Bokutachi no Remake – 10 – No Stopping the Train

As I mentioned last week, it’s a bit incredulous to say Kyouya hit “rock bottom”. He has a beautiful wife and daughter, a comfortable home, and a good job where he’s relied upon. At some point he’ll need to stop thinking about the past, and alternate future in which people important to him were more important in the world, and start thinking about the people important to him here and now; his family.

Thankfully, this episode addresses that disconnect between how bad things Kyouya perceives things have gone for the others and how good things actually are if he takes a step back. His old life of failure and loneliness is no match for this life; it’s just a matter of what had to happen to the others to make this world. For instance, Aki no longer draws, but now she’s good at cooking, and she takes pride in this.

Meanwhile, his steady hand at the helm has earned his Team B the reputation as a team that can get things done, though they are still dealing with a dearth of illustration work from Minori. When he and Morishita pay her a visit, she’s not expecting them, as she’s changed into black maid cosplay as  “change of pace” only for it not to work.

Minori isn’t slacking, she’s blocked, which is a harder thing to tackle. Kyouya’s suggestion for her to look at more of Shinoaki’s art doesn’t look like it will work, either. Worse, that’s the least of the problems for what is looking like a make-or-break game for Attraction Point, a social media game that is to be released in synch with the company going public.

As a result of the delays piling up due to unreasonable but unmovable deadlines, Team A is working on fumes without sleep; never a good formula for work devoid of errors. An uncharacteristically flailing Eiko is just barely keeping things together, but in a rare lunch with Kyouya admits both her team and the company is “making every possible mistake”.

When Kyouya says she isn’t the Eiko he remembers back at school, and that there’s always a way to figure things out, she tells him he’s the only one who thinks like that anymore. She seems resigned to some kind of failure on some front that will have huge fallout.

Attraction Point has talented teams working on games, but those in charge never gave those teams a fighter’s chance of succeeding, and are only compounding their original mistakes with new bad decisions. Eiko and Kyouya’s boss is constantly yelling at Eiko in front of the overworked and under-rested staff, creating a toxic environment.

Kyouya tries to suggest that the only option is to delay the game, as the consequences of launching a lemon could be catastrophic for the company’s reputation. But the boss digs in: timing is everything, and the release date is set in stone. He believes it will be more harmful to miss that date than release a buggy mess.

And maybe that boss might’ve been right if a freak occurrence of a famous voice actor got a favorable “SSR”. I won’t pretend to fully grasp the technical intricacies of social media games, as I don’t play them, but suffice it to say people started to think the company was playing favorites, and the company bungled their response by blaming bad-faith users, making the PR situation worse.

Bad PR is one thing, but the game is bad too, thanks to the untested internal engine Eiko’s team was forced to use. Delays, apologies abound, while revenue and corporate reputation sinks. The boss and Eiko go at it in front of the teams desperately going at 110%, but the problems and errors keep outpacing them. Kyouya is about to step in and help Eiko, but then remembers what happened when he meddled with Tsurayuki, and stops himself from meddling again.

He got it in his head that “nothing can be done” about any of this, and if he tried, he’d only make things worse. But as fortune would have it, he just so happens to open up a brand-new video clip in which Kogure Nanako, AKA N@NA, announces that she’s not giving up on singing after all. She tells her online audience about someone at school who told her to sing, and credits him with setting her on this path to begin with.

She also faults him for being so supportive and involved that when it came time for her to stand alone, she slacked off, and her art suffered. Even so, she declares that she doesn’t want to be the one who “invalidates” everything he did for her, so she’s going to keep singing. Her memory of what Kyouya did for her was the trigger that puled her out of her creative rut.

Watching this “small salvation” in his “world of failures”, Kyouya too decides to rise up from his desk, slamming it hard for everyone’s attention and stopping the boss’s incessant chewing-out of Eiko, and decides that there actually is something to be done about this horrible broken game situation, and they’re going to figure it out together, damn it!

Again I must take slight issue with Kyouya’s so-called “world of failures” as, being husband to Aki and father to Maki are quite the opposite of failures! But I will grant that this world was seemingly grinding Kyouya’s natural tendency to Do What’s Right and Help His Friends Out When They Need it until his refrain became There’s Nothing that Can Be Done.

I’m glad he managed to pull himself out of that tailspin of apathy, but there’s still no guarantee his meddling will help Eiko; she and the company could be doomed either way. But for Kyouya, not trying to fix the mess they’re in would be even worse. Until all possible avenues have been exhausted, he’s going to keep searching for something to be done.

Rating: 4/5 Stars

Tsurezure Children – 09

This show, and this episode in particular, is brimming with wrong assumptions made in the heads of the young and in love. Those assumptions make progress slower than it would be if they could only properly communicate with the ones they like.

But again, these are kids, and it’s their first love, so rookie mistakes are to be expected. It’s those tiny steps in the right direction that make me not only stay invested in all these various couples, but gives me hope that some day they’ll figure it out.

Sugawara and Takano’s eyes meet so many times, both wrongly assume they’re bothering one another…but a tiny bit of progress is made when Sugawara tells her he was, in fact, looking at her. Takano said she was looking at him too…now she just has to say it to the correct person, not Gouda!

Few couples got off to a worse start than Kanda and Takase, but neither likes the distance that has grown between them, and so they make up. That they both wrongly assume the best they can get out of the other is friendzoned is a concern, but they are talking to each other again. Progress!

I’m on record in older reviews of her work as saying Ogura Yui’s trademark syrupy-sweet voice sometimes sounds like nails on a chalkboard, but I’m enjoying her work as Kamine, who is the most aggressive of the characters this week.

