Takt Op. Destiny – 03 – Defend on Titan

No sooner have Cosette and Takt transformed into Musicart and Conductor than they engage in battle with the swarming D2. Cosette proves utterly incapable of tempering her power output, and soon passes out, followed closely thereafter by Takt. She’s like an OP summoned beast with Auto-Berserk that you can use in some RPG situations, but it’ll probably end up costing you.

Takt comes to in his bed, with his arm back and a strange red scar on his hand. He meets his and Cosette’s saviors, fellow Conductor and Musicart duo Lenny and Titan. Interestingly, Titan seems to have plenty of personality while Cosette—excuse me, Destiny—has none. Turns out the Cosette that was really is dead; this Musicart, born from music, simply took her form. That’s a blow not just to her big sis Anna, but Takt as well.

While Lenny, Anna, and Takt plan a road trip to New York, Destiny eats some tarte tartin with the friendly Titan, but detects D2 in the nearby woods and rushes off on her own to eliminate them. When Takt catches up to her, she tells him his presence is unnecessary, but it’s pretty clear she’s drawing her ridiculously inefficient power by feeding off his life force—an untenable dynamic, as cool as it looks.

Lenny and Titan bail her and Takt out once more, but one D2 escapes and heads straight for Takt’s house and Anna. Destiny makes it in time to save Anna, but when she destroys the D2 she takes the entire house with it. This basically makes the three found siblings’ fate official: they’re going on a cross-country drive to NYC, where it’s believed the Symphonia can help Desinty with her little fuel economy problem.

The first stop on their journey will be Las Vegas. On the way, Destiny, who remember is a completely different person than Cosette, remarks on Takt playing air piano, and expresses a wish to hear him play. Could it be there is some small bit of Cosette left within her? Anna and Takt kinda have to think so…otherwise she’s a stranger wearing their dead sister’s skin.

Rating: 4/5 Stars

Takt Op. Destiny – 02 – Cancrizans

This week Takt takes a look back earlier in the year 2047, when Takt, Cosette and Anna shared an idyllic middle class nuclear family home in Anytown, USA. There’s a human-D2 truce in effect and music is mostly banned, but Takt only lives to play his grand piano in the garage. Cosette, who has a lot more personality in this flashback, does her best to keep his lair clean, resulting in the two getting into bickerfests that Anna tries to stamp out.

Not too different from their dynamic in the first episode that takes place some months later…but again, the big difference here is past Cosette being a delightfully bright and cheerful person. It’s not clearly explained what brought Takt into their home, but you can tell beyond the bickering that Cosette deeply cares about Takt and wants to share his talent with others. We also learn that she can play too…the same time Takt learns, and seems both annoyed and intrigued.

Cosette ends up booking Takt for the Symphonia’s traveling music festival, a rare joyful respite from the totally music-less norm. How this is even possible—a huge military buildup around the town?—is not made clear. All that’s clear is that Cosette is absolutely certain Takt will show up, even when he’s late and she has to play in order to stall for time. When he does arrive and hits those four famous Beethoven notes to interrupt her, she beams with the power of a thousand happy suns!

After Takt ditches the classical for some early modern jams that wouldn’t be out of place in a speakeasy, he invites Cosette to join him for four-hands, wowing the crowd with their talent (and piquing the interest of the Grand Maestro, Sagan). Before, Takt could only imagine in his head playing before a rapt audience and then basking in their applause upon reaching the coda. Now that it’s actually happening thanks to Cosette, he can’t hide his elation.

Just when Takt and Cosette are at their highest point, it all goes to shit when a D2 fires right on their position, destroying the piano and causing a huge explosion. The episode expertly lulled me into a toe-tapping false sense of security as we watched Take and Cosette play and blush and beam. Don’t get me wrong, I knew something would happen, I just didn’t know how, where, or when. The direction exploited that to the hilt.

