Sing “Yesterday” for Me – 05 – Miss Never Number One

Rikuo ends up at a new part-time job at a photography gallery, only to encounter co-worker Minato Kouichi, who was in the same third-year class as Haru before she dropped out. He joins them for lunch and exhibits how pretentious he is about photography. Rikuo takes an instant dislike to him.

That leads to yet another coincidence in which Minato is walking Haru home at the same time Rikuo is walking a slightly tipsy Shinako home. Both Haru and Rikuo are irritated by what they see. Shinako tells Rikuo that she’s done walking in circles, while Minato not to subtly hints that he had a crush in Haru in high school, only for her to be completely oblivious.

Minato visits Haru as often at the bar at least as often as Haru visits Rikuo, and eventually asks if she’ll spend a day with him. He formally asks her out, and while she replies with a rant about how much of an asshole Rikuo is, she’s not ready to give up on him, even if she’s “just the backup”, or she’d be lying to herself. Minato expected a rejection, and reveals he dropped out of college to pursue a life of freelance photojournalism.

When Haru says of her pet crow “I kept feeding him, and he got attached to me,” I couldn’t help but notice how similar that is to her approach with Rikuo, intentional or not. Rikuo so often comes off as irritated or annoyed with her (or is so often spotted with Shinako after dark), Haru’s adopted the misconception that he doesn’t care how she feels.

In reality, her reliable and persistent “feeding” of her charming personality to him has made him attached to her, to the extent he’s jealous when he sees her with Minato and even gets into an artistic competition with him. It’s fitting that while Rikuo loses, it’s because Minato’s photo was simply more compelling.

The photo depicts Haru in high school, which stands in contrast to Minato’s earlier screed against portraiture as the photographer forcing his feelings on the viewer. Sure enough, Minato’s affection for the subject suffuses the image, and even Rikuo can’t resist the portrait’s candid beauty and longing. It’s a Haru Rikuo had never seen before, and can never unsee.

One could also look at this photo as a portent for Haru’s eventual dropping out. She looks restless, and her gaze is pointed elsewhere—somewhere more painful yet more rewarding, scarier yet inevitable: adulthood and independence.

Sing “Yesterday” for Me – 04 – His Lingering Shadow

After three episodes Hayakawa Rou is by far the weakest of the characters, but only because all we’ve known is that Shinako loved his late older brother Yuu, and Rou loves Shinako. She tries to be a good big sis to Rou by cooking him meals, but she can’t give him the one thing he wants from her most. In his frustration, he blames it not necessarily on his faults as a person, but because she can’t let go of a dead guy.

This week we learn why Rou is the way he is. This goes a long way towards making his character more sympathetic—even if he remains the least interesting of the four leads. Since Yuu was always the center of not just Shinako’s but everyone’s attention, Rou had to seek attention elsewhere: by being “the kid who can draw” in his class. Only now he’s in a tougher class in which everyone is that person.

Hell, I was that person in high school, then went to art college and got a rude awakening. It’s an understandable hit to the ego of someone who’d taken for granted one’s superiority in a smaller pool. Still, Rou worked hard to be as good at art as he is, so he’s going to rely on that work ethic to pull him through this phase.

One thing he wants to avoid at all costs is ending up like Rikuo, whom he still can’t believe Shinako even gave the time of day to. Worse, he learns of Haru and Rikuo’s “deal” rudely labeling her a “backup” when the two meet in context at the konbini. Kinoshita insists Rikuo help out in the back, so it falls to Rou to walk the young lady home.

Haru, who it must be said still sees love as in illusion, wonders what Shinako is doing so differently that she is so beloved by both Rou and Rikuo. Ruo rebuts by pointing out how not interested in him that way Shinako really is, but Haru doesn’t want Rou discouraged.

If Rou were to find a way to win Shinako’s heart, that frees Rikuo up for Haru, so she’s firmly on team Rou X Shinako, so gives him a supportive back on the back and runs off with her pet crow, which leads Rou to call her a weirdo.

Rou returns to find his dad and Shinako have already returned to Hanazawa. Once there, his dad informs Shinako that he’ll be renting out the house where they lived with Yuu, and presents her with a box of Yuu’s assembled belongings. In the room where she tended to him until the day he died, Shinako breaks down when she finds the eraser he lent her the first day they met, with the message “baka” concealed by its sleeve.

