Saenai Heroine no Sodatekata – 07

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A big reason why I’ve enjoyed Saekano so much isn’t just its knack for cleverly inserting commentary about the genre in which it dwells while telling a unique story all its own that benefits from that self-awareness and self-critique. It’s also the show’s knack for getting us to forget all about the future and simply focus on the now, and the wonderful dialogue and interactions between Aki Tomoya and the varied girls in his life.

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This episode was off to another great start. After spending all of his time with Utaha last week, this week it seems to be Eriri’s turn, and she makes the most of it by making Tomoya role-play a sex scene with her. Both of them are well aware they’re merely reading lines to one another, but since both of them put in such good performance., they end up arousing one another, something Eriri probably hoped for.

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I personally wouldn’t mind if that was the whole episode, but there are big changes afoot this week, and in the process of introducing those changes, the show suddenly turns its gaze away from the now and towards the horizon, which I must admit is a little unsettling.

Just as Tomoya is chastising Kato for suddenly sporting a ponytail (my take is that Tomoya really likes it, otherwise he wouldn’t notice it, but he won’t admit it). A discussion ensues, into the cultivation of well-established and time-honed “core traits”—like a blonde twin-tail or long jet-black hair—versus “cheat tricks” like the sudden change of hairstyle.

Those two core traits are brought up by Kato and clearly meant as a commentary on the two other girls chasing Tomoya around. Kato is establishing that she is unique and goes against the grain of the tropes.

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That leads to Tomoya bringing up another time-tested trope: the “little-sister-type kohai”, and hey-presto, Hashima Izumi appears on queue. Of course Tomoya also had, and now has, this kind of girl in his life as well. It’s something that was missing to this point; now all he needs is an attractive relation, which we know to be Michiru from the prologue.

Izumi was prominent in the OP and ED and had the look of a younger, devoted-kohai character, so I knew she was coming. Better yet, she’s voiced by the bright and ever-exuberant Akasaki Chinatsu. Also true to her type, a lot of what she says in praising Tomoya did for her could be taken entirely the wrong way due to her particular phrasing. But her sudden appearance, bereft of a single prior word about her existence in the show itself, is a little problematic.

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Be that as it may. Izumi is definitely a disruptive force that unsettles the status quo, and not surprisingly pisses Eriri off, since she’s already had two other stout competitors to contend with to that point, and she was the only one with a long past with Tomoya. No longer.

Speaking of a past, Izumi’s introduction is paired with her brother Iori, who is Tomoya and Eriri’s age and has a sorted and arguably more interesting history with him. Tomoya rejoiced when he learned that Izumi, the class prince, was just as much of an otaku as him. But their friendship was dashed on the rocks by a clash of otaku philosophies. Tomoya valued the sheer enjoyment and sharing of things he liked; while he saw Iori as “riding the coattails” of creators.

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But in that professing this, Tomoya exposes his hypocrisy. He’s an amateur running a doujin circle, ; by his logic, he’s also guilty of depending on two of the brightest rising stars in the industry in Eriri and Utaha; even if they are his friends.

I think the distinction lies in what Tomoya does offer his creators, though not knowing enough about Iori’s relationship with his famous circle members, these two may be peas in a pod after all. We may see Iori through Tomoya’s eyes as a greedy freeloader, but what if Iori inspires his creators the same way Tomoya inspires Utaha and Eriri?

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It’s probably a coincidence, but it looks like Iori shares a trait with one of his seiyu Kakihara Tetsuya’s more famous roles, that of Simon in Gurren Lagann. Both are good at digging and burrowing, and eventually dig themselves out of obscurity and into the spotlight.

Tomoya often conceals his true feelings about things by discussing them through a protective prism, namely his collective dealings with the girls he’s working with, but also courting, particularly Kato. By that same angle, Tomoya purports to spit upon the way Iori does things, but his own motivations and actions could be construed as just as selfish.

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More than anything, this episode makes me hope there will be a second cour of this show, and not just because I love it. I feel we’ve really only scratched the surface here. The Kato, Utaha, and (semi)Eriri-centric episodes are all to establish what Tomoya means to those girls and what they mean to him. Izumi and Iori are introduced to break up the love-in and create an external conflict that will drive the remaining story.

This is no longer simply about making a dating sim; Iori has officially declared it a battle, and he won’t hesitate to poach Tomoya’s talent, if he can. But after what’s gone down in the last seven episodes, the four remaining are not nearly long enough for a satisfying conclusion. So for the first time I can remember, I’m actually hoping for a second cour when I’m not sure if one is coming. And I’m also hoping that hot spring prologue was only the midpoint of this increasingly complex and entertaining story.

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Saenai Heroine no Sodatekata – 06

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An ongoing theme in Tomoya and Utaha’s friendship has been mutual inspiration. In their first encounter (they’re classmates, but hadn’t interacted before) Tomoya expresses how much Utaha’s work inspires him the moment he steps up to her table at her book signing. His remarks leave an instant and lasting impression. Fast forward to that “fateful” snowy day when Tomoya declines to read her latest manuscript.

