Tag: photography

Sing “Yesterday” for Me – 08 – No Second Chances

Goddamn, that hallway was long. It gives Shinako a chance to lose her nerve so that by the time her key is about to go into her door, she can’t invite Rikuo in anymore, and has to send him home. It’s a pretty brutal move on her part, but it’s not as if Rikuo ever does anything to turn things around. The two came right up to the cusp of something potentially life-defining for them both, but came up just a little short; the ultimate harsh needle scratch.

When Rikuo reports back to Fukuda, Fukuda breaks it to him that another heat-in-the-moment chance like that will most likely never come again. Shinako reports back to her friend, who sits there wondering what the problem is. If she likes this guy, they should go out; simple as that. She can’t keep comparing this to her by-now-utterly romanticized late first love. Both feel foolish, but don’t necessarily regret how things turned out.

Rikuo wonders if Fukuda is right, and his hesitation is borne from a lack of professional confidence. But at least he’s decisive on the photography studio front. In a lengthy montage during which he’s not around Shinako or Haru, he works his butt off and eventually secures a full-time position. He quits the convenience store, at which both Haru and Shinako cross paths while stopping by.

Not wanting to never see Rikuo again, Shinako waits outside his place to talk, and while their conversation is bumby and awkward and little more than small talk, it shows the two can still face each other. What ends up troubling Shinako is when she suddenly finds herself being animated like Haru, pointing at him and parroting her words about him “really going for it” when he makes up his mind. Why, she asks herself, is she acting and talking like someone who “declared war” against her?

The next night, Haru waits a long time for Rikuo to come out of his office, and calls him out for not telling her about his recent career changes. He says none of it was meant to be secret, but he hadn’t the chance to tell her. Like his talk with Shinako, it’s awkward, but also a little tense as Rikuo tells her she shouldn’t “go out of her way” to wait for him anymore. It’s so soft a rejection, but it all but confirms to Haru that like the convenience store, Rikuo may have moved beyond her.

It’s become somewhat clear that it might in the best interests of everyone in this show not to end up with anyone else, though one could use the events of this episode to argue for exception in the case of Rikuo and Shinako, who are simply in uncomfortable awkward territory due to recent developents, rather than overtly trying to force things (as Rou did rather ham-fistedly).

As Rikuo tries to move beyond both the convenience store and Haru, Shinako ends up retreating back to Rou’s house, cooking and cooking redundant food late into the night until he comes home and he can welcome him. While she doesn’t want what Rou wants, she still wants Rou in her life.

Shinako wants that familiarity, that warmth and comfort, without the awkwardness or sudden turns into romance. And who can blame her! I just hope that by choosing not to continue to run from Rou by returning to that kitchen, she hasn’t started running from Rikuo, or the choice her girlfriend said should be an easy one to make.

Sing “Yesterday” for Me – 07 – Video Games

Rikuo! Taking Haru Out! For DINNER! To celebrate his new job at a photography studio! Not just dismissing her as a convenience store clerk groupie in the alley, but treating her like…well, a lady! Hell, if I was Haru, I’d order a couple beers too, in hopes the universe wouldn’t card me.

With a third of the show in the books, we’re officially done with the introductions of the characters and their issues. The pieces are all arranged; all past and present love intersts accounted for…it’s officially time to play the game. And, well…as much as I love her, I fear it may be the beginning of Game Over for Haru…despite Rikuo’s newfound manners.

If Rikuo taking Haru out is meant to be both an olive branch after the business with his ex-girlfriend and a sign he’s finally taking her feelings seriously, an impatient Rou has decided to undermine Haru’s progress by essentially pushing Shinako closer to Rikuo.

Shinako has never had anything like boyfriend, but she knows she has no interest in Rou. She loved Yuu, but even that wasn’t necessarily romantic love. She loves Rou too, but as family member. Rou is simply barking up the wrong tree. He can wait and hope and try a “change of attitude” all he wants; Shinako ain’t interested!

It’s Rikuo Shinako goes to for council, wondering what she could or should be doing regarding Rou. Ironically, she states her believe Rou is “falling for an illusion”, while Haru has stated that all romantic love is is illusion (all while being hopelessly vulnerable to it all the same).

Rikuo’s advice doesn’t come from a place of moral superiority or jealousy or even lingering bitterness from being previously rejected by Shinako. He simply reminds Shinako that Rou isn’t a little kid anymore, that he knows life doesn’t always go the way you want, and if he wants to stress himself out, she should let him.