Outside cheery blossoms glow and she catches a glimpse of Yuu as a student, and she transforms into her younger self to approach him, only for him to disappear behind the tree. In a heartwrenching scene Shinako weeps bitter tears of loss, the shadow of Yuu still looming. It may be “okay to forget” as Yuu and Rou’s dad puts it, but Shinako can probably never fully erase Yuu’s shadow—nor would she want to.

Sing “Yesterday” for Me – 03 – No Demands? No, Demands!

Yesterday starts with Haru following Rikuo in the rain. He basically tells her she could do better than the likes of him. She tells him she has no particular hopes or demands about the likes of him anyway. She also feels like she’s playing catch-up to Shinako, but her war declaration freed her to act.

In the space of a few minutes, Rikuo suddenly knows a lot more about how Haru feels…but he still doesn’t know much about Haru the person, which she’s intentionally keeping vague as a long-established way to remain at enough of a distance to run away if things get too painful or messy.

As a result of their chat, Rikuo catches cold from the rain. Haru ends up with his phone number from Kinoshita unbidden, but she hesitates to call him (with her rotary telephone!), for the same reason she hesitates to reveal too much about herself. As a result, Shinako get the jump on her, as it were, by stopping by Rikuo’s to give him some hardy leftovers to keep up his strength.

When Rikuo is better and back to work, Haru invites him out to a monster movie on Sunday. Rikuo bites, and Haru is so happy a the prospect of a date she shares her happiness in the form of free coffee for Rou, whose change was eaten by the vending machine.

Haru also gets excited about looking her best for the date, after visiting her mom for the first time in three months (the two are cordial but hardly close) and stopping by the konbini to say hi to Rikuo and voice how much she’s looking forward tomorrow.

Haru’s anticipatory cuteness is particularly heartbreaking because I knew there was just  no way that movie date was going to unfold without a hitch. Sure enough, Rikuo learns Shinako has come down with her own fever while calling her about returning her Tupperware.

Rikuo proceeds to return the favor by taking care of her, and ends up falling asleep at her kitchen table. By the time he wakes up and realizes what’s happened, the rain clouds have returned (they really know when to show up for maximum effect) and Haru believes Rikuo either forgot, stood her up, or chose Shinako over her.

A contrite Rikuo eventually finds her soaking away in the rain and apologizes profusely, but is way too blunt about where he was, even if he insists it was all innocent. Because of the timing of his standing her up and the fact he didn’t have her contact info, even having cell phones wouldn’t have solved this matter.

Despite having clearly said she had “no demands”, Haru realizes later that she still had expectations with Rikuo. She then determines that if she stops going to the konbini, that will be the end of things. She has an exit ramp…right up until she yells out at a stop light and Rikuo hears her and comes over, blocking her escape.

Their exchange is tense at first, but Haru decides to drop the Mysterious Girl act and start over fresh with a proper introduction (including height and weight!). Rikuo reiterates his regret at standing her up, and Haru accepts his regrets, making him promise to take care of her should she ever come down with a fever, then immediately feigning one.

Miyamoto Yume’s performance in this scene (and just prior when she was alone on her bike), and the animation of Haru’s face, are the highlights of this episode. The murky muddy palette returned with a vengeance, but that only made the eventual reconciliation at the end, when the rain clouds had finally passed both literally and emotionally, that much more powerful. After so much darkness, some healing light.

At this point I don’t even care if Haru is a MPDG (and for the record I don’t think she is)—she’s winning my heart!

Sing “Yesterday” for Me – 02 – Switching Gears

When I first saw Shinako’s new shorter hairstyle, my mind momentarily went to competing with Haru, but that’s far to simplistic, and was immediately swatted down as a motivation when her silhouette in the barber’s chair is set against an austere blossoming cherry tree. There’s another reason, perhaps related to moving forward (or at least appearing to do so).

This week marks the introduction of the fourth member of the love polygon: Hayakawa Rou, who is in love with Shinako, his older childhood friend. Turns out he’s transferring to her school and may even end up in her class. Again, my immediate reaction was well, he and Haru are both high-school age, they’d be perfect together and the adults could go do their thing. But again, that’s making things way too easy for the parties involved!

It’s striking how much more vivid the colors are this week than last, but hey, trees blossoming in the spring will do that (indeed, it’s happening right outside my window and it’s wonderful!). It turns out Shinako doesn’t much like cherry blossoms. But after her post-graduation faculty after-party (she doesn’t attend he after-after party) she still takes some time to sit among the blossoms for a spell.

