin cats? (Hits top of head with palm) the Transportation Museum…of course! What the hell, let’s add breaking and entering to the myriad crimes of D4 this week. They can’t be stopped.

9. The museum is the same place where Naoto “rescued” Haruka from a dark room full of boxes eight years ago, and he “rescues” her again this time, too, though Iida, Hitomi and Aoi handle those masked guys who exist for some reason, so he actually ends up relying on several people after pledging not to rely on people so much.

10. Turns out all the paranoid darting around town was for no reason, because had Naoto merely opened the seemingly threatening letter, he’d have seen it was just an overly provocative life insurance pamphlet. Also something that happened for no reason? This episode. Go Home, Rail Wars!…You’re Drunk.

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Samurai Flamenco – 22 (Fin)

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First of all, we liked the choice of expanding on Goto’s grief and showing us how he came to message himself. Goto’s “long distance relationship” started out as something of a comedic element, but the more we’ve learned about the truth, the more tragic and compelling it became, especially when Sawada used it against him in what has to be the most emotionally charged deletion of a text message we can recall.

As Sawada predicted, erasing the last message Goto’s real girlfriend ever sent is like flipping a crazy switch. By the time Masayoshi arrives, all Goto wants to do is be free so he can kill Sawada. It’s all part of Sawada’s plan to sacrifice himself so Samurai Flamenco will have a traumatic past that will never leave him, turning him into a “dark hero” (a la Batman).

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Running in with nothing resembling a plan for victory, Masayoshi decides to fight crazy with crazy: refusing to put on the costume and stripping all his clothes off. This bizarre throws Sawada for such a loop he ends up dropping both the cuffs key and gun in Goto’s vicinity. With Sawada disarmed and thoroughly freaked out, now the still-naked Masayoshi has to convince Goto not to kill Sawada.

His method isn’t what we’d call elegant—he whips himself into a tantrum screaming “BAKA” over and over and oddly proposes to Goto—but the sheer ludicrousness of the situation snaps Goto out of his murderous rage. The idea that Masayoshi is so ignorant to the concept of love is a little silly, but in the end, his desperate improvisation wins the day. We’re glad no one was killed, but we still enjoyed Flamenco Diamond showing up to give Sawada a well-deserved beatdown for poisoning her friends.

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With Kaname recovered from his injuries, he opens up a new superhero museum which everyone attends, and we get some nice farewell moments with the Flamengers, Kanno and Ishihara (who have an awesome final exchange), and lastly, Goto and Masayoshi, who’s late for the opening. Goto receives a fresh text from his girlfriend (maybe she IS out there somewhere!), and Masayoshi runs after a litterbug.

7_very_goodRating: 7 (Very Good)
Average Rating: 8 (episodes 1-13), 7.111 (episodes 14-22), 7.636 (total)
MyAnimeList Score: 6.97

Valvrave the Liberator – 18

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L-elf receives intel from the Royalists about an old-fashioned multi-stage rocket in a museum in the old capital of Dorssiana, and a list of JIORans who were deported to that town, including Haruto’s dad Soichi. When L-elf figures out Lieselotte is the member of the royal family helping him, he runs off. Haruto’s dad turns out to be the head scientist in charge of the VVV Project, and engineered Haruto and the others to create a new, superior lifeform. Disgusted, Haruto promises his dad he’ll destroy the Valvraves. L-elf infiltrates the castle where Lieselotte is being held captive, and offers to take her away.

Back when he and Lieselotte were last together, L-elf didn’t have a plan, but now he does. He has a friendly country in New JIOR she can escape to, and powerful weapons to protect her in Haruto and the Valvraves. If indeed everything L-elf has done since participating in the invasion of JIOR and defecting from Dorssia has been so he could one day rescue his princess, well, we must applaud his long game and diligent planning. So…what will be her excuse for not coming with him this time? The wrath of Cain, perhaps…

Anyway, everyone’s got something to do this week, with Saki still possessing a boy and chillin’ with A-drei, Otamaya and his team preparing to commandeer an old rocket in a museum for transportation (?!?), and L-elf off doin’ his thang, Haruto finally gets to meet his dad, something he was very excited about until, oh, about a minute after reuniting with him. His dad turns out to be a deluded, comically awful human being. But hey, you didn’t think this show was going to cut Haruto any slack, did you?

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Rating:7 (Very Good)

No. 6 5

Okay, so Nezumi’s an actor, but because he’s so pretty, he plays female roles, of course. Against his wishes, Shion goes to see him perform Shakespeare. Meanwhile, in No. 5, Safu is visiting a museum with her classmates when both she and Nezumi are hit by a strange “wind”, start to hear singing, and then pass out into a dream state.

Safu wakes up in hospital, while Nezumi is carried home by Shion, who then tells him about the parasite bee attacks. Nezumi teaches him how to dance for some reason, the lovebirds kill some time dancing, and then Shion touches Nezumi’s neck, surprising him, as he didn’t have time to dodge. Perhaps Shion’s new hair and tats lent him some powers?

The Safu and Nezumi connection threw me off a bit, especially when he said it had nothing to do with bees. What exactly is going on is still something that mostly escapes me, and aside from the shared dizzy spell and the suspicion next week Nezumi and Shion may be eskimo kissing, this episode felt too much like a holding pattern, even stalling.


Rating: 2.5