In not so many words, and regardless of whether it’s intentional, Rikuo is telling Shinako not to try to spare Rou the full force of Life Not Going Your Way. For whom does life always go right anyway? Rou has decided he’s rapidly approaching adulthood, and wants nothing else but to “catch up” to Shinako.

So Shinako tells him: she’s watching him; watching who he’ll become. It’s not a forceful rejection, but it still mostly sounds like one to Rou, who as Rikuo said is world-weary enough to read between the lines. Even so, it’s too gentle a gesture on Shinako’s part—as we’ll find out later.

Rikuo’s friend Fukuda visits him, and is happy to hear his progress in pursuing his interest in photography professionally. He even gives Rikuo a major boost by hiring him to photograph his upcoming nuptuals. Rikuo discusses it with a supervisor at lunch, and then after work, Haru is waiting outside the studio.

Haru wants to be someone Rikuo can confide his problems in and seek advice and help. At first Rikuo is dubious, but eventually comes out and remarks how it almost feels like the “universe is nagging” him, asking “what do you want to become?” after a period of not asking, and him not caring or trying. It’s kind of stressful, but Haru tells him to keep stressing out…”it’s how everyone gets to be who they are.” She’s such a gift…

Haru doesn’t realize the universe isn’t just nagging Rikuo about his career or calling. Fukuda knows how terrible Shinako is at dating and romance, and all but assures Rikuo that he can’t assume she’ll make the next move.

Fukuda’s wedding comes, and Rikuo snaps photos…including candids of Shinako, who was also invited after all. He tries to take both Fukuda and Haru’s advice, but chickens out at the last moment, using the need to return his boss’ camera to take his leave.

His hesitation doesn’t really matter, as without trying Rou once again causes memories of Yuu to surface in Shinako. She tries to leave his place, but he can sense the tears welling in her face before he sees it, and follows her as she flees. When he bared his arm in front of her, it looked just like Yuu when he’d receive shots. Shinako never looked away from Yuu’s arm, thinking if he was being so strong, she’d have to be strong too.

Rou takes this opportunity to wrap his arms around Shinako’s, but her impulse isn’t to sink into that embrace, but to ask—clearly and more than once—for him to let her go. Rou being “the only one who knows how important” his bro was to her isn’t the secret weapon he thinks it is. It is, in fact, anathema, as Rou is a constant reminder of that which Shinako knows she has to move past.

Shinako knows she’s being selfish and presumptuous, but waits for Rikuo anyway. After a calming soft drink at a family restaurant, he walks her home, but she’s frustrated that all they’re talking about is her and Rou, when the thing she can’t deal with she really wants to talk about goes unsaid. She proceeds to explain why she initially rejected him, citing an inability to forget Yuu and a fear of being alone.

Rikuo then reiterates that he was willing to wait for her, to which she replies that maybe she was waiting too. Maybe she can’t move on until somebody—somebody not Rou—pulls her. When they’re briefly interrupted by her neighbor, Rikuo suggests they find a place to talk more in private.

Then Shinako invites him into her apartment…“although it’s messy.” You got THAT right, Ako-chan!

P.S. There’s a new ED for Yesterday this week (with a new song by Sayuri) depicting an arcade game featuring an 8-bit Haru and her crow flying around town defeating enemies and launching relentless love attacks at Rikuo. It ends with Game Over, as Rikuo walks off-screen with Shinako while poor Haru is surrounded and pelted by foes. Yikes!

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.

Jibaku Shounen Hanako-kun – 08 – Turning Nothing into Something

As Steve Zissou said: “That was a goddamn tearjerker.” I had no idea that would happen. The opening minutes of Mitsuba Sousuke were horribly grating, with the ghost spewing endless random insults as Kou intermittently shocked him with his exorcist’s staff. But then we learn a little more about Mitsuba…and a little more. And before I knew it, I cared about this girly, cocky, moody guy.

And you know what? So did Kou. It’s almost as if Kou was my emotional surrogate in this episode: initially super-irritated with this ghost, but then extremely empathetic of his plight. Even Kou wasn’t prepared to hear that Sousuke was in his class and had introduced himself. Alas, worried about being bullied for being too much of one thing or not enough of another, Sousuke became neither…and was forgotten altogether.

