After the high spirits attained by watching Tomoya and Megumi finally reconcile last week, the angst and despair prevalent in this latest installment of Saekano presents a stark contrast. It’s a place we know the show is as comfortable with as the goofier comedy, and it’s fairly apparent by the end of the episode that whatever happens, things won’t be the same…or at least they shouldn’t easily revert back there.
After meeting Utaha after her graduation and presenting his proposal, which she reads and gives high marks, Tomoya asks if she’ll be on board for the new game, and Utaha says she can’t. She can’t for precisely the concessions Tomoya offers to persuade her to do it: he will only ask her for as much as she can handle when she has the time.
Essentially, Utaha cannot work for a producer who won’t push her to make sacrifices and challenge herself. Because of Tomoya at its head, Blessing Software is no longer a place where Utaha can feel she’s being the best creative she can be. That realization was probably reached on her own in some form, but it was certainly helped by the meeting she had one month ago.
In that meeting, the famous, ultra-successful and popular Kousaka Akane offers Utaha the task of writing the story for the newest in a celebrated, 20-year-old line of RPGs, Fields Chronicle. Not only that, Kousaka offered Eriri the job as character designer. In fact, she wanted Eriri more than Utaha. And Tomoya is just now hearing about this.
As Tomoya stews in despair and wonders if this is all really happening, we rewind one month. Utaha talks with Eriri about her slump, and about the same issues with Tomoya she brings up with him a month later.
Ever since her art from the winter villa, she hasn’t been able to draw anything as good, but takes comfort in knowing Tomoya will give her all the time she needs, and forgive and stick with her if she never draws anything again.
Utaha can relate – she once “lost herself to a guy” and it negatively affected her ability to be the best creative she could be, but Eriri won’t admit that’s what’s going on, even as she states Tomoya will never be the asshole producer-type he actually needs to be to get the most out of his creatives.
Then Utaha’s editor tells her about the meeting Kousaka wants with her, and Eriri comes along, not because she’ll be willing to hear anything Kousaka wants to say, but to try to stop Utaha from being drawn into Kousaka’s web and agreeing to the RPG project.
But while Eriri ostensibly came to provide a stronger front against the older, more experienced, and more successful (and therefore seductive) Kousaka, neither she nor Utaha come out of the meeting unscathed.
Kousaka may be drunk when they arrive, but she’s perfectly lucid in her no-nonsense approach. She’s makes it clear it’s Kashiwagi Eri she wants more than anything, and if Kasumi Utako can’t bring her on board, she isn’t needed. Eriri tells Kousaka it’s too big a job and she’s in a bad slump, but Kousaka laughs in her face and calls her trash.
While one could easily dismiss Kousaka as a horrible person, there’s no doubting her passion for her work and the work she spearheads, and it’s clear this is a knock-down, drag-out cage-rattling. Eriri’s piddling excuses are of no consequence to her; no doubt she had the same excuses before she came into her own as an artist.
It’s also a big deal that after watching Eriri and Utaha go at each other as near-equals for nearly two seasons, the proven pro Kousaka considers Eriri the superior talent, the end. That’s gotta sting for Utaha, who hasn’t always felt superior but has rarely hesitated to push all of Eriri’s inferiority buttons in their interactions.
So I don’t think she’s wrong in trying to get both Eriri and Utaha to give up on silly little small-potatoes doujin work and really push themselves. That being said, it wasn’t fun watching the two get put through the ringer like that.
As for Tomoya? I can’t say I feel bad for the guy. For one thing, it was presumptuous enough to ask a writer and artist of Utaha and Eriri’s caliber to help him make one game. For another, he doesn’t have the proper producer mentality (in part because they’re all friends) to properly push them.
Even if the final two episodes deal with Tomoya getting them back, I’m not sure it will feel like a victory to me. A second game might be an accomplishment for Tomoya and Megumi, but it would be stagnation for the creatives. They’ve already proven themselves. Time to move on to bigger things…provided that’s what they really want, of course.