Sarazanmai – 09 – Only the Bad Ones Survive

Things go from bad to worse in the Azumi Sara comedy of errors. While trying to free Prince Keppi from ice, he slides out into the street, where he’s shattered by a passing otter-aligned Dekotora truck. Not a great start! Still, with all the comedic musical stabs, it was clear Keppi was probably going to be fine in the end. After all, he’s a magical creature!

Enta, on the other hand? Not a magical creature, just a boy who was shot by the police. Since Mabo and Reo brainwashed all the other cops, they won’t listen to his story, and instead place all the blame on Chikai. Tao sees Enta on the news, he leaves Enta in Kazaki’s care. Tao, meanwhile, is the only one who can stand with his big brother. As expected, through extremely whimsical means Sara manages to reassemble and thaw Keppi.

Enta’s sister Otone eventually convinces Kazaki to finally face Enta and try to talk to him, and to his surprise, Enta is alive and well…only in Kappa form, thanks to the newly-built Keppi springing into action right away. There’s a catch, however: there’s a ticking clock on Enta’s kappa cap, indicating when he’ll die. If they’re going to save him, they’ll need dishes fast. Time is of the essence.

Once off the ferry, Chikai meets up Masa with a former little bro in his gang who knows the truth about Tao killing the boss years ago. After hanging around with him for a while, before they depart Chikai kills him because he was “to good to survive,” and when he’s confronted by another gangster, Chikai is surprised to find Tao has a pistol of his own, and is providing covering fire for his escape.

To drive home the fact that Mabo and Reo are not your conventional two-dimentional villains, the latter is excited to have been reunited with the former until he catches him being worked over by a desirous doppelganger; a mirror of the desires within Reo. The real Reo resolves to take back the real Mabu with his own strength, suggesting he’s not in lockstep with his otter kin.

When Kazaki collects a dish from his room, Haruka is awake, and asks him if he’s leaving again. Kazaki doesn’t sugar-coat things; he may be going into danger, but it’s to help Enta, whom Haruka recognizes is someone more than deserving of help from his brother for everything he did for both of them. Haruka also produces a drawing of Kazaki playing soccer that he drew with Enta, and Kazaki suddenly remembers meeting Tao when he was little.

Tao, meanwhile, follows his brother as far as he can, before he realizes that even he isn’t safe from being offed once his usefulness is at an end. That time seems to arrive when Tao catches up with Chikai, only for Chikai to pull a gun on him. Before he can kill Tao, he’s shot by the other gangster from long range, who is, in turn, shot by Chikai before he collapses.

Turns out Chikai was wrong; it’s not always the bad ones who survive. Or is he? As he lies dying and Tao weeps on the roof of the suddenly very funereal-looking ferry, memories of their brotherhood flash by, showing a loving Chikai and Tao who were always there for one another, even as Chikai grew darker and more troubled, Tao never ceased to stay beside him.

In Chikai’s pocket is a photo of their family with everyone scratched out by Sharpie except for Tao. As terrible a person as he was, Kuji Chikai wasn’t always that way, and he never stopped loving Tao. But now he’s gone, and Tao has a choice.

Nagato Yuki-chan no Shoushitsu – 13

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As she sleeps and dreams in Bossun’s Concentration Mode, New Yuki seems to resign herself to the fact that as much as she doesn’t want her time in this world to be limited, it is, and there’s nothing she can do about it. As she sleeps, “Old Yuki”‘s memories come into greater focus and reorganize. Her dysmnesia resolving. Time, and neurology itself is against her.

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New Yuki may have the personality and mannerisms of a new person, but she was never meant to be one; not permanently. Her body belongs to another, one who was injured in the accident, and as her brain heals, the temporary nature of her existence, along with the dread of her impending “disappearance” suffuse every moment she spends “on the outside.”

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But what continues to amaze me is that despite New Yuki treating these final days as a kind of requiem for who she is, and an opportunity to disappear with no regrets, the show doesn’t rule out the possibility the very title of this show is a misnomer. Is New Yuki really disappearing, or is she merely changing…or to be more precise, being changed by external stimuli, i.e. her friends?

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New Yuki is, after all, pretty much identical to Old Yuki; their difference lies primarily on the ownership of memories: If New Yuki believed those memories were her own and not Old Yuki’s, she’d probably act a lot if not exactly like Old Yuki. Furthermore, while Kyouko picks up on the fact Yuki is treating these like her last days, she is the one who posits the theory that it’s Yuki’s exposure to her and Kyon that’s causing this change in her, and therefore not a bad thing.

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But this discussion about whether there’s erasure or change going on is moot: erasure IS change. Also, New Yuki isn’t going back to Old Yuki; not really. I’m not sure the coinidence is intentional, but this episode has a “III” in it; the Yuki that results from her memories and personality being restored will be a third, new Yuki. New Yuki or “Yuki II” may only end up as synaptic scars, but that’s still a difference.

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The final scene is exhilarating, because we know Yuki will be “back to normal” soon, but heartbreaking, because it’s in her state as New Yuki, on the precipice of oblivion, that she has the courage to say what Old Yuki never could: that she loves Kyon. These are words Kyon really had to hear directly from Yuki, and when he does, it’s over the phone, and he knows he has to hurry to her side to properly respond.

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It doesn’t work out. By the time he finds Yuki, she’s dozed off, and just as she told him, she’s slightly confused by her surroundings when she wakes up. She also would seem to have no recollection of having just confessed to Kyon over the phone, though we’ll have to wait until next week to confirm this.

But who’s to say Yuki’s decision to confess right then and there, triggered by the knowledge Kyon knows her so well and cares for her so much, triggered her own disappearance, and the restoration of her old personality? If that’s the case, then it’s as if the Yuki created by accident accomplished a very important feat for her more easily-flustered counterpart.

Will Kyon believe the Yuki that confessed her love for him is gone, or will he understand that the back-to-normal Yuki feels the same way; that the accident was the finally learning her feelings? Here’s hoping.

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