Kou gradually warming up to Sousuke and vice versa has some lovely yaoi undertones, and it’s a testament to the writing, voice acting, and direction that such a close and meaningful bond is formed in such a short period of time. All Sousuke wanted was a friend, so Kou offers to be his first, encouraging Sousuke to simply be himself. It starts to feel like there could be something to Kou’s less adversarial approach to the family business.

And then Hanako’s dark twin Tsukasa ruins everything, plunging his arm through Mitsuba’s chest, and everything turns to shit. Just as Hanako-kun grants wishes to the living, Tsukasa does the same to the dead, and in befriending Sousuke, Kou inadvertently provided Tsukasa with the answer he needed to grant Kou’s wish, something he was duty-bound to do. To quote the Oracle: “We’re all here to do what we’re all here to do.”

With an assist from Sakura on the school radio, a new rumor is formed before Kou’s eyes, of the broken-necked kid in the entrance who reaches out and tries to befriend people. Sousuke adopts a Picasso-esque grosteque, Picasso-esque form and can no longer talk, but sheds a tear as he is forced to attack Kou. He comes within an inch of killing him when Hanako-kun intervenes. (Throughout this sequence I was practically yelling “Where the fuck is Hanako-kun??”)

Unfortunately, all Hanako can do is stop Sousuke from killing Kou. Before disappearing, Tsukasa twists the knife by telling Hanako “it was great” to be killed by him. A visibly shaken Hanako then gravely informs Kou that there’s no bringing Sousuke back. Dead is dead, and the living shouldn’t be too kind, because there’s no future for the dead. “Nothing new begins.” Their only salvation is “annihilation”. Kou can’t believe it. He doesn’t want to. He’s sure there’s more he could have done…can do.

When Kou repeats all of his insults at Sousuke before telling him he’s his friend, I thought for a moment that the kid would actually come back; Kou has supernatural powers, after all. But he doesn’t. He’s gone, and all that’s left his his camera and the photos he took, including a candid one of his friend Kou.

Late into the night Kou stays up, remembering the friend everyone else forgot, grieving for that friend but not disheartened in his belief exorcists like him can do a little more than nothing about The Way Things Are regarding life and death.

Nene didn’t utter a single line and all we see of her is from behind for a couple seconds, but it doesn’t matter. This was the best, most affecting, most devastatingly beautiful episode of Hanako-kun to date.

Cop Craft – 07 – Keep Your Friends Close

Tilarna and Kei suddenly find themselves deep in the world of vice and political intrigue, as Tilarna serves as bait for a john at a high-end brothel, and they end up arresting Cole Mozeleemay, a powerful Semanian politician running for mayor of San Teresa. While Cole didn’t get far at all with Tilarna before Kei and the cops take the hotel room, the fact he touched her hair is enough to make her upset Kei didn’t bust in sooner.

Mozeleemay very publicly asserts his innocence to the press (gaslighting them in the process), while his ambitious politician’s wife commits to helping him get through this (but that doesn’t mean he can touch her). Tilarna is as expected disgusted by Earth’s slow, plodding brand of justice, especially when even that kind tends to slow even more when a powerful person is involved.

All Kei tells her is that this is the way it is, and that she’s going to have to resign herself to that, as he has over the years. She needs a friend—someone other than Kei—and is comforted when she has a chance encounter with Zoey, the woman who was kind to her at the brothel, and who is also an amateur photographer.

Zoey actually needs help moving after the police raid, and Tilarna, being nice, helps out. Knights may be solitary by nature, but the more Tilarna hangs out with Kei, the more used to relationships she gets. Her need for female companionship must have been stronger than ever considering what she went through and how Zoey (unlike, say, Cecil) can relate to the life.

Tilarna and Zoey become fast friends over their brief time together, and Kei just happens to return to the spot where they split up to pick her up later that night. She’s also enchanted by Zoey’s photography. They continue to hang out despite Kei’s warnings not to get too involved with people they’re investigating (Zoey believes Tilarna is merely a rich runaway).

Meanwhile, the already-tenuous solicitation case against Mozeleemay takes another blow when a list of the club’s clients is leaked to the media. Some of the names are real and some are fake, creating more reasonable doubt for Mozeleemay’s lawyers to use in his defense.

We learn that Zoey is the one who provided Mozeleemay with the list, in exchange for enough cash to afford the gorgeous apartment with an ocean view. Mozeleemay shows his true colors once more when he offers extra pay for a quick trick, but Zoey spurns him. Mozeleemay’s wife, who is following him, spots Zoey exiting his car.