Utaha, you see, never come out and told Tomoya inspires her as he did with her. Offering him the manuscript is her way of showing it. But he rejects that approach, and even though it’s for perfectly understandable reasons—he’s a fan, and doesn’t want to influence her creative process any more than he wants a sneak peak at an unfinished work—it still feels to Utaha that he’s rejecting her, which wounds her deeply.

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Utaha had never quite forgiven him for that…until this week, which is another showcase of Saekano’s knack for placing its characters in relatively confined, intimate places. Even Tomoya’s date with Kato at the mall felt like it, since the crush of people made them have to stick that much closer together, and the mutual fun they were having made that crush blur and fade into the background, until it was just them.

The confined space here is more concrete: a hotel room, where Utaha was going to spend the night, but invites Tomoya in when he drenches himself in the rain in the act of what she deemed as chasing after her. It’s an assertion he can’t and won’t deny, though he wasn’t expecting to end up on a bed with Utaha, both of them in bathrobes and nothing underneath. The optics are a constant source of nervous titillation, but I frankly like how it puts the two on the spot.

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Bathrobes concealing nakedness and nervous joking aside, Tomoya cut his date with Kato short because he now knows what doesn’t sit right with him about her first scenario draft. He didn’t like how they left things in the club room, but at the same time, were it not for his date with Kato, he wouldn’t have been able to express his reservations anyway, which ironically reflect the positions Kato and Utaha occupy with regards to Tomoya’s life.

Utaha’s plot is much like her plot with Tomoya thus far: seemingly bound by fate, or from a past life; something sprawling and dramatic and epic, like spending the night in a hotel room (but this is all-ages, so…) And Tomoya likes that, but he’s found he also likes what Kato brings to the table: a steadfast decency wrapped in utter normality; the beauty of the mundane; the way a flat character can draw a reader when suddenly big suddenly happens. Kato isn’t bland; she’s universally relatable.

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God, the timing, framing, and sound effects of this little sequence were so deliciously awesome. Utaha types away in this new direction, but she’s clearly upset by it; it’s as if the romantic ideal she represents has been suddenly usurped by Kato. Reality and the fiction being discussed and created is inextricably linked in this show. But she and Tomoya do work all night, and the fact that she was able to summon this much passion and belt out something both of them can be proud of is a testament to the mutual inspiration I mentioned earlier.

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When Utaha gets dressed and prepares to set out for her busy day, she doesn’t hesitate to make a joke about post-evening afterglow, not to mention the fact she wickedly took a picture of her in bed with Tomoya while he was asleep and made it his background.

But while there wasn’t any of that kind of action last night, it was still a night Utaha will cherish, because it showed her, just as it showed us, that Tomoya is not only her muse, but has the makings of a great creator in his own right. She leaves that hotel room feeling a lot better about the two of them, but not just because of the progress they made with the plot, but in the battle for Tomoya himself.

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Rewinding to yesterday, Eriri “bumps into” Kato at the mall and sketches her, which is clearly her way of commiserating over the fact that Utaha is off somewhere with her Tomoya. Misery loves company, so it gives her great solace to see that when properly stimulated, she’s able to pull back Kato’s stoic mask just that little bit. Like Utaha’s “coup” this week, this not only makes Eriri optimistic about developing a good heroine from Kato, but also that she’s still in the running for Tomoya. Kato is adorable, but she’s not invincible.

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Saenai Heroine no Sodatekata – 05

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Tomoya’s promising dating sim circle is in place and hard at work, but progress is slow. Eriri is frustrated by Kato’s noncommittal expressions (noting that if she was expressionless, they could pass her off as an Ayanami Rei-type), while the only things Utaha types are orders for Tomoya to feed her Pocky sticks.

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What ironically (but also very fittingly) gets things going are Tomoya’s off-the-cuff prods to Eriri regarding what she’d do in a “hypothetical” situation where she’d be on a shopping date. Eriri offers advice—very good advice—and when Tomoya says it sounds boring, it’s because she offered advice for an “away game”, that is, an otaku on a date in the normal world.

When Tomoya inadvertently lets on that the date in question isn’t really hypothetical after all, it’s a creative spark for Utaha, borne out of her intolerance of any such non-hypothetical date not involving her. She begins to fill the white space with words.

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But even as Utaha found inspiration in an unexpected place, Eriri notes how difficult a subject Kato is; perhaps her toughest yet. But it’s precisely because she is a challenge that Eriri won’t give up, especially when it’s looking more and more like her beloved Tomoya is taking a liking to this Kato girl.

In a quiet but extremely sweet scene on the rooftop at night, Kato shows that despite the seeming noncommittalness in her words or expressions, she’s as serious as the other two, and practicing to be the best heroine she can be.