When the smoke clears, Takt, one of his arms and hands mangled, is lying on the charred ground bleeding. Cosette is on top of him, in even worse shape (it could be she tried to shield Takt). Cosette ends up dying in his arms, but he refuses to accept that, and demans she wake back up. With this, her mysterious pendant suddenly shines and she rises Castle in the Sky-like out of a gobsmacked Takt’s arms.

Some kind of spirit emerges from the rock, decides to claim Takt’s injured arm by ripping it off, then merges with Cosette to become the titular Destiny. While he outfit is a damn sight more expressive, much of the Cosette Take and Anna knew—and loved—is lost. And that’s how Cosette became a Musicart and Takt her conductor: when tragedy struck. The next time we’re back in the present it will be tinged with melancholy, now that we know who Cosette was, and is no more.

Rating: 4/5 Stars

Takt Op. Destiny – 01 (First Impressions) – Settling the Score

It’s 2047, and music is banned. If it’s ever played, fearsome alien monsters called D2 arrive and fuck shit up. So when young man sits at a lovely upright piano and bangs out some Beethoven, a D2 comes running…right in the middle of an unassuming town full of unassuming people. The D2 looks like it’s about to obliterate the pianist for sure…but he’s saved by a ridiculously strong young woman.

She is Colette, AKA Destiny, a Musicart, and he is Takt, her Conductor. Transforming into a Musical Magical Girl, Destiny easily defeats the mid-level D2. The brief but wonderfully precussive battle set to a more symphonic arrangement of Symphony No. 5 IV. Allegro is a feast for eye and ear. This is what happens when Madhouse and Mappa join forces.

Takt and Destiny were just passing by the town while on a long and interminable road trip to New York City, where their self-appointed leader Anna hopes they can have Destiny “tuned” to be more efficient in her fighting, as she always ends up exhausting Takt. Destiny loves eating, but also has to due to her extremely fast metabolism. Takt should train, but all he cares about is music.

Destiny is feeling particularly brash, and Takt is sufficiently beat and confident in her skills, that she goes off on her own while he and Anna wait in a remote highway diner (one wall of which Destiny destroys as she exits). She ultimately fails to eliminate the D2 in the area due to their boss being a particularly tough customer, as she regales to them with cute Panty & Stocking-style visuals.

Her mistake was going off without Takt, or rather Takt not accompanying her (neither of them listen to Anna’s directives, a fun running gag). But then Destiny rushes back to town with her super speed, picks up the piano with her super strength, and rushes it back to the abandoned factory where the boss lurks. There, her Conductor starts to play Moonlight Sonata, and it’s off to the races with a sakuga-fest of a boss battle that ends in a victory.

As a weapon, Destiny comes off like a piano: capable of great bluntness and great precision; capable of being extremely quiet or loud. More than anything, she’s only as good as the person making use of her. Takt is a brilliant musician, but has a lot to learn about Conducting. If they’re ever going to get to New York—much less save the world from the D2—they’re both going to have to step up their games.

Takt Op. Destiny is a crisp, bright disco ball of luscious anime goodness. Will every episode look this good? Who knows, but if you want to hook an audience right from the get-go, this is how you do it! Play it again, Takt.

The Duke of Death and His Maid – 11 – The Logbook

Viola’s mom kicks her bitchiness up to 11, not only insisting her daughter dress a certain way, but accept the fact that she can’t wear what she wants or live her own life. For her mom, Viola’s future consists of being married off to the eldest possible son of the richest possible family.

Not content to sheepishly accept her status as a mere commodity to be traded, Viola “runs away” from home with her luggage, though she only ends up having a girl’s sleepover with Alice and Caph. Viola’s situation reminds use that she suffers a curse just like her brother: one that threatens to limit her prospects for life. If, say, Bocchan were to lift his curse and become the head of the family, he’d likely let Viola live her life as she saw fit.