Tilarna, increasingly distraught over the increasing possibility she went undercover and endured what she did for no good reason, brings up the possibility of an employee at the club being the leaker. Jamie shows them the video stills of everyone who accessed the list, and sure enough, Zoey’s photo sticks out.

She goes to Zoey’s place immediately to confront her. Zoey doesn’t answer the door and Tilarna prepares for the worse by drawing her sword, only for Zoey to ambush her…with her camera. She has a photo canvas for Tilarna as a gift for helping her move, but Tilarna is all business, and starts with the accusations. Zoey denies, then asks if Tilarna is a cop, and Tilarna can’t lie.

Then, as the two stand almost back-to-back in front of those huge ocean view windows, a bullet strikes Zoey in the chest, then a hail of bullets shatter the windows as the women hit the deck. Kei, providing backup for Tilarna, manages to shoot one of the two assassins, but he says nothing about who sent him before passing out.

That night, as he watches the news about himself, Mozeleemay gets word that Zoey was shot, and relays the message to his wife when she comes in the room, and noting how it could help him beat the charge. Then he realizes his wife was the one who arranged the hit. She denies it, of course, but taking his hand in hers, tells him he shouldn’t worry about such things—the implication being his job is to win the election; nothing more.

Zoey’s final words to Tilarna before passing out express her disappointment in having been betrayed by someone she thought was a friend. There’s not enough time for Tilarna to explain the complex circumstances, and how she considered Zoey a good friend too. Kei is by her side at the hospital when she learns Zoey has died, and upon returning to her apartment, unwraps the photo Zoey gave her as a gift: a behind-the-back of Tilarna beaming in the sunset. Tilarna takes Zoey’s camera as a memento.

It’s as heartbreaking and poignant as Cop Craft has dared to get so far, and really makes me feel for poor Tilarna. While she’s no fool, she is young, inexperienced, and naive. And Zoey was right when she said Tilarna can’t understand the difficulty of lowborn Semanians trying to go straight in San Teresa. Adding ironic insult to injury, the self-proclaimed advocate of Semanians like her is…Cole Mozeleemay.

Yet look at what he allowed to happen to someone like Zoey, just because he couldn’t keep it in his goddamn pants. I want Tilarna to get revenge, but I don’t want her to get in trouble. At the same time, I don’t want her to suffer the unique turmoil that comes from being perpetually unable to do what is right and just in a world where justice is whatever the most rich and powerful say it is.

As far as Tilarna and Kei’s partnership friendship may have come, Earth still feels like a place that will only continue to eat away at her pure and virtuous soul…as it has already done to him. How can a place like that—which gave her a new older sister then took her away just as fast—ever feel like a home?

Tada-kun wa Koi wo Shinai – 01 – Meet Cutes and Coincidences (First Impressions)

“Oh Hai! I’m not weirded out by you taking my picture AT ALL!”

There are three basic kinds of anime rom-coms: those that do something totally unique and/or unexpected, those that hew close to the well-worn conventions of the genre, and those that stride the two extremes. From the moment Tada Mitsuyoshi catches his love interest Teresa Wagner in his viewfinder, it’s clear we’re dealing with the well-worn variety.

That means it’s up to things like the execution of the romance, the quality of the comedy, the likability of the characters, and the technical aspects that determine whether I’ll watch it. And if I do, I’m still looking for surprises somewhere to liven up an otherwise boilerplate affair. So let’s see what TKS has going for it, and what it doesn’t.

“We meet AGAIN? It’s almost like we’re supposed to be in the same anime!”

Regarding execution of romance, the title says it all: “Tada doesn’t fall in love.” That doesn’t mean he shouldn’t, can’t, or won’t, mind you; it just means he usually/typically/classically…doesn’t. But it’s almost immediately clear from the Imperial Palace Sakura Photo Meet Cute that Mitsuyoshi is struck by Teresa’s beauty, if nothing else. First impressions matter, and can make the difference between “doesn’t” and “could.”

Mitsuyoshi is most likely someone who has never fallen in love because a.) he’s young,  b.) hasn’t found the right person, and/or c.) he’s focused on photography and school. I’m glad he doesn’t fall head-over-heels for Teresa from the start—he knows next to nothing about her—but at the very least, the air-headed foreigner is an intriguing  new presence in his life.

