Bokutachi no Remake – 12 (Fin) – Back to Hard Times

Now that we know that Tomioka Keiko has the ability to send Kyouya back and forth through time, the question becomes, does Kyouya want to go back to the past or remain where he is? As Keiko says, there are few people who can claim they’re as happy and successful as he is. But Kyouya concludes that he didn’t want to go back in time to make a happier future; he wanted to experience pain and struggle alongside the talented creative people he idolized.

So even if, say, Aki decided she wanted to start drawing again, the fact remains that she, Tsurayuki, Nanako and Eiko all had their futures changed by Kyouya’s over-meddling, and that will never sit right with him, so it’s back to the past with him. It seems Keiko, whoever or whatever she is, brought Kyouya to this alternate future to teach Kyouya a lesson, in addition to giving him the choice to go or stay.

After a heartfelt sequence of final scenes with Aki and Maki, Kyouya is ready to go back. Keiko sends him back to the same time he left, when Tsurayuki dropped out. Aki and Nanako aren’t sure what to do about it, but Kyouya adivses that they all stay the course. If there’s a way to bring Tsurayuki back into the creative world, he’ll find one, but this time he’s not going to be so forceful and so certain.

Just as the members of the Platinum Generation put their trust in him, this time Kyouya is going to trust in their ability to shine and fluorish without undue interference or compromise. When Nanako is given an offer to work for another doujin group, she sheepishly asks him if he’ll proverbially hold her hand. Having seen what becoming overly dependent on him did to Nanako’s future, he insists she try being independent on this project. Even if he comes off as rude or mean, it’s in Nanako’s best interest.

He’ll still support her, but he won’t let her rely on him entirely again. Aki proves trickier, as she hits the very same rut that would define her future self as she transitioned from a creative life to a domestic one. Kyouya realizes that asking her to work so hard and compromise her artistic vision for the game took a toll, and that coming out of the rut won’t be a fast or easy process, but it will and does eventually happen, and without undue meddling from him.

Kyouya ends up literally bumping into the girl who will one day become Minori Ayaka, sporting her natural black hair color. Akaya seems embarrassed when Kyouya sees she has the game he made along with some promising sketches, but there’s no disputing she’s dedicated to being the best goshdarn illustrator she can be, inspired as she is by Shinoaki’s work. This must feel gratifying to Kyouya, as by abandoning that possible future he also feared he undid the good he did for Ayaka’s future.

But then, that’s just his ego talking; the same ego that thought he was singularly, personally responsible for upheaving everyone’s lives, when in reality it was a whole host of variables. It’s the same with Ayaka; she’s going to be alright, especially if the artist she adores continues to draw, as Aki does.

As for Eiko, Kyouya now realizes that she considers herself more than just a friend, creative colleague, and confidant. The future Eiko loved (past-tense) Kyouya, that means this past Eiko is in the process of falling for him, if she hasn’t already. Her blush as she admits she’d drop everything to help him if he was ever in trouble says a lot.

But Kyouya isn’t interested in dating Eiko, at least not at the moment. His primary goal is to undo the damage he did to Tsurayuki’s creative motivation. His confronting Tsurayuki as he exits a theator marks the beginning of his Remake Version 2.0, and even hints at a possible second season (though there hasn’t been any announcement of one, so who knows).

If this is the end, it’s a moderately satisfying one, as it has Kyouya on a sustainable path where he’s aware of his “power” and no longer breathlessly achieving happiness at the cost of others’ success. Even as he’s reverted to a younger version of himself, he’s grown as a person and a friend to these talented people. And so the struggle continues.

Rating: 4/5 Stars

To Your Eternity – 20 (Fin) – Goodbye For Real

It’s a quiet, contemplative finale for To Your Eternity, as Fushi tracks down Pioran and finds that she’s barely scraping by. Yet he’s reluctant to reintegrate himself into her life, as he fears she’ll simply be the next victim of the Nokkers, as Uroy, Oopa, and Mia became.

Fushi happens to have assumed all three of their forms, and he’s in Mia’s when Pioran finally gets wise to his, well, tentative stalking. He may be in the form of a girl, but Pioran immediately identifies him as Fushi, her old immortal friend. Just when he was trying to say goodbye for real, Fushi ends up back in Pioran’s orbit.

The creator narrates that he’s watched over Fushi, Pioran, and the donkey for a good while, and watched as Fushi continued to develop a full sense of self. When Fushi asks what Pioran wishes more than anything else, Pioran says she’d like to be young and beautiful as she once was. Fushi feels a nobility in Pioran, and being by her side is a noble enterprise.

But eventually the Creator’s warning comes to pass: eventually all mortal things wither and die. Pioran develops short-term memory loss and dementia, periodically cursing Fushi while begging him to kill her or leave her behind. Fushi doesn’t; he simply continues caring for her as they travel nowhere in particular. One day, Pioran is nearing death, but lucid enough to call out “the one following Fushi around”—the Creator.