That’s one reason why Viola gives Alice an old servant logbook which may hold answers about when and how Bocchan’s curse was first established; that, and Viola really does care for her brother. Alice ends up discovering a passage about two women in white nun’s habits visiting the main house right around the time Bocchan was cursed. It’s clearly no coincidence.

One of the white nuns in question is Daleth, leader of Zain and Caph’s order, and thanks to her being able to use the eyes of various wildlife to spy on Alice, Daleth knows the maid has her hands on the logbook. She orders Zain to take it and destroy it, with the implication that if he doesn’t harm could befall Caph. But when Zain is honest about what he’s doing and why, Bocchan offers the book back for Zain to burn. He knows Zain would do anything for Caph, just as he’d do anything for Alice.

Zain ends up “destroying” the book with his magic, but retains a tiny scrap with which he can fully restore the book once Daleth’s eyes are no longer watching. But it’s doubtful he was able to fool Daleth, who finally reveals her face this week, as wel as the bombshell that she has the corpse(?) of Alice’s mom Sharon in her possession.

The slice-of-life episodes made sure we thoroughly cared about Bocchan, Alice, Viola, Caph and Zain so that when the plot-heavy episodes like this come around, they have some bite. There’s now a non-trivial possibility the curses is lifted next week. But even if it isn’t, I don’t see Bocchan and Alice’s love for each other waning anytime soon.

Rating: 4/5 Stars

The Duke of Death and His Maid – 10 – Not Weird at All

While sleeping in her little cabin, Alice dreams of when she was a little girl, hiding behind her mother Sharon’s skirts at the sight of Rob but always waving to young Bocchan, who always waved to her. Even back then, he didn’t see her as a servant, but a normal girl he wanted to befriend. We’re not talking about Prince Joffery here!

After that dream, there’s a sequence involving Caph going food shopping for the first time while Zain keeps an eye on her. Once she figures out what it means to “pay” people “money” for things, she gets the hang of it, and even stops a boy that was trying to pickpocket her from getting impaled on a sharp cast iron railing. Zain only comes in to “bail her out” insofar as he helps her pick up the dropped groceries.

When Bocchan can’t sleep, Alice offers to sleep in his bed with him until he can, then runs off to change into her pajamas without waiting to hear if he was okay with that. Having Alice next to him is stressful at first, but when he sees her beauty up close and how calm and relaxed she is, he manages to calm down. Granted, that would have happened faster if she hadn’t tried to strip out of her PJs more than once!

The meat of this mostly slice-of-life episode involves what should happen if Bocchan lifts the curse. Yes, he’ll presumably return home and take his place as the next family head. But what of Alice? While Bocchan professes his love for her and assures her if his family objects to their marriage, he’ll cut ties with them. That is the last thing Alice wants, but believing his future to be more important than hers is the last thing he wants.


After singing a lovely, pure duet of the nursury rhyme “The Owl and the Pussycat” together, Bocchan ends up insisting on escorting her back to her cabin, armed with the scarf and gloves she lovingly knit for him.

Assuming the curse will end some point before the end of the show’s run, Alice seems convinced she and Bocchan won’t be able to see each other anymore, at least not they way they currently do. But who says that’s the way it has to be? Doesn’t Bocchan get a say?

The Duke of Death and His Maid – 07 – Suspension Bridge Effect

Not about to be discouraged by Daleth’s insistence they give up, Alice spends much of the episode trying to find alternative methods of lifting Bocchan’s curse. She begins by procuring a second-hand witch’s cauldron complete with a book containing recipes for curse-lifting brews. Unfortunately it’s unsuccessful, but it as worth a try.

In the next segment, Alice finds some odd sheet music from a composer named MacFarlane (not Seth) who wrote the music in white ink on black paper because it looked cool, which also makes it hard to read. That said, it’s believed if you play his piece perfectly it can lift a curse, so Bocchan does just that, powering through both the distracting ghost of MacFarlane and Alice’s usual flirting. Turns out the curse that is lifted is…the curse of MacFarlane’s ghost.