Her alone time is interrupted by Rikuo, and Shinako uses the opportunity to tell him she knows she’s asking a lot by wanting to remain just friends. But despite Rikuo’s belief she’s forward-thinking, Shinako reveals she’s nothing of the sort. If anything, she’s just good at making it look like she’s moving forward, when it’s more like walking in circles.

Then Haru walks by after her shift at the bar, assumes she interrupted something romantic, and runs off home in a mild huff. If that wasn’t enough, Rou also witnesses the tail end of Rikuo and Shinako’s talk. That’s…a lot of coincidences!

The next day, while Rikuo is discussing the potential difficulties of friendzoning with Kinoshita, Rou shows up and demands to know who Shinako is to Rikuo. At practically the same time, Haru shows up after school to have a chat with Shinako, offering dango as an olive branch.

Despite that olive branch, Haru is here to do battle, and not on an empty stomach. She wants to hear who Rikuo is to Shinako, and Shinako is quite clear that all they’ll ever be is good friends. Haru isn’t satisfied with this, because she doesn’t want to be a “compromise” Rikuo is nudged towards by Shinako.

When Shinako asks what exactly Haru likes about Rikuo, she doesn’t have a good answer beyond her belief that love is “a trick of the mind” that demands a beginning, a middle, and some kind of conclusion, be it good or bad. That’s when Shinako tells Haru she can’t be more than friends with Rikuo because there’s someone she already loves…or rather loved.

Rou mentions it to Rikuo as well: Shinako keeps a flame burning for his older brother, who died six years ago of a heart condition. Shinako took care of him until his death, which occurred during…the cherry blossoms. When most people see rebirth and the future in them, Shinako sees death and a past she can’t let go of.

Rou’s brother’s death wasn’t the “conclusion” Haru said is needed to stop that “trick of the mind” that is love. Shinako’s love endures, superceding any other opportunities (i.e. Rikuo). Even so, Haru still decides to declare war on Shinako, and will prepare for anything, including Shinako coming around with Rikuo. Having heard about Rou’s brother, Rikuo waits by Shinako’s place to talk to her, but can’t properly organize his thoughts and starts to walk away.

Shinako, for her part, is sorry she never brought the brother up, but didn’t want to use him as an excuse to reject him. Then the two decide it would be best if they weren’t friends anymore, due to the significant imbalance in effort. He’d rather wait than be friends, indicating he hasn’t given up on her (and why it was wise for Haru to declare war). Shinako is relieved…but hates that she is.

So far I’m liking this fairly brisk pace of events. Less wallowing and introspection, more communication and firm decisions. Rikuo is still being shamefully dense about Haru’s intentions—though he may yet be justified in doing so.

The progress made this week was worth the occasionally questionable coincidences. I also like how this takes place in the 90s, where the cassette is king and there are no cell phones, necessitating more face-to-face interaction. And both the animation and voice acting are terrific. It may not be the happiest story, but I’m in my happy place.

Sing “Yesterday” for Me – 01 (First Impressions) – Fine the Way They Are

When I visited Tokyo, I’d always naturally wake up very early in the morning, when the only people up were crows and convenience store clerks. One of those clerks could have been a guy like Uozumi Rikuo, who feeds the crows rejected bentos on his break. He’s approached by a cute young lady named Haru (Miyamoto Yume) who has a pet crow named Kansuke and a pointed interest in him, though he internally dismisses her as eccentric.

Rikuo just isn’t sure what to do with the energy Haru provides in that brief moment in the early morn, because he’s been in low-energy mode since graduating from university. He never engaged in any serious job hunting, and seems resigned, if not content, with a modest existence in a modest apartment with a modest part-time job. His former classmate Fukuda informs him of their upcoming six-month reunion, and also that Morinome Shinako (Hanazawa Kana), with whom Rikuo was good friends, is back in town teaching high school.

Rikuo skips the reunion, but Shinako comes to him at the konbini, and she waits at nearby a family restaurant until after his shift. There, the two pleasantly catch up, and visit their old stomping grounds. Rikuo admits he’s become what most in the world would call a failure, due to not living up to his potential and education. Shinako doesn’t judge, deeming him more “someone who needs taking care of” rather than “working his ass off in a suit”.