She begs him to let her be reborn into something “that can be more useful to Fushi.” One thing I’ve always wondered is who is the girl in the OP with the purple-grey hair strolling on the beach. Now we learn, it’s Pioran, made young and beautiful again by the Creator, if only for a brief time before dying…and being transformed into an orb like Fushi.

Fushi mourns the loss of Pioran, and when he conjures the paper and pencil he uses to document his days, he comes across a parting note from the departed Pioran: “Do what you want to do, like I did!” He seems to take those words to heart as several decades pass. We encounter an adult Fushi having apparently just defeated a Nokker and laughing over his victory.

This is the end of the story of Fushi…but apparently only until Fall 2022, as a second series is planned for that time. We’ll see how his struggle with the Nokkers progresses, who else he meets who changes him and whose form he eventually assumes, and how many other ways this show will make me cry like a baby. If Pioran is still around in some form, it would be great if they could reunite. Fushi and Nokker!Hayase…less so.

While many episodes suffered from an untenable schedule and pinched production budget, and the Jananda arc was ultimately the weakest, this final episode marked a successful return to the series’ exploration and reflection on mortality, morality, and family, and made me excited for what’s to come.

To Your Eternity – 19 – Killing With Kindness

We begin the penultimate episode of To Your Eternity with Hayase…doing a good deed?! That’s right, she’s using her not inconsiderable combat prowess to defeat the Nokker Zombies before they can kill innocent men, women or children. When a Nokker tries to infect her, she flexes—both literally and figuratively.

The Nokker stops in Hayase’s arm and seems to listen when she tells it that appearing before Hoshi in such a gross, unpleasant form is Doing It All Wrong; if it wants Fushi as she does, it will have to treat it with kindness. Their little confab is broken up when Oniguma!Fushi steps on Hayase…but once again stops short of killing her.

While Fushi doesn’t kill her, he’ll wish he had restrained her in some way before the day is out. Perhaps he’s distracted by the fact Tonari and Sander are in mortal danger. He bails them out of a bad way by using his Gugu form to burn the entire corpse pit. But while the bulk of the immediate Nokker threat is neutralized in those flames, his Creator tells him three Nokkers still remain on the island.

Those Nokkers were once Oopa, Uroy, and Mia, but you can’t really say it’s them anymore, as we already saw them chilling in Paradise last week. Nevertheless, it won’t be easy for Fushi to put their overthrown bodies out of their misery.

That’s when Hayase, who as I said wasn’t sufficiently neutralized, scoops up both Tonari and Sander, drugs them both, and threatens to toss them into the flaming corpse pit…unless Fushi accepts her offer. You see, she wants to keep him “clean” and “pure” as a being who can neither kill nor be killed. She’ll gladly kill and sully herself for him.

But Hayase never picked up on the fact that her go-to sedative doesn’t work on Tonari for long, and Tonari decides to pull Hayase down into the flames with her. With three of her friends dead and what she perceives as a lifetime of missteps to answer for, ridding Fushi of his greatest adversary in exchange for her life seems like a square deal.

Fushi disagrees, swooping out to save both Tonari and Hayase from certain death. And for once, he’s the one to knock out Hayase with the same poison he once accidentally knocked out the others.

Speaking of the others, when Tonari gingerly picks up a sword with tears streaming down her eyes, ready to put down the husks that were once Oopa, Uroy and Mia, Fushi steps in to do it, having both summoned the courage and not wanting Tonari to have to do the deed.

During a solemn private memorial, one of the elder islanders asks their ostensible leader if she has any words for the people. Tonari says to stop the killing…especially after everyone saw what became of them making piles of corpses.

After wandering the island offering foot and supplies to anyone who needs them, Fushi takes his leave from the island, knowing it’s only a matter of time before the Nokkers return again. He bids Tonari and Sander an very understated farewell, if you consider how many pitched emotional moments they shared previously. Maybe that’s the point; they’ve been through, and lost, a lot. They’re tired.

One person who is tireless in her obsession with Fushi is Hayase, who wakes up elated to find she’s sharing a boat with Fushi. She confesses to Fushi how much she loves him and has always loved him ever since she first saw him, and offers to show him what that love means.

Fushi is understandably repulsed by Hayase and her offer, and pulls a trick I’d say would be cruel for anyone other than Hayase, considering the shit she’s pulled these last nineteen episodes. Fushi clones the rowboat and paddles away, leaving a tied-up Hayase stranded in a becalmed sea nowhere near land.