Alec kicks the overcaffeinated sidekick (THANK you…)

As coincidences continue to pile up that bring the two together, Mitsuyoshi brings Teresa before his whole family, consisting of his cafe-running grandfather (who likes the same old samurai tv show as Teresa) and little sister/waitress Yui (obligatory Minasi Inori presence). The shrine in the Tada residence indicates the loss of one or both Tada parents, one of whom was a photog like Mitsuyoshi.

Before long, Mitsu’s best mate and self-professed “Adonis” Ijuuin Kaoru shows up and tries to put the moves on Teresa as soon as Mitsu tells him she’s not his gf, but he’s quickly thwarted, not just from the cafe cat Nyanko Big (who amusingly resembles a friend’s cat), but by Teresa’s traveling companion, Alexandra “Alec” Magritte, who assumes Kaoru is attacking Teresa and swiftly deploys her itchy trigger leg.

Alec and Kaoru look like a dead ringer for the “opposites attract” trope, but while I appreciate what Miyano Mamoru does with his voice at times, his performance as Kaoru feels a few notches too extreme for this milieu (which is probably intentional).

If you were surprised by this development, you don’t watch many anime rom-coms

Why, do you ask, do two Luxembourgish women in Teresa and Alec have perfect command of Japanese? I imagine it’s the same reason Teresa almost gives another surname other than “Wagner”, and why Alec is so well-versed in martial arts and is protective of Teresa: it’s likely she’s royalty, and Alec is her bodyguard/valet.

She’s come to Japan, likely her favorite foreign country, to soak it all in. That means transferring to Mitsu and Kaoru’s school, and even their class. Ye gods, the coincidences…

Of course, they don’t want to broadcast that fact, but it will be interesting if a.) I’m right about this and b.) it creates a conflict with Mitsu, because at this point, there are no conflicts beyond Mitsu’s general normalness and heretofore non-existent love drive. Maybe she has a betrothed? In any case, this was an establish and introduce episode, and for the most part I’m on board.

Just Because! – 08

Komiya Ena took Izumi’s photo before getting his permission, but after an extensive yet completely organic charm campaign, she eventually got it…and developed feelings for Izumi along the way. Perseverance and optimism won the day.

Komiya does the right thing by asking Natsume permission to ask Izumi on a date, but Natsume’s stern “no” doesn’t discourage her. Komiya knows intrinsically that she’s responsible for her own happiness and can’t wait around for things to happen on their own.

Natsume may have thought she’d bought a little time with her “no”—itself a huge move for her that confirmed she’s at least not indifferent towards Izumi—but she does nothing with that time. Izumi even asks her what she wanted to talk about, but she gives him the “never mind, it’s nothing.”

Natsume and Izumi’s situation takes a back seat when they join Souma and Inui for lunch at Morikawa’s house, which could and probably should have been just a Souma-and-Morikawa (and her little brothers) lunch.

It’s a cordial meal, but there’s something distancing about the way Natsume speaks of the support she got from everyone when Izumi provided the lion’s share of said support during the snowy exam day. It’s like the warmth of that day has been replaced by the more familiar coolness of earlier episodes.

That said, it’s not all Izumi’s fault; Izumi is the one so stealthily demonstrating his feelings for her by applying to the same school, where they’ll presumably be able to see each other. But if that’s what he wants, what the heck is he waiting for? Like Natsume, he simply lacks the proper amount of gumption to act on his feelings, or even put them in forthright words to the necessary party.

Komiya, meanwhile, has a lot more gumption, which is why she comes so tantalizingly close to asking Izumi out via LINE. She wants to send something, but gets caught up on the structure, formality and perceived tone (another reason to just talk to someone).

She needs a little nudge—or in this case, the paw of her big fat cat—to send it, and when it’s read immediately, I really related to the waiting game she had to endure, as well as her elation upon getting a positive response from Izumi.

Komiya doesn’t know exactly what she’s feeling or what she wants, but she does want to move forward with exploring it, and more importantly, has the wherewithal to follow through in a timely, direct fashion. It would help her out a bit if Izumi wasn’t so dense—asking Siri (or a Siri equivalent)  what “date” means? Really?

Then we have Haruto, who like me, sees the wonderful chemistry Izumi and Komiya share, and see Komiya get so pumped about her date, and I just can’t help root for Komiya.