Shinako pops by more so the two can walk and talk after work. Rikuo’s co-worker assumes he’s some kind of smooth operator to have the attention of such a “mystery beauty”, on top of the quirky-cute Haru—who definitely gives off a mild MPDG vibe. One night the two women cross paths, and Rikuo learns Haru was once in Shinako’s class, but dropped out after being suspended for working at a bar.

While chatting in the park Haru makes it clear she comes to the store to see him, and that they met before. When he can’t recall, she tells him it was a momentary exchange five years ago. She’s harbored a crush on him ever since, but considers all relationships “illusions” anyway.


After getting a frank but salient lecture from an amateur punk rocker co-worker (of all people!) about being so self-deprecating and keeping the stakes of his life so low as to avoid getting hurt. Rikuo knows that while he can’t lose anything going through life like that, he can’t gain anything either. So he decides to breaks that pattern of behavior (for once) by meeting Shinako outside her house and confessing his feelings…and promptly gets shot down. Shinako just wants to be friends.

Rikuo urges himself to buck up—after all, he just did something he should have done before graduation—but still crashes his bike, and has himself a little weep in the pile of garbage bags that broke his cushioned his fall. The next day he reports having “closed the book on an illusion”, lamenting that while he attempted a “personal transformation”, it didn’t get him anywhere.

Haru can relate. As she talks about how she lives her life he realizes they’re alike; self-professed “social outcasts” who tell lies to escape hurt. In meeting Rikuo, Haru suddenly wanted to be liked, though now that she’s aware of his feelings for Shinako perhaps that’s no longer a viable escape. Even so, Rikuo snaps a photo of her for his co-worker’s album cover, and Haru beams at the camera.

Yesterday wo Utatte’s a wonderful realistic portrait of grown-ups looking at what they should do and not. Its detailed, lived-in atmosphere draws you in and envelops you. It can be melancholy and brooding at times—okay, most of the time—but that’s balanced by moments of brightness and warmth like that smile that closes out the episode. Haru calls it “basic” but it wasn’t 100% insincere.

After years of losing nothing, Rikuo and Haru have gained something valuable: a new friendship and understanding. Will they be able to give each other the courage to move forward, or at least pick a direction and go, or just hurt each other more than they already are? I’m eager to see how this shakes out.

Isekai Quartet 2 – 08 – The Things We Do for Lunch

Hidden by the vertical sign: Ristarte from Cautious Hero!

Lt. Viktoriya Ivanovna “Visha” Serebryakova was a reliable source of comedy in Youjo Senki, but both she (and her seiyu Hayami Saori) been generally underutilized in Isekai Quartet. This week the doe-eyed beauty gets a spotlight of sorts, as the rest of her class wonders where she rushes off to after school. Turns out she’s working multiple part-time jobs around town to earn enough money to indulge in the ¥30,000 “Special Menu” at the cafeteria.

She also mentions that all of her workplaces feed her for free, and that, combined with the mystery of the Special Menu, compel others to seek employment (since the Butcher is present at all these locations I imagine this was a scheme on his part to get some cheap labor). Subaru, in one instance, serves the fully-assembled Pleiades combat maids, a rare sight indeed on this show!

The resulting discovery that the Special Menu is simply the normal menu served in ridiculously huge portions is a disappointment to all but Visha, who looks ready, willing and able to consume the food-mountain with ease in one sitting, garnering some unnerved looks from other characters. As for the others, they know to save the money they earned for something else.

3D Kanojo: Real Girl – 14 – Festival of Conviviality

Hikari and Itou are alone in the classroom painting and sewing late at night, and falling behind, but Ishino arrives with a squadron of classmates to help out. They thought she was a ghoul at first, so unaccustomed to being assisted in things that were foisted upon them. Things have certainly changed for the better with these two.

The day of the festival arrives, and Itou goes all out for the class, cross-dressing and wearing a wig. To the surprise of male and female classmates alike, he’s stunning, and even Ayado can’t help but take a break from her own busy day to check in on Itou, and is similarly enchanted.

When Ishino asks Itou why he’s working so hard, Itou tells her: because someone helped him get the lay of the land maid cafe-wise, and it would be an insult to her not to give it his all. Ayado happens to hear this from the other side of the wall, and she’s both glad her advice went to good use and flattered it was taken to heart with such conviction.

As the preliminary beauty contest vote comes in, Takanashi tries to joke around with Ishino about not having a chance…until she starts legit crying. Knowing he went way too far, he course corrects by giving her his honest opinion, with no joking around: she is pretty, and was cute in the maid outfit, and for what it’s worth, she has his vote. Frankly, his vote is probably all she wanted anyway!