But as he returns to the mainland (and to Pioran) guided by Tonari’s owl, a Nokker core—perhaps the very one who spent some very formative minutes inside her arm—hops onto her boat and attacks her. Is this finally the end of Hayase? I’m loath to predict that, but the preview suggests the fighting may be over, even if the dying isn’t. But then death, like pain, breeds growth.

Rating: 4/5 Stars

Meikyuu Black Company – 07 – Operation Eternal Capital

Just as Preston seems to be enjoying Moonlight Fantasy more for the interaction of its endearing cast and not necessarily its world-building or plot, I too prefer when MBC keeps things simple.

That didn’t happen this week, as the meeting with the Demon Lord—who is Rimu’s twin sister—sits on her throne and delivers one long and convoluted infodump about What’s Going On, What’s At Stake, and Ninomiya’s crucial role in Saving the World.

The Demon Lord’s exposition is actually accompanied by actual imagery of a temporal war between the forces of natural order in the world and the corrupting expansion of Raiza’ha that left unchecked will render the planet incapble of supporting life.

But that conceptual ambition isn’t matched by sufficiently impressive visuals. Also, the bottom linie is Ninomiya is standing around either nodding his head or adding his two cents here and there.

Ninomiya, Rimu and Ranga actually arrive at the Demon Lord’s castle as Raiza’ha of the future is about to bring about the end of the world, so at the end of her spiel it’s time for the three to return to the past from whence they came.

Well, Ranga comes from the future, but he’s all in on going back in time with Ninomiya and Rimu. The DL does give Ninomiya a Matrix-like blue-or-red choice, but rather tan return safely to Japan, Ninomiya accepts the challenge of the mantle of savior of this world.

Upon returning, Ninomiya learns he and Rimu were gone a month, and not only is he penalized for the unapproved time off by his boss Belza, but his accommodations were assigned to another employee.

Since he arrives just in time to save Shia and Wanibe in the Dungeon, he, Rimu and Ranga take it upon himself to crash at Shia’s (admittedly pretty nice) apartment until further notice. She’s not particularly thrilled—and is perplexed by the sudden appearance of the extremely cute Ranga—but she’s also a nice person, and so accepts the freeloaders.

That night, the gang avails themselves of a rare instance of Raiza’ha footing the bill at a traditional business dinner and drinks, though Ninomiya must foot the bill for Rimu and Ranga as they are not Raiza’ha employees.

Ninomiya wants to be above socializing with the “rabble” but he knows the consequences of letting Rimu go hungry for too long, and so accepts the additional debt on top of the cost of being AWOL for a month.

In a show as irreverent towards The System as MBC, it’s not surprising that Ninomiya would be sent back to the past as the world’s only hope of salvation only to be treated like a problem employee by the very company that will be responsible for the worlds destruction in 300 years if he didn’t come back.

He also faces a rude awakening as he commences Operation Eternal Capital, as the difficulty of the Dungeon that leads to the ancient ruins has increased quite a bit since he last tackled it. That said, with the power of Rimu, Shia, Ranga, on his side (and Wanibe too, I guess), his Meikyuu Black Company is putting its best foot forward in this quest to save the world.

I just wish the production values were doing the same, but this was a distractingly janky-looking episode, especially when contrasted with the smooth CGI go-go-dancing of Rimu and the Demon Lord in the new ED.

To Your Eternity – 18 – Paradise Bound

Tonari, who has become somewhat fond of Fushi beyond his utility as a tool for advancing her interests, wasn’t about to leave him to the tender ministrations of the “hag” Hayase. So she rows back to the island to save him, only to discover he already freed himself from the pit, which wasn’t half as deep as Pioran’s prison wall was high. Faced with having to explain why she’s there, Tonari tries out her best tsundere act.

The seas aren’t suitable for heading back out by boat, so Tonari and Fushi spend the night in a cave beside a campfire. Tonari asks about what exactly the man in black is. Is he a thoughtful god, trying to stave off the world’s destruction by creating Fushi? Or is he a demon, and the Nokkers are the servants of the real God(s) tasked with stopping him?

She also owns up to her father having been a murderer, and how she came to see him no differently than any other lowlife on the island: deserving of death. But she doesn’t see herself any differently, as in her mind she kills anyone she doesn’t like. She believes the island has poisoned her heart.

Fushi tries to cheer her up by saying that even if both their “parents” are or were demons, the two of them still do what they want to do. Being in that cave is proof of it: Tonari wasn’t about to let herself be saved at the cost of Fushi, while Fushi wasn’t about to let himself live out his existence as Hayase’s toy.

That night, Tonari dreams a familiar dream of a happy home with a living mother and father proud of her for the books she writes. Upon waking up, Tonari decides she’ll need to come up with a new dream, a new story less grounded in the past. She envisions herself, her crew, Fushi, and Pioran all relaxing and loving life on the beach.