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Tomoya betrays something else when Utaha arrives at school with a thick scenario drawn up, the product of an all-nighter for the sake of the circle. When Utaha falls asleep as soon as her head hits the desk, Tomoya gives her a lingering look of pride and affection the other two girls pick up on: Eriri is suspicious, while Kato is bemused.

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The scenario itself is full of exciting twists, turns, and tropes, and it’s presented exquisitely in a slideshow-and-commentary format. I especially liked when Tomoya would periodically call for Kato to pipe up and say the heroine’s lines, which actually don’t sound half-bad even in her dry-run deadpan.

Also note that the handsomest guy Eriri could think of closely resembles Tomoya, but isn’t quite him, while Kato is Kato even in the scenario, because she is the heroine. It’s as if Utaha and Eriri applied their respective crafts to the basic template that was Kato Megumi to create “Kano Meguri”, through which Kato still manages to shine.

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And yet…while he can’t explain why, Tomoya’s not quite satisfied with the draft, to Eriri and Utaha’s consternation. (Eriri: “Subjective, feelings-based criticism like that doesn’t get us anywhere!” That should be RABUJOI’s slogan!) Utaha’s is deeper, seeing this as another case of indecision and inability to give her a straight answer.

On that note, the show helpfully flashes back to a moment still fresh in Utaha and Tomoya’s memory. If what I think happened happened, “no straight answer” is as good (or bad) as “rejection.” But Utaha seems to be hovering around Tomoya to this day, waiting for a straight answer anyway.

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Tomoya actually seems to become rather down by Utaha making that indecision connection to their past, to the point Kato tells him it’s okay if they postpone their date to the mall, but Tomoya isn’t having it; the date is on, and it’s yet another case of Kato really shining once out of the shadow of the other girls.

The huge, unruly crowds of “normals” throw Tomoya off, especially the proportion of couples (even though like it or not, he and Kato are one of them). In a brilliant turnaround, he decides to treat the shopping trip like a visit to Comiket: he plots the most efficient route to Kato’s stores, avoiding the longer-wait ones until things die down. When the crush of people grows thicker, Tomoya keeps Kato from falling and takes her hand without a second thought.

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While his otaku approach is hardly “normal”, it’s actually a boon to the otherwise normal date. Kato is duly impressed with Tomoya’s ingenuity, and decides to buy him a pair of glasses she thinks he looks good in (she thinks). 

Here, with her tender and very girlfriend-like gestures, all pretense of any kind of “practical experiment for research” falls away. This was a date, plain and simple, and a damn good one. Both parties had far more fun than they’d bargained for, and neither had to be anything other than themselves.

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Somewhat distressingly, the episode doesn’t end there, but pulls the plug on the good vibes when Tomoya laments he must ditch Kato without seeing her home, saying “there’s something he has to do” as we see Utaha waiting along, presumably for him. But whatever could he be leaving Kato for Utaha mean here? I think it’s a matter of obligation. It comes back to him not having an answer for her again.

Even in the midst of his lovely date (which he may or may not have gone into as an empirical and dispassionate exercise but definitely ended up falling for Kato’s charms once again…and who the hell wouldn’t?) perhaps Tomoya found an answer. Not to the past question Utaha asked, but to her scenario proposal. He owes her at least that much for her hard work.

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Zettai Karen Children: The Unlimited – Hyoubu Kyousuke – 09

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The USEI launches a massive, multi-pronged attack, using UAVs to distract Hyoubu. Assault teams armed with ESP-nullifying ECM devices board the ship, but Patty stops them from getting to the children. The director, Andy’s boss, boards the Catastrophe and captures Yuugiri. Andy tries to stop him, and is shot, but the bullet is stopped by his necklace. Hyoubu manages to hold off the USEI barrage long enough for Magi, Yoh, and Momiji and Patty to transport the children to safety. Andy manages to jump off the Catastrophe as it explodes and sinks.

After two episodes that essentially spin off the spinoff by going back to Hyoubu’s tender youth, this week the present returns with unyielding force, and PANDRA is dealt a serious blow. Andy betrays his new family by de-cloaking the ship, opening it up to bombardment. Naturally, when he sees the USEI boarding the ship and hunting down espers, he objects (because he has a moral compass), but it’s out of his hands now; he served his role as puppet, and has to either watch the consequences unfold, or rebel. Watching the Catastrophe go down and the evacuees escaping by the skin of their teeth wraps up a shocking series of events.

It’s amazing how swiftly things go so very very badly for PANDRA. But most shocking is that even with his Unlimited power, Hyoubu can’t put a dent in the onslaught before him. It doesn’t help that he’s close to death, and has an attack right in the middle of battle. Now relieved of their floating haven, with their leader reeling and perhaps their most powerful child in enemy hands, tough times are ahead for PANDRA. It makes us wonder if their plight will lead to them allying with BABEL, who you can’t really call their nemesis at this point. It’s normal humans like Andy’s evil bigot boss who are the nemeses.


Rating: 8 (Great)