When Bocchan accidentally breaks a flowerpot, he runs and hides from the wrath of Rob, and Alice tags along. While he started out the segment wanting to create the “suspension bridge effect” in her by scaring her and causing her heart to race, the fact of the matter is there’s no need to scare her. Alice’s heart is always racing when Bocchan is around, racing all the faster the closer in proximity they are. She’s long since established she’s not scared of dying, she just loves the guy.

The final sequence, which takes place after the credits, involves Bocchan and Alice sharing an Alice in Wonderland-themed dream in which they must secure the White Rabbit in order to exact a wish from Alice (the book version).

Their mission is derailed by the fact they can touch one another in the dream, with Bocchan waking up just before committing to kissing his Alice. The book Alice is mad for them totally slacking off, but Bocchan is content to fall back asleep, hoping to pick up his dream with Alice where he left off.

The Duke of Death and His Maid – 03 – A Distant Kiss

Bocchan loses a game of pool to Alice, and so cannot refuse when she asks if he’ll accompany her into town for a festival. Because many will be in costume, he’s able to wear a steel-framed suit to avoid contact with both Alice and bystanders. It’s a way for him and Alice to feel like they’re on an actual date out in the world for the first time, even if they still can’t touch.

When they become separated by the crowd, Bocchan demonstrates how despite the rumors around town about a monstrous shinigami, the actual person of whom they speak is actually a kind and gentle young man. When a lost boy clings to his coat, he cheers him up by playing a song on the piano set up in the town square.

Bocchan sheds his heavy disguise to join Alice atop the clock tower, where they gaze at the moon and she tells him the story of another couple separated by a witch’s interference. In the case of the story, the man is on the moon while the woman is on earth.

But the man could be on Pluto and the basic tragedy would be the same as Bocchan and Alice’s; they are together in their hearts, but can never actually touch as long as the curse remains in force.

One night Bocchan gets a note from Alice to meet her in her bedroom (set off from the mansion) if he has trouble sleeping. When he enters to find her brushing her hair while nude, he assumes she has naughty plans for him. In the end, however, between a calming scented candle and cammomile tea, she really was simply trying to help him sleep…though it’s clear she was also hoping he’d get the wrong idea so she could gleefully watch his reactions.

Another night, when a once-in-a-decade meteor shower is to occur, Bocchan is the one to invite Alice to an intimate boat ride on the lake. His true intention is to properly confess his feelings—as opposed to the offhanded ways he’s told her he loves her. Things go pear-shaped when the wind snatches his hat, Alice leaps into the drink to grab it, and he can neither stop her nor help her out of the water due to the curse.

When she tells him straight-up that she’d be fine dying by his kiss, he leans as close as he dares before backing off, not willing to sacrifice Alice for just that one kiss. Alice, knowing he wouldn’t do it, tips the boat so he falls in the water with her. Thankfully, the water doesn’t conduct his curse like it does electricity!

In all the excitement, they missed the meteor shower, but as they both dry off by the fire, Alice says she’ll accompany him to the next one, in ten years. Bocchan is constantly worried that he’s not properly expressing how he feels, but Alice already knows, and feels the same way about him. It’s why she’s stayed with him this long; it’s why she has every intention of being with him in a decade, curse or no curse…but hopefully no curse!

The Duke of Death and His Maid – 02 – Moonlight Waltz

The third member of Bocchan’s family, Rob, makes his first appearance, and proves to be your typical jovial, dependable old butler who might just be a bit long in the tooth for the strenuous work of maintaining a mansion. Even so, he gives it the old college try, which incidentally leaves Alice with little to do but toy with her beloved duke.

She eventually agrees to behave herself and sit quietly as Bocchan plays some of the new piano piece he’s working on, which is indeed both somber and beautiful. Alice’s rush of emotion during the piece precedes the good duke telling her he composed the piece for her; as a reward she leans in to kiss him, her lips stopping only an inch from his.