It’s a lovely, idyllic image, and also the last upbeat image to appear in the episode; it’s all downhill from there. That morning when about to cast off, the Creator notifies Fushi that the Nokkers are attacking the town. Despite everyone worth saving on the island already off of it, Fushi heads towards danger, turning his back on an exasperated Tonari.

To his credit, Fushi isn’t doing this because the Creator is goading him to do it—it was Fushi who asked him to warn him when the Nokkers returned. It’s just that Fushi always has and probably always will blame his existence for the death of all the people who’ve died around him. If he can lesson that even a little, he must try.

The thing is, Fushi is cursed to be just too goshdarn likable to be left alone by those who enter his orbit. When he arrives at a hellish scene of corpses being reanimated into zombies by the Nokkers and wreaking havoc, it isn’t long before Tonari comes to help, and the rest of her crew also show up to help the both of them.

It strains credulity just a bit that they not only returned to the island so soon, but knew exactly where Fushi and Tonari were. What should be a devastating emotional climax is once again undermined by the fact barely any of it is animated, as with two episodes left the show is blatantly running on fumes.

Finally, the fact we’ve seen Mia, Oopa, and Uroy as Nokker zombies every week leading up to this episode, so we knew exactly what would become of them. Thile their souls may have passed to a paradise similar to the one in Tonari’s new dream, their bodies remain on Jananda; shambling nightmares Fushi isn’t strong enough to put down.

To Your Eternity – 17 – Her Pet Immortal

After knocking Fushi out with her Morning Glory potion, Hayase gives a somewhat baffling speech to the throng about how she’s going to build a new army to protect the immortal boy from the Nokkers, and immediately ceding the leadership of Jananda she won to Tonari. This immediately makes Tonari a target, and she and the other kids make themselves scarce.

Despite having no interest in ruling Jananda, Hayase very much seems to want to control Fushi, who is clearly more valuable than the entire rest of the island. Her repeated licking of his face is akin to marking her new precious property, and by disrobing she seems intent on becoming one with him. It’s very twisted…and very Hayase.

Her fun is interrupted by Tonari & Co., who come to Fushi’s rescue only to be met by Hayase’s Yanome guards and Captain Skyfish, who can see which way the wind is blowing and knows he probably shouldn’t be on the wrong side of someone as evil, dangerous, and unhinged as Hayase. In fact, he’s probably there specifically to makes sure Tonari and the other kids don’t throw away their lives in a futile effort to save their immortal friend.

Fortunately, the kids inadvertently buy time for Fushi to sneak up on Hayase with a sword to her neck, having created an empty husk of himself for the guards to carry away. Hayase is unmoved, but agrees to his proposal to remain on Jananda with her if she lets the kids and Pioran leave safely. New Leader Tonari announces to the rest of the island that all small children will also be boarding the ship, to grow up somewhere where they’ll have more choice in their lives.

Tonari is among those on Skyfish’s ship, though of course Hayase can’t resist drugging her and her friends to keep them from getting up to something. Interestingly, Tonari’s body is extremely efficient at filtering out poison, as she’s the first to come to, hours before the others. Enlisting the help of her boss (with an assist from Skyfish), she boards a dingy with Ligard, who apparently wasn’t badly injured by Hayase’s arrow.

Determined to add to the story within the thick tome tied to her belt, Tonari is resolved to rescue Fushi, alone if she has to, so he can be a part of her future. Watching Parona!Fushi get so mad at Hayase over killing the real Parona showed Tonari that Fushi wasn’t just a peculiar immortal thing, but a peculiar immortal thing with a measure of humanity she saw in herself.

While it was great to see evil old Hayase throw her weight around, this was the first episode where I couldn’t not notice the frequently cruddy character modeling, sketchy animation, and use of still images that all spell budgetary and time constraints. Between that and Hayase’s rather scattershot actions and intentions, this episode just barely held together…but it definitely had its moments.

The Day I Became a God – 12 (Fin) – The Easy Way Out

Up to this point, The Day I Became a God had told a compelling and reasonably plausible sci-fi tale about a child who was given a new lease on life (i.e. “became a god”) thanks to bleeding-edge technology, only to have that tech stripped away when the ramifications of its wider use were considered too constructive.

That decision was made by the highest world powers who had to that point played no role in the narrative, and play no role afterwards. Thanks to Suzuki Hiroto’s hacking, Youta is able to find the Hina who is no longer a god and even gain entry to her care facility.

Youta put the consequences of his fraud out of his mind because he held out hope one more miracle would occur: Hina would not only remember him and their happy summer together with his friends and family, but make the decision to return home with him.

Rather than accept the new normal and move forward, Youta insisted on getting everything back to the way it was—on moving backward. And while I certainly sympathized with, and may even have acted as he did in his position, in the end he was wrong, and misguided. