“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?