Bocchan may be relatively content with Alice and Rob, but a member of his original family does come to visit him now and again, treating it like a special service and act of welfare on her part, but visiting him nonetheless.

Viola (Minase Inori in Adorable Squeaky Mode) may not be as overtly honest as Alice about how she feels about her brother—she wants him to break the curse so he can return home—but it’s clear that unlike her mother she does care.

When a black cat appears in the mansion, Bocchan is terrified, not because he’s scared of cats but because he’s scared of killing it if it touches him. So he runs from the cat, Rob mistakes him for the cat, and Alice makes much of the fact the cat tore her dress in just such a way.

They find a note with that cat—”Forgive Me”—that Bocchan takes to mean it was abandoned, as he was. As for me, I wondered if that black cat wasn’t sent by the witch as a messenger; maybe the curse wasn’t intentional? It would explain why it was cast upon a five-year-old boy who no one had reason to curse.

The pièce de résistance of the outing is the ending, as Alice finds Bocchan in the deserted ballroom and the two dance inches from one another under the gorgeous, massive full moon, a scene lifted from a storybook. Like the music Bocchan composes, it’s sad, beautiful, and with just enough of a touch of hopefulness.

The Promised Neverland – 15 – The Perfect Hideout

Emma, Ray, and their convoy of kids are ready to leave the safety of Sonju and Mujika’s forest tunnels and head to the location indicated by William Minerva’s pen. They’re trained and prepared to survive and run or defend themselves from the threats that may arise.

Mujika and Emma seem to have formed a genuine friendship, and Mujika gives Emma an ornate amulet as a going-away gift and to protect her. However, we learn from Sonju once the kids are gone that his intentions are less benign. Mujika pointed out that if they had turned the kids in to the farm they’d have been rewarded handsomely. But Sonju has other plans.

Their religion doesn’t forbid him from hunting or eating wild animals, so by letting these kids go, they will eventually breed, creating of a “wild herd” of humans he’ll be able to hunt without forsaking his faith. His face grows especially monstrous as he looks forward to the day he can eat human meat. Yikes!

Regardless of his long term plans, the fact is Sonju let this group of kids go and doesn’t intend to eat them. In fact, he rides back to where the farm pursuers are still searching and kills one of their trackers. The kids head out into the wastelands where demons rarely go, but when they reach the location indicated by Minerva’s pen, there’s nothing there.

Fortunately, the fact they’ve arrived at this spot unlocks more information from the pen. Once the password “HISTORY” is inputted, a detailed map displays, and a sliding door in the ground reveals a hidden hatch, Zelda-style. The group descends the ladder and begins to explore the space. Emma eventually finds a switch, and to everyone’s great joy, it works!

The lights reveal a fully-functional shelter, complete with cooking facilities, a dining hall, a library, a greenhouse with grow lights, a bathroom with hot water, and a security room with cameras on all parts of the surface. There’s even a piano, a radio, and a pantry curiously half-stocked with food.

There’s also a handwritten note from Minerva congratulating them for finding the shelter, which is theirs to use. Emma, Ray, and the kids immediately settle into the new digs, which seem at all times to be an all-too-good-to-be-true gift from heaven above.

Ray successfully finds the frequency of the 8:00 PM reports from the farms, and will be tuning back in daily to gain intel. Now that they have a shelter and the means of supporting themselves indefinitely, Emma already wants to move on to the next stage of the plan: rescue the remaining family at the farm.

She’s looking ahead even though they haven’t quite finished exploring the shelter. They’ve found all the good rooms, but there are clearly some not-so-good rooms, as initially found by Yvette, the walls of the dorms are strewn with the manic scrawling of people who lived there previously, and were either going mad from boredom or from suffering something more sinister.