Iroha’s main rival tries to rattle her, and when it’s time to give a little speech on stage, that rival’s voice is suddenly an octave higher and much more playful. While Iroha played around with the idea of winning this thing, her own attempts to sound stupid and cute ultimately fail when she gives up in the middle and instead tells the assembled student body that she’s plenty satisfied that the friends she has love her for reasons other than her looks, and she doesn’t really give a crap about anyone else, especially if they don’t know her.

Her no-BS honesty probably ended up helping her cause, as all it would’ve taken is a vote from her boyfriend to win. But because she told him she wasn’t really all that interested in winning, Hikari votes for the other girl instead. Iroha predictably takes her defeat in stride, and is consoled by hearing some (but not all) of the many reasons Hikari likes her besides her looks.

That night, as the festival winds down, Iroha’s class rep serves her some soup from their cafe, knowing she probably didn’t have an opportunity to try it, while she insists he use the opportunity at the bonfire to talk to the girl he likes.

Itou finds Ayado still hard at work cleaning up, and when he tries to lend a hand, that hand ends up touching Ayado’s hand, spooking her. She runs off to collect/admonish herself, even giving herself a slap and calling herself stupid. She feels she has no right to have any feelings for someone she turned down.

But Itou, worried about her, heard every word, and doesn’t care; if holding his hand helps her to see him as someone she could love, then he wants her to hold it as much as possible. Iroha and Hikari almost intrude upon this tender moment, but thankfully don’t. So maybe it’s not as hopeless for Itou as he thought last week!

3D Kanojo: Real Girl – 13 – In It to Win It

Well well well, if it isn’t my favorite poorly-animated romance of Spring 2018, picking back up like nothing happened. In truth, it looks a little better, if still not very good. At least the light pastel palette is soothing enough. Visual shortcomings aside, I’ve always thought of 3DK as more than the sum of its parts, and stayed invested enough in the first dozen episodes to welcome a dozen more. Also, it’s a slow Winter so far.

So. Reaching another normie milestone, Hikari is voted cultural festival rep by his class. He and Itou have classically peace’d out for such things but this year is different, and he doesn’t have a choice. As for Itou, he’s trying to evolve, which means finally mustering up the guts to confess to the eternally pleasant Ayado, who turns him down simply because she’s not quite over the emotional turmoil of her first crush and rejection.

Hikari is there for Itou, and it doesn’t even take that long for Itou and Ayado to encounter one another and recover from the incident. They value each other too much as friends to throw that away, and so they agree to continue on as they have.

Ayado also offers to assist Itou with his class’ maid cafe, seeing as how she’s a pro at that. The next day Itou cuts his hair—which Ishino really likes—continuing to move forward with purpose.

The stress of Hikari’s job as festival rep is somewhat undercut by Itou’s exploits, but that’s actually okay. It’s Iroha who gets the really short shrift this first week. She and Hikari are cordial enough to start, but when he misreads her reluctance to enter the beauty pageant, she storms off, and by the time he sees her again, she’s already decided she’s going to do the pageant anyway. Hikari may be lucky, but he often lacks the best timing.

Itou worrying about Iroha slipping away from him when the pageant makes her more popular also feels like an older version of Itou; the one who didn’t understand why Iroha actually loves him.

Never mind; he’s been appointed a judge in the pageant, which means he’ll be judging his girlfriend. That shouldn’t prove awkward at all, no siree! So this was a brisk episode full of stuff, enough of it that I wonder where characters like Itou go from here if that is indeed that as far as Ayado is concerned. But I guess we’ll find out, won’t we?

Grand Blue – 09 – It’s Good to Be the King

As the only guy in their circle who (still) has a girlfriend, Iori’s classmates make him arrange another mixer so they can have girlfriends too. Seriously I just can’t with these guys this week. Thankfully we don’t spend as much time with them here, and the balance of the first half is a game of “truth or dare” involving numbered chopsticks and a “King” who gets to give orders each round.

Because the other participants have to obey the King’s Orders, Iori and Kouhei wait to become King so they can order, say, Chisa to invite her friends to a mixer. However, they get the numbers mixed up, and end up ordering Shinji, who arranges a mixer at some kind of bar for musclebound giants. All because Kouhei mistook 3 or 1 for 4.