Naturally, on the morning of the date, Izumi runs into Natsume first, and Natsume is on to him; they’re so in sync, she even asked Siri the exact same question. Natsume’s on her way to cram school; she wasn’t trying to break up a date; but she looks awfully bitter when Komiya shows up, leading to one of the better-delivered exchanges of the episode, if not the whole show:

—”I told you no.”
—”Do I need your permission?”
—”Then, why did you ask?”
—”Well, just because.”

In addition to Komiya finally delivering the TITULAR LINE, this dialogue so nicely encapsulates the differences between Natsume and Komiya. Komiya didn’t ask permission just so she could do it anyway; she didn’t think Natsume would say no, or feel so strongly about Izumi at all.

After all, who’s spend more time with Izumi of late? Komiya. She’s not saying “shit or get off the pot,” but her way of doing things just naturally runs roughshod over Izumi’s more deliberate approach.

Also great? Natsume and Komiya having a moment of solidarity when they both tell Izumi that their cryptic discussion is “none of his business.”

Natsume doesn’t protest any further; she has to go to cram school. So Komiya carries on with her date with Izumi. And it’s such a nice, low-key date! She takes him places where she snaps photos…and he snaps a photo of her, which she then makes his wallpaper!

They look like they’re having so much goddamn fun, even sitting in the dark clubroom looking at photo albums. One of those albums show a first-year Natsume with her older sister Mina…

…Who we then segue to! Mina asks Mio why she wants to attend the same university as her, telling her she should go to the one she wants. Seems a bit late in the game to be telling her this, but it does expose a certain “running on inertia” style to Natsume’s life.

Right now, she defines her purpose, first and foremost, of entering college, which is the same one as her sister, probably just because! What’s wrong with just because?

The sisters don’t happen to spot Izumi walking Komiya home after their adorably awesome date…which is for the best; enough coincidences, already! But that album photo reminded both Izumi and Komiya that there’s another side to their triangle, and it’s a side Izumi is studying hard to stay beside in the future.

With that in mind, Komiya asks Izumi why the heck he doesn’t just confess to her. His answer—”I would if I could”, doesn’t satisfy anyone; particularly himself.

So Komiya does what she’s always done to reasonable good effect: go her own way, proceed, persevere, hope. Now winning a prize at the photo competition isn’t just about keeping the club alive, it will determine whether she confesses her love to Izumi.

And no, Izumi, she’s not making a funny joke, she’s picking a direction and going. If you don’t like it, say something; do something. Otherwise, enjoy the journey.

*****

With all this talk about the triangle, I almost forgot about Souma and Morikawa! It’s…fine, they’re fine; they’re just not quite as compelling. She still owes him an answer. It was good to see Souma continue to get along with the bros, and Morikawa’s little makeover, which Izumi of all people sees first (and does a double take), was a cute and unexpected way to close the episode.

Girl Friend BETA – 04

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GF Beta is a pleasant, ultra-lightweight show, but it’s also oddly ambitious; never more so than this week. Cutting us loose in a universe of roughly fourteen million characters, it appears to clearly favor quantity over quality. And yet, there’s still a quality about that quantity; with such a big, diverse cast, the possibilities for storytelling are almost endless. So far, despite pretty much switching up the order and hierarchy of the focus cast each week, its fresh stories have consistently held my interest.

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Our “anchor” this week is the school radio emcee Sakurai Akane (Satou Rina, who also voices Misaka in Railgun), who finds Shiranui Isuzu (Yuuki Aoi, also Madoka in Madoka) looking over five abandoned kittens. She decides to help Isuzu find them homes, but the students who volunteer need to get good midterm grades to earn their new pets. This is a collection of students whose lives are already packed with extracurricular activities, jobs, and housework; so their grades suffer accordingly. Only the night before do they manage to arrange an all-night study session; Isuzu offers her sprawling home to host it.

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That night, the girls do, well…pretty much everything but study. They’e in awe of their classy traditional surroundings, spend lots of time on introductions, cook dinner, go out to buy snacks, get stuck in the rain, go to a bath house, and return to Isuzu’s home to tell ghost stories.

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When Isuzu comes in to see what the screaming is about, they see the cat on her obi and are reminded of why they’re really there: For the Kittens. The studying then commences in earnest. The night is a fine depiction of the myriad forms of procrastination that can transpire in such scenarios. There’s an epic quality to it that often accompanies all-night scenes where a deadline is nigh.

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The study session proves to be more than just a means of raising the girls’ scores to win kittens (which they do); the group also gained friendships (including the shy Isuzu), and making friends (or exploring why people are friends) is what this show is all about. And everyone was united by Akane, who, wishing to help both the kittens and Isuzu, made the radio announcement.