Emma uses the pen to unlock a special door that leads to a small room with a payphone, which immediately rings when they enter. She picks up the receiver, and William Minerva is on the other end of the line. Is it a recording, or the man himself? What is the nature of those creepy messages on the dorm walls? Is this shelter really safe, or are those hidden passageways a cause for concern? I can’t help but feel after catching so many breaks since escaping the farm, their streak of good fortune may have run out…

Rating: 4/5 Stars

The Day I Became a God – 02 – The Skies, the Sun, the Earth, and Time

“Odin”, AKA Hina, makes herself at home at Youta’s, and to his shock neither his mom nor dad have a problem with her staying as long as she likes, both of them insisting she’s a relative without evidence we’re aware of.

Could the fact the Narukami’s all have god-like names be a hint that they’re related to gods? Whatever the case, her interactions with Youta, his parents, and his little sister Sora are wonderfully animated by P.A. Works and performed by Ayane Sakura.

Youta elaborates on his long relationship with Izanami, who became extremely introverted after her mother died young. Once preoccupied with basketball, Youta committed to spending more time with her, and that’s when he realized he loved her—and really had always loved her.

Barring a plan to save the world, Hina comes up with a fresh plan to help Youta win Izanami’s heart and help Sora with her film project. After the baseball fiasco Youta is reluctant to participate, but when beloved little sister asks if he’ll help with her project he immediately agrees.

What results are three wonderfully blatant rip-offs of Armageddon, Rocky, and Edward Scissorhands. Hina’s scripts don’t just open Sora up to unwanted legal action, but the dialogue is written in a David Mamet-esque scattershot rhythm that saps any emotional resonance the scenes had in the movies they’re aping.

Nevertheless, Izanami is surprisingly game, though her movie dialogue seems sprinkled with lines that are actually her own words, like “Doesn’t your father have work?” I found these scenes, and both Youta’s and Izanami’s commentary, hilarious, Sora is licking her chops at the footage she’s amassed.

However, the project utterly fails to move the needle for Youta vis-a-vis Izanami, so Hina comes up with something knew. And again, Youta learns he doesn’t know Izanami as well as he should, as Hina tells him Izanami’s dream is to be a musical director for movies. She ends up writing a moving piece of music that Youta intensely practices at the music store over a period of days.

Youta asks if he can come to Izanami’s house to play it for her, and she seems genuinely intrigued. When he can’t quite get the tempo right, she sits beside him and plays it perfectly, revealing to him just how lovely a piece it is. More importantly, Izanami really seems to come alive, wearing a placid smile as she plays it.

When the time comes to again tell her how he feels, Youta isn’t able to do so, but he at least buys himself another opportunity down the road when she agrees the two of them should study more. I kinda wish he’d actually told her his feelings, so that if she rejected him again he could at least find out why—even if it’s as simple as “I don’t like you that way.”

That night Hina castigates Youta for choking, but just as his father is asking where Sora is and expresses his worry, his mom drops and shatters a plate, increasing the unease. Then Sora’s classmate shows up at the door with a bruised and barely conscious Sora. What could be afoot here, and with twenty-four days before the End of Evangelion?

Rating: 4/5 Stars

Cardcaptor Sakura – 49 – Beware of Grand Pianos

After ending the rain with her first Sakura Card, poor Sakura is wiped. She can’t even sit up in bed! Thankfully, she doesn’t have a fever, and Sakura assures her dad and brother that she’ll be fine. Touya, who has a sense for magical things without being an active participant in that world, assumes “something has happened” to cause the fatigue.

Sakura misses cupcake-making in home ec, but Tomoyo knows that a visit from her and a bashful Syaoran is just what the doctor ordered, while Syaoran can’t help but stare daggers at an increasingly suspicious Eriol. Similarly, a Yukito suddenly eating far more than usual gets a knowing, not-at-all friendly look from Nakuru, who competes for Touya’s attention by kicking ass at basketball.