Unfortunately the body language she exhibits while struggling with the fact she “blew” her first kiss with Gouda is being wrongly interpreted by Gouda as having gone too far in kissing her. Kamine tries to force the issue by pretending to fall asleep on his lap, but for her trouble, Gouda nods off for real and they nearly touch faces.

Finally Furuya is sick of dragging things out, and wants to properly, seriously give Minagawa an answer. But he wrongly assumes that all of her different kinds of “likes” she throws at him (kudos to Hana-Kana here) is all part of an extended teasing regimen, when in reality, teasing is what gives Minagawa the courage to say the things she does.

When she says that none of the ways she says she likes him are adequate, she has Furuya close his eyes and…well, does she kiss him? Sure looked like it to me, but then she had those fingers up. Minagawa thinks Furuya should know whether her lips met his…and she’s right! Lips and fingers don’t feel the same!

Tsurezure Children – 08

Kamine and Gouda make more progress by learning that both are okay with the other being clingy and even a little possessive; everything in moderation. To that end, Kamine draws closer, cuddles, and holds hands with Gouda, who decides to surprise her by giving her her first kiss in the middle of which she unfortunately coughs.

But hey, it’s a kiss, out in public, which is more than Kana and Chiaki can manage. They try to work through the problem through the excessive use of soccer metaphors, and even when Chiaki thinks he’s angered Kana to the point she won’t speak, she still offers him “stoppage time” in order to kiss her. Unfortunately, she moves her head at just the wrong moment, and all he gets is her nose; a second attempt is thwarted by onlookers.

Meanwhile, Masafumi and Ryouko are one of the most comfortable couples, and even have to go to the library because they’re fooling around too much at home. But Masa still likes to keep Ryouko on her toes, asking if it’s okay to touch her boobs. His persistence eventually bears fruit (no pun intended), but he doesn’t go through with the feeling-up; he just wanted her to know that he’s holding back.

Finally, Kazuko once again comes upon Shinichi, who is battered and bruised after a fight with…someone; possibly (but probably not) the “god of romance.” Kazuko wants dearly to be his, and he hers, even whipping out her own ultra-speed moves to counter his. Shinichi is definitely the weirdest of the guys we’ve seen, but he seems to have found someone just as weird.

Houkago no Pleiades – 05

pl51

The cosplay club’s class is doing the play “The Lady in the Tower”, and pegged the elegant Itsuki as the princess and the tomboyish Aoi as the prince. Aoi, who is actually pretty girly, gets all gung-ho about making a dress for Itsuki, and Itsuki maintains a pleasant composure and lets everyone do what they want…but she seems a little uneasy, and wigs out when Subaru pulls her bangs back.

pl52

In another Minato’s Garden sequence that calls into question where exactly Subaru actually is during such sequences (it seems likely they’re either in a shared dream or Subaru’s), Subaru likens Minato to the lady in the tower, only he doesn’t see any point in ever leaving; maybe because he doesn’t know what’s out there, or maybe because he’s exactly where he should be.

pl53

In any case, he motivates Subaru to have another go to see what’s up with Itsuki, and they end up “going for a drive” which is a great euphemism (if a bit understated) for ascending into low earth orbit at dusk (they’ve collected enough fragments that this is now child’s play even for Subaru). There, Itsuki tells her about the time she herself was a tomboy, who’d put herself in danger.

While climbing a tree, the wind took her hat, and believing she could fly, leapt off the tree to catch it. The fall gave her a scar, for which her parents blamed her brother. From that point on, Itsuki vowed never to cause problems for others again. The wound on her forehead was still fresh when she saw the Pleiadian ship break up, the event that brought her together with the other girls.

pl54

While up in orbit, the Pleiadian alerts Subaru and Itsuki to a “nearby” fragment, that he tries to draw to them, but instead it draws all of them to it. This results in the expected but still awesome expansion of the scale of the girls’ playground to include the rest of the solar system. In a particularly thrilling and charming sequence, the girls pass Mars, the Belt, and Jupiter while describing all of the foods their colors remind them of.

pl55

When they finally come to a stop in a dense field of ice beads, the camera pulls way, way back to reveal they’re floating over the rings of Saturn, arguably the system’s most photogenic and charismatic planet. The pull-back creates another grand sense of scale; a scale larger than anything that came before. Indeed, the show even mentions the rings are as wide as five earths.

pl56

Naturally, Minato (who may or may not be the same Minato in Subaru’s garden scenes…I’m just not sure yet) was able to follow the girls and tries to snatch the frag, but loses sight of it. Itsuki comes up with the idea of barreling through the rings, which flow like a river, to reveal the frag’s hiding spot, since its mass varies from the ice beads). It’s deeper science than one would expect from a Magical Girl show, and I like it!

Minato tries to go for the frag when they uncover it, but Itsuki decides to, well, not let her hair down, but pull her bangs up, throwing caution to the wind to beat Minato to the frag. I like this more fallable, defeatable Minato better than the bully of earlier episodes. I also liked Subaru and the others’ assurance that Itsuki shouldn’t fear causing problems for them; in fact, they would be honored if she did.

pl57

Her bangs, and the scar below, were kind of like a tower Itsuki built around herself, along with the determination to avoid causing trouble, even if it meant suppressing who she was. If everyone wanted her to be a princess, she’d be one.

But now that she realizes that causing problems for those we love and care fore, and vice versa, is just part of the territory, she makes another bold move that’s true to herself by swapping roles with Aoi in the play. And it really works!

The awesome planetary adventures with dash of hard sci-fi combined subversion of Itsuki’s role in the group as “the elegant princess”, were all factors that contributed to my generous rating. Pleiades is on a roll.

8_mag