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Girl Friend BETA – 03

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Oddly enough, we begin with Murakami Fumio examining a book of nudes by “Gilbert Royal Thorpe,” who Fumio knows is her friend Mochizuki Erena’s favorite photographer. Those who know Fumio are a bit surprised Fumio is friends with someone like Erena, and Erena’s friends are surprised she’s friends with Fumio. After all, the energetic, gregarious, impulsive Erena and the solitary, quiet, bookish Fumio look on the surface like complete opposites.

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In this case, opposites attract, as we go back and learn precisely why Fumio and Erena aren’t just friends, but good friends at that. It all started when an initial encounter on the subway got Erena to notice Fumio, who tends to keep to herself and read. Erena, a photog-in-training, is enchanted by Fumio’s quiet good looks, and appoints her as her muse.

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Erena asks Fumio to be her model for an upcoming contest, but Fumio never really gets a clear response out, and gets caught up in Erena’s rhythm. This could be construed as a form of stalking and voyeurism if it wasn’t being done by the innocent, well-meaning Erena, who’s oblivious to the possibility Fumio has something to say but just can’t say it. The communication logjam gets so back, Fumio ends up smacking Erena’s camera away and the wrong words come out.

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Things are a little awkward for a while, and Erena considers giving up on the contest  now that her muse has rejected her. But when she invites Fumio on a cake date, the truth comes out: it isn’t that Fumio didn’t want to be her model; it’s that she thought she wouldn’t be good enough, since she’s always seen herself as plain, inexpressive, cool. All Erena has to do is show her a photo she took just a moment ago to see how wrong she is. Erena isn’t interested in fake smiles or poses, but genuine, candid emotion.

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Wait…there are GUYS in this school?!

Fumio has more of that than she ever imagined, and Erena was the one who helped her clear up a misconception about herself. Fumio changes her mind about being her model, and Erena ends up wining the contest. And because the rest of the school sees a warm and joyful side of Fumio they’d never seen before, she ends up meeting more friends as a result. This isn’t exceedingly complex stuff, but it hit some solid emotional notes about art, inspiration, and friendship that resonated with me.

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Tamayura: More Aggressive – 10

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After sorting through their photos for the coming exhibition, Kanae suggests Potte and the group go on a photography tour. Maon suggests her home island of Oosakishimo, where her parents run an inn, and Kaoru suggests they all use the trip to get inspired for a second We Exhibition down the road. While on the trip, Kanae worries about not having a direction after graduation or a turning point to tell her which way to go and when, but after interacting with the girls and talking with Maon’s folks, she realizes her turning point was joining the photography club, and that she, like everyone else, will “cast off” to their future when the tides are right.

This week the upperclassman Kanae was the focus, as for the majority of the episode she is consumed with feelings of nostalgia and of remaining static and empty as everyone else whisks past her into the future. Of course, she’s worrying needlessly; she’s far too young to be worried about such things, but this is Kanae we’re talking about, who’s no stranger to overthinking things into oblivion. As fate would have it, the very name of the island she and the others visit to get their creative juices flowing provides her with the metaphor she’s wrestling with. She’s worried that the tide will never come for her, but it will; just not necessarily the same time as the others.

Each of the girls is into a craft that locks the past in a form we’ll always be able to sense, whether it’s Norie’s tastes, Kaoru’s smells, Maon’s sounds or Potte and Kanae’s pictures. But those things are only echos of a past we can’t go back to, and we can choose to regard them with fondness or remorse – or heck, both at the same time. Kanae was considering not graduating because it’s easier, safer, and less scary to rewind one’s life, and jump back into those pictures. But she knows that’s not the right way to go. Her tide will come, and the seas may not be calm, but as sure as the sun rises, they’ll take her where she needs to go.

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Rating:7 (Very Good)

Tamayura: More Aggressive – 01

Sakurada Maon, Okazaki Norie, Hanawa Kaoru, Sawatari Fuu (Seated)

It’s been a year since Sawatari Fuu (AKA Potte) moved back to Takehara. Her friends Hanawa Kaoru, Okazaki Norie, and Sakurada Maon notice her spacing out more than usual. Fuu tells them she’s reminiscing about the last year, and repeats her goal to be “more aggressive.” She later admits that she’s been thinking a lot about starting a photography club at school. after the success of the “We” exhibition. Her friends, including Miyoshi Chihiro from afar – and her family all support her in this, and she decides she’s going to give it her all.