The second half returns to the Okinawa trip story, something that’s been drawn out a lot due to the club’s lack of funds. Inexplicably, they decide to go shopping for a bunch of new diving equipment, spending all the cash they were saving up for the trip. While their reason for being there is dubious, I’m always down for an Eva reference—in this case Chisa and Aina trying on Asuka and Rei wetsuits.

It’s also always nice to see Chisa on cloud nine, geeking out over the various equipment for sale. Oddly, it’s not until they return home to Grand Blue that Nanaka reminds them that…Okinawa is expensive. Did they not know this already?! Apparently not, since not only do Iori and Kouhei have to work overtime directing foot traffic at some kind of event, but Chisa and Aina have to dress in revealing costumes to hand out fliers. Next week: The gang finally arrives in Okinawa.

Grand Blue – 08 – Operation Blueballs

The Okinawa diving trip ends up being further off than I expected, with the tennis winnings only covering travel expenses. The rest of the trip is out of pocket, which means Iori and Kouhei need to make more money. Shinji hooks them up with a part-time moving company job, but compared to him they’re weaklings and can’t keep it up without destroying their bodies.

They assume Ryuu is selling his body in some fashion to make money, but Azusa assures them that’s far from the case, and proves it when she takes them to the very normal, classy, and surprisingly affordable bar where he works—and apparently has pretty customers falling for him almost nightly.

Iori and Kouhei want in, and the proprietor lends them some uniforms, but while they look the part, they prove absolutely inept at mixing drinks, taking their names too literally and putting actual screwdrivers in poor Aina’s drinks, then crushing all of her idealized dreams by basically being awful klutzes.

We never learn whether they make any money dicking around behind the bar, but we do know the proprietor incorrectly believes Iori and Kouhei are a couple, since the particular answers to the questions he asks Iori could apply to either Kouhei or Chisa (who unfortunately gets a real short shrift this week).

In the second segment, we’re back to the Fellowship of the Losers, who forgive Iori when he promises them he’s never touched Chisa despite presumably “dating” her. Instead, they all focus their hate on Mitarai, who hasn’t hung out or drunk with them in a while, suggesting he may be involved with a woman (and thus no longer a loser).

Iori confirms this when he calls Mitarai and hears a woman in the background Mitarai is definitely trying to have sex with. Honestly, Mitarai is an idiot, because if you want to have sex with anyone, you turn your goddamn phone off.

He doesn’t, and pays the price, as they all arrive at his house and proceed to bar his bliss with his unnamed but very pretty childhood friend. From the delivery of porn videos, to the fake LINE messages from another girl, to Kouhei using his “mixed voice” talent to sound like multiple other girls outside his door, the Losers throw everything they have at Kitarai, resulting in the girl getting dressed and leaving, telling him never to contact her again.

Despite him being thoroughly and completely cockblocked, the mere fact he was even in the position to sleep with a girl makes the lads see him as a traitor to ostracize…except for Iori, who still senses a “Loser” in him. That sense turns out to be true when Kitarai has one potential last chance to mend things with the girl, and instead asks her to introduce him to her friends.

She beats the crap out of him and sends him flying, and as his bloodied body flies across the full moon the other Losers raise their hands in the air. Iori’s trust in him is validated, while the doubts of the others is rebuked. Even if they hadn’t interfered that night, Kitarai likely would have found a way to muck up the great thing he had going on.

I may have harped on the overly amplified jealousy of Iori’s friends, but it was actually pretty fun this week since it was directed at someone who deserved it, i.e. someone who is actually with a girl, not pretending to be, like Iori is with Chisa. Mind you, that doesn’t mean I don’t want Iori to try to actually date Chisa! He just has to, for one, learn when to turn his dang phone off.

Holmes of Kyoto – 06 – Oh No They Cela-Didn’t

At school we see Aoi has remained in touch with Kaori. Aoi has been invited to the Owner’s 77th birthday party, which is apparently quite a bash. Aoi learns quite a bit of new things the day of the party.

First, Holmes has a kind of male version of her in Takiyama Rikyu, a kid whose 40-ish mom (who looks half her age) is the Owner’s girlfriend, Yoshie. When Aoi finds she’s under-dressed for the occasion, Yoshie hooks her up.

The “mystery”, which is a bit contrived almost to the point of exhibition (though I guess that was true of last week with the monk too) involves the Owner’s most valuable antique—a Chinese Celadon vase—that for some reason is not encased in glass like the rest of the less valuable vases. That was weird for a start. Even weirder is that Holmes has the key to the hall of antiques, and leaves that key in Aoi’s possession. To which I say…why?

