Bunny Girl Senpai – 10 – Damn You, You’re Too Awesome!!

Nodoka prepares for the second day of commercial filming by watching DVDs of her sister in action, including a horror movie, which seems apt; body-swapping carries its own kind of horror, and she’s essentially wearing her big sister’s skin!

The prospect of screwing up similarly fills Nodoka with dread, but after twelve takes she does eventually get the job done.  When Mai calls her, she gives the phone to Sakuta, still not ready to talk to the person she’s made out to be her nemesis. But Mai tells Sakuta to congratulate her nonetheless; it can’t be easy to do your big sister’s job…especially if you come into it not believing you can do it from the start.

As for little sisters, Kaede has seen enough pretty girls pass through the doors of their apartment to start thinking like someone who knows that at some point they have to start going outside again. Putting on her school uniform is a small but meaningful first step on that path, and it’s good to see she’s not just some static mascot of a character. Like Futaba, her own story has been subtly maintained.

Nodoka’s personal horror movie inludes a banshee of a mother who confronts “Mai” to cease harboring her daughter; Nodoka-as-Mai truthfully replies that she’s doing no such thing (since she’s at Sakuta’s…but she wisely leaves him out of the equation).

Mai gives Sakuta and Nodoka tickets to her latest gig in Nodoka’s body, but before that Sakuta has a rare meeting with his Dad. When Kaede became a shut-in, their mother apparently had some kind of breakdown of her own (it’s kept pretty vague). It was serious enough for their father to have to basically choose between continuing to live with his kids, or taking care of their mother full-time and trusting that Sakuta will be able to take care of himself and Kaede.

While at a family restaurant (fitting), Sakuta gleans fresh insight into his Dad; specifically how completely frazzled clueless he was upon his son’s birth. Sakuta says “all of the above” in response to Nodoka’s choices of “love, hate, piss you off, are annoying” as how he feels about his parents. Clearly a part of him has concluded that if he’s able to run a household with his little sister and solve cases involving one girl after another, he can’t really rag on his folks that much.

As for the Sweet Bullet gig, Mai-as-Nodoka is flawlesss, a testament to her consummate professionalism, attention to detail. Hell, she even saves the group leader’s ass when she trips by catching her mic and continuing to sing her part without missing a beat. Her performance is rewarded by the announcement she’ll be singling lead for the next song they release.

Nodoka and Sakuta watch, utterly enthralled. After the concert, Nodoka’s mom is among those who “high-fives” Mai-as-Nodoka, and she smiles, tears up, and congratulates her, things she never did to Nodoka-as-Nodoka. Nodoka demands to go to the beach, and starts striding into the sea, believing she isn’t needed by anyone anymore.

Sakuta stops her, and assures her that’s not the case: if anything happened to her, Mai would be sad, and Sakuta can’t have that. Nodoka doubts him, but he assures her it’s true, and furthermore knows it’s true, especially after looking into the forbidden cabinet at Mai’s place.

He shows Nodoka the box in that cabinet, which contains every single letter Nodoka wrote to her big sis, from before they knew they were sisters. Mai’s always treasured them because they gave her courage and strength knowing someone specific (as opposed to the other faceless masses) was cheering her on.

It was thanks to Nodoka that Mai even started enjoying her work. Mai appears (it is her apartment they’re in) to thank her sister. Nodoka comes back with a tirade about how it’s “too late” since Mai managed to get her mother to smile and approve, and get her own lead singing gig before her.

In response Mai slaps not Nodoka, but Sakuta (since Mai has a shoot tomorrow  and she doesn’t want to risk marring her face). She describes how Nodoka’s Mom’s hands were trembling when she held hers; how she could tell her mom was uneasy about whether her daughter was truly happy; seeing her perform so well all but confirmed she was.

Nodoka asks why her Mom never said anything, but unlike, say, Sakuta’s Dad at the restaurant, parents are always loath to tell their kids how uneasy they feel about raising them, and about whether they’re doing it right. Mai’s solution for Nodoka, as the sisters embrace, is to make her mother happy doing something she wants to do, not just what she’s told. To show that she can stand on her own, without direction, and shine. Seto Asami does a tremendous job voicing Nodoka through Mai in the emotionally cathartic scene.

The sisters now sufficiently made up, their bodies switch back to normal like the snapping of a soap bubble, before Sakuta’s eyes. Later, Futaba posits that Nodoka’s believed need to “be like her big sister” resulted in the swap (possibly through a variant of quantum teleportation), while Mai changed her appearance to Nodoka, out of momentary jealousy.

As for Sakuta, he’s just happy he can be lovey-dovey with the real Mai. But two new obstacles threaten that desire. One, Nodoka moves in with Mai (she got in another fight with her Mom, but hey—that’s what family does sometimes; it’s not the end of their relationship, she just wanted a change—and the little matter of Nodoka-as-Mai being photographed with Sakuta by her side by a photographer. Now there’s buzz out there that Mai Has A Boyfriendsomething Mai calls a “slight problem.”

But I agree with her assessment; it’s not as huge an emergency as a bout of Adolescence Syndrome (the next case of which looks to finally focus on Kaede next week), nor a rift between sisters that was just amicably closed. She and Sakuta are a strong, dependable, shrewd couple. They’ll get through it!

Sket Dance – 30

First half: Himeko is initially annoyed by Bossun and Switch’s mutual obsession with capsule toys depicting characters from half-baked hero shows, but is soon ensnared herself in the maddening struggle to “collect ’em all”. Second half: Momoka’s former gang comes to the Sket-dan to report a troubling development: Momoka’s many moe voice-acting roles have transformed her into a moe character called “Momotan”, whose verbal ticks and slang render her both sickeningly cute and nearly impossible to understand. By thwarting a paparazzo eager to expose her delinquent past, Himeko dispatches him, firing Momoka up. On a talk show, she comes out of the delinquent closet and quits the voice-acting business. Her moxie nets her a fresh gig as a TV actor.

Like the made-up sports and board games of previous episodes, the first half was a nice commentary on the nature of completing a collection of useless junk. It’s not really about the having, but the getting here. Himeko dismisses the guys as acting like dumb kids, but the first cute character she lays eyes on has her sold on the idea. The first ones the machine spits out for her are totally unexpected and repulsive “Anthonys”, but the trio spend thousands of yen collecting everything, and trade with a very sweet lil’ kid to get the one they were missing, only to descend into “abject emptiness” upon returning to school. They got too caught up in the moment.

On to the second half, it’s a Momoka sketch. It actually makes sense that her character has changed, as we haven’t seen her in so long, combined with her need to become the cutesy characters she voices in order to be successful. Bossun is smitten, Switch is talking like she does, but Himeko doesn’t want Momoka true self cast aside – along with her friends – as the price of success, or as she said it “bury her past and replace it with sci-fi” (which sounds so cool we wanna try that as soon as we’re done typing this!) She’s unsavory; she has to be loud and proud. And lo and behold, doing so nets her a new, more fitting job that lets her be herself. Everybody wins…though she doesn’t gain a persona or a pair of shades…


Rating: 3.5