The Tamayura slice-of-life saga picks up pretty much where it left off, with Potte and her friends hanging around town, being very open with their feelings to the point of making each other tear up with emotion. The show remains just as lovely, warm, calm, breezy, and welcoming as before, and plenty of flashbacks are provided to refresh our memories. As for the rather surprising sub-title “More Aggressive”, no, Fuu is not starting MMA club! Back in the very first episode of ~hitotose~, when Potte and Chihiro parted ways, they both vowed to become more “aggressive”, finding their passions and applying maximum effort and energy to them.

“Aggressive” is a far more nuanced adjective than its typical use to denote anger or hostility. The “target” Potte aims to “attack” is her passivity, indecision, longing, and melancholy from loss. She chooses to stay positive while carrying her father’s camera about, the object, even totem by which she’s made friends and found her passion. To that end, she’s starting a photography club, which will be tough, like the exhibition, but ultimately will allow her to explore and share her love of photography while meeting more people.

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Rating: 8 (Great)

Stray Observations:

  • It was nice to hear about Potte’s return to Takehara from the perspective of Kaoru, who was worried that Potte might hate the town and still be depressed about her father. To her relief and joy, Potte is just fine, thanks in part to her camera, which is almost a character in and of itself at this point.
  • A random classmate who happens to be passing by catches word of the photography club. We checked the cast list ahead and found out this is probably Mitane Kanae (voiced by Kayano Ai), one of this season’s new characters.
  • Chihiro seems to have gained her own “Norie” of sorts in the energetic Tomo-chan, but we don’t know who voices her yet.
  • That white cat is so damned abstract and weird-looking, but we still love him/her.
  • The dialogue between Potte, Kaoru, Norie and Maon continues to pop and bubble with a nice rhythm and energy. We know all of these seiyus by now and they have good chemistry.
  • Along with the impending Swim Club in Free!, this is the second straight episode in which a “normal” (read, not silly, random, or useless) club is started by one of the characters.

Car Cameos:

Nazo no Kanojo X – 06

Oka bumps into Tsubaki downtown, and they discuss first names over ice cream. Oka mentions it to Urabe, who blushingly tells her it’s not her business. While taking a break in a park, Tsubaki tries it out, calling Urabe “Mikoto” in her ear while she’s dozing; she wakes up blushing again and smiling. Tsubaki hesitates when trying to call her Mikoto while she’s awake. Tsubaki dreams of snapping picture of her smiling, but the next day, though she agrees to having her picture taken, she won’t give him a fake smile.

While Tsubaki is waiting for a late Urabe, his junior high crush Hayakawa passes by, and invites him to have coffee with her. He politely declines, and after she leaves, discovers Urabe was hiding behind a column. When he asks her if she’d be angry if he’d ditched her to have coffee, she gives him saliva that makes him shed tears, indicating she’d be sad, not angry. Tsubaki promises that while Hayakawa’s offer was tempting, Urabe is who he likes now. That makes her smile again, but when Tsubaki whips out the camera, she sticks out her tongue instead. He says he’ll treasure the photo anyway, making her even happier.

There are many mysterious things about Urabe Mikoto, but one thing that’s no mystery is that she’s about as shy and innocent as they come. Oh sure, she’ll flash you with her panties, but that’s only a physical symptom of her elaborate scissors-wielding routine. She’ll also say with certainty that Tsubaki Akira is the first guy she’s going to have sex with…but provide no further information about how and when that’s going to happen. Her role has been the passive one, while Tsubaki has been responsible for every step forward, starting with tasting her drool in the beginning. That she’s passive doesn’t mean she’s not interested pursuing a relationship and progressing in it; it’s just that for the most part she’s left Tsubaki in charge of how and when things happen.

In doing so, each step has been a lesson and a test for Tsubaki, most recently his being faced with the girl whose picture he tore up. Rather than show up and create a confrontation, Urabe hides and observes. And like the time she disrobed in front of him while his eyes stayed closed, he performs admirably, like a loyal boyfriend should. Tsubaki knows an old crush could never compare to what he has here and now: a cute, sweet, innocent, and eccentric girl who likes him as much as he likes her, if not more. The adorable Oka’s interventions in their relationship deserves mention too; she’s proving an interesting supporting character.


Rating: 9 (Superior)

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