The story about the two proteges of a famous magician exacting revenge on the owner by pretending to break the vase by switching it out for a shattered fake, getting everyone to look up at what would have been an obviously visible chandelier, and using some kind of portable speaker to make the shattering noise…again, it’s all very strained and artificial.

Unlike previous “cases” I couldn’t help but ask questions the show wasn’t interested in addressing like “why aren’t there servants in such a big house?”, or “how did Owner make so much money?”, or “why was the vase out in the open like that for anyone to knock over?”

Elsewhere, Aoi’s nebulous/intermittent interest in Holmes is starting to wear thin, as is Holmes’ seeming omniscience with the cards. And don’t get me started on the show’s looks…it doesn’t have any. But I’m probably being too granular and harsh on a show that’s just trying to tell a series of fun little mysteries.

Holmes of Kyoto – 05 – The Forger of Nanzenji

Aoi mostly sits this one out, with her brief appearances book-ending the episode. Instead, it’s Akihito accompanying Holmes on his latest mission, with the added objective of giving the actor some pointers for a Kyoto-based TV role. Despite Holmes still being weary of Akihito, he does admit his true nature regarding women (he’s through with long/deep relationships, but would be open to flings).

In another example of the “culprit” showing their face almost immediately, the monk Ensho is their guide as they tour Nanzenji Temple, which is full of several magnificent works of art…and one that is merely “impressive.” Holmes’ suspicions about the scroll in the entryway are confirmed when the vice abbot informs him that Nanzenji’s “dragon” has indeed been stolen as the note indicates. To be more precise, it was swapped.

It turns out Ensho is the forger, and he’s a very good one, but not good enough to get past Holmes. While Holmes didn’t sense the “malice” and desire to deceive in the fake dragon scroll, it still lacked the aura of the genuine article, and Ensho was walking, talking, and breathing strangely when the scroll caught Holmes’ attention. And make no mistake; while the fake was impressive, Holmes does not consider it art; he’s even pissed enough about it to lapse into his drawl.

There’s likely a part of Ensho that’s glad he was acknowledged, but he’s determined to evade Holmes’ sharp appraising eye, as well as justice. Since he has shinobi training, he won’t be easily caught, but in the meantime Holmes can commit himself to exposing every fake work of art Ensho tries to pass off as real. Now that he knows so much about the forger, his task shouldn’t be beyond his abilities.

Holmes of Kyoto – 04 – The Sashimo Grass on Mount Ibuki

Aoi keeps having a dream where her boyfriend and best friend keep pairing off the moment she leaves for Kyoto. But in the waking world it’s time for the Gion Festival, which means both Holmes and Aoi don yukatas while at work. Akihito, the brother from last week’s case, stops by to properly thank Holmes, who is quick to stop him from sexually harassing an unwitting Aoi, who suddenly finds herself in the midst of two very handsome young men.

It’s a week of running into exes, apparently, because not only does Holme’s ex Izumi stop by to have a dish appraised (and vents about how she’s not so sure about her new husband, who sounds like a dick!), but Aoi’s friends arrive for the festival, with her ex-boyfriend and best friend in tow. Her friends praise her for how good she looks in her yukata, but it’s soon clear what their true motives are.

Sanae and Katsumi know what they did was shitty, and they’re seeking forgiveness, using their mutual friends (who simply want an end to the conflict and the awkwardness that comes with it) as cover. Aoi is about to let everyone off the hook, but internally, she’s about to lose it. So it’s a good thing Holmes shows up, not only to raise her spirits, but to make her ex jealous enough to protest, leading his new girlfriend to slap him.

Aoi no doubt felt unbearably alone, especially considering she had figured out the message Izumi was trying to send to Holmes through the mugwort-patterned bowl she made on Mt. Ibuki. It’s a nice synthesis of pottery and poetry that also demonstrates that Aoi’s also a smart cookie when it comes to connecting artistic dots.

The thing is, Holmes is done with Izumi. She may now have some regrets about the choice she made, but he’s not about to bail her out. Instead, he comes to Aoi’s rescue in a time of dire need, when her supposed friends all had her backed into a corner.

I’m really enjoying the subtle courtship between these two, who were after all only brought together after each of them was betrayed by the ones they loved. So far, their dynamic, and the show’s highbrow bookish demeanor, are enough for me to overlook how freakin’ awful the show looks.