When Tomoyo and Syaoran show up with sweets, Sakura is awake, alert, and back to her chipper self, and Syaoran can’t help but blush at her smile and earnest thanks, while Kero is amazed “the kid” was able to make something so tasty. Kero also deduces that Sakura’s fatigue was caused by her instinctively converting the card along with her wand, using a new magic circle in which the star (not the sun or moon) is most prominent.

Kero warns that since Sakura is relying on only her own power (no longer Clow’s) to release and use the cards, it’s going to be tough going. Even worse, he and Yue were stopped in their tracks even in their true forms, something only their master (Sakura) and Clow himself should be able to do.

Back at school while writing a letter to Mizuki-sensei, Sakura hears a lovely tune being played on the piano and discovers it’s Eriol on the ivories. Sakura is heartened and soothed by the music, and when Tomoyo shows up, she suggests Eriol accompany Tomoyo as she sings a new song. While playing, Eriol does…something magical and fishy to the piano.

That evening, while Sakura and Syaoran are walking in the hall wondering what to make of recent events, they hear Tomoyo singing, followed by a scream and a loud noise: the grand piano in the music room has decided to start moving on its own, and it’s gone berserk! Sakura grabs Tomoyo and they run from the pursuing piano, which Syaoran damages but doesn’t destroy with his thunder sword.

Eventually Tomoyo determines the piano is following her voice every time she speaks, which gives Sakura an idea for how to defeat it for good. Assembling on the roof, she asks Tomoyo to sing once more in order to lure the piano to their location. Then she releases the Song card, converts it to a Sakura Card, and uses its ability to copy Tomoyo’s voice to lure the piano off the edge of the roof to its destruction.

All’s well that ends well, but once again Sakura is completely wiped out by the magical exertion, and passes out in Syaoran’s arms. We then pull back from the school to see that our trio of shadowy villains has been watching. The central figure—who let’s be honest, is Eriol—declares that this is going to be “fun”. Sakura passed another one of his tests, but he doesn’t seem the type to keep going easy on her!

Sing “Yesterday” for Me – 06 – The Great Destroyer

“Why are you enjoying this so much?”
“Because it’s not my problem.”
—Rikuo and Kinoshita on why I love this show

Just as things were attaining a semblance of balance, enter Yuzuhara Chika, Rikuo’s high school ex-girlfriend, her hair now kissed by bottled fire and voiced by the often fiery Kitamura Eri. She’s behind on rent and happened to be passing by, and asks if she can crash at Rikuo’s until she’s back on her feet financially.

That’s right, YwU is not quite done introducing new characters at the expense of the core trio. That’s probably in part due to the fact we’re now only a third through an 18-episode series, not halfway through a 12-parter.

Kinoshita warns Rikuo that Chika is a serial destroyer of bands due to her penchant for ginning up relationshop drama among the members. There’s every indication Chika came to Rikuo because she tends to use usable people and he’s an easy mark, but she proves to be a model freeloader, cooking, cleaning, welcoming him home, all things he’s used to doing alone.

One day while readying dinner, Chika mistakes Rikuo collapsing from fever for a sexual advance, and her eyes narrow as she consents…only Rikuo isn’t propositioning, he’s ill. And so the time arrives when Rikuo is in need of being nursed back to health, and Haru is nowhere to be found, because Rikuo hasn’t told her about Chika.

When they find out from Kinoshita that Rikuo is sick, it’s because Minako accidentally wandered to the konbini after drinking with her friends (who wouldn’t leave her alone about not ever being in a relationship) while Haru is already loitering there.

Whether due to her guilt about him “setting up her wires—i.e. relying on him when it’s convenient—or because she’s knocked back a few, or both, she accompanies Haru, and they share in the utter shock of a third pretty woman at Rikuo’s apartment that late at night.

Haru is NOT okay with this—Rikuo is as good as a cheater in her book—but while Minako is also upset, she says she only has herself to blame for rejecting him. Hearts are fickle, and expecting Rikuo to keep standing still and waiting for her wasn’t realistic.

After being confronted by a steamed Haru (and saying precisely the right thing to have a milk crate thrown in his face), Rikuo stops by Minako, but the sight of her expression…frightens him (in a nice touch, we never see the face he sees). Minako is angry too.

During another homemade meal, Chika and Rikuo talk more about why things ended and who they are. Chika plays the piano for a living and was always good at it, but at first it was because she was forced to play. She’s always wanted to be liked, and saying no can make people not like you, even if she’s never fallen in love or been “deeply invested” in anything. Sound familiar?

She also breaks it to Rikuo that telling him he didn’t understand her was just an excuse she gave to break up with him so she could date a new guy she liked more. “Understanding” her more, then or now, wouldn’t have made any difference, so there’s nothing for him to regret regarding that. I’m not sure if he should feel better or worse about that!

Minako stops by Rikuo’s again, and Chika finally clears the air, assuring her that she simply asked for help from a guy she knew would help, and doesn’t want “things to get ruined” because of her (again, allegedly). Yet again, Minako feels bad, because she’s not actually Rikuo’s girlfriend, as Chika initially assumes.

Chika dated Rikuo for just four months in high school, but Minako straight up turned him down! I’m sure her relief Chika is not interested is mixed with guilt that she has some kind of claim on Rikuo. But, well, she clearly does, doesn’t she? She never dismissed Haru’s declaration of war, and Chika’s sudden appearance on the battlefield put things in perspective.

I can harp on precious little time spent on the Haru/Minako/Rikuo triangle so that a new player could take the stage, but honestly I found Chika’s brutal honesty with her feelings and motivations refreshing, right up to her polite goodbye-and-thanks note, prompting one more charge of selfishness from Rikuo.

She came and went like a storm, but before she left she looked out into the sunset while smoking on the balcony (in a beautifully drawn and lit scene), with what seemed to be an internal debate in her head.

Should she stay, keep enjoying cooking and eating with the nice guy she once dated at the risk of blowing something up that was there before? Or should she leave, and later on look back fondly on those few days when she played house with an old flame? She chose to leave, but I wouldn’t mind if she wasn’t gone for good.

Cardcaptor Sakura: Clear Card – 06

CCS definitely seems to be building towards something on the Clear Card and Cloaked Figure fronts, but the show is more than content to apportion that plot in dribs and drabs. To be honest, so am I—Sakura and her circle friends are likable enough that I’m just fine hanging out with them as their normal lives unfold.

While out shopping Sakura runs into Akiho, and discovers that she carries around a little stuffed rabbit, and considering Kero-chan pretends to be a stuffed animal, I wouldn’t be surprised if Akiho had a familiar of her own who stayed still around others.

As a newcomer to the franchise, I’m also chuffed to finally meet Keroberos in his “true form” as a great winged cat; he whips that out when another face from past shows, Meiling, has a Facetime call with Sakura.

Our only check-in on the Cloaked Figure mystery is when Sakura suddenly spaces out and ends up in a strange space filled with giant shimmering clocks and gears. She asks the figure questions but as always the figure says nothing.

From there, it’s back to school, where both Sakura and Akiho demonstrate their aptitude for reciting Japanese, and Tomoyo invites Akiho to try out the Chorus Club, recruiting Syaoran to accompany them on the piano as they sing a lovely duet.

The Clear Card of the Week is almost an afterthought, as ominous sounds of a camera recording turn out to be the “Record” Card, which Sakura secures without any difficulty whatsoever. I guess not every card-capture involves hazards!

Another week, another card for Sakura, while Syaoran seems increasingly frustrated he can’t sense them the way he could sense the Clow Cards of past series. Whether that inability will curdle into resentment or envy, creating a rift in his budding romance with Sakura, remains to be seen.

But then, a lot remains to be seen: who Akiho is, who the cloaked figure is (if not Akiho), whether Momo can move and talk like Kero, what Syaoran is keeping from Sakura and why, and what exactly the deal is with all these dang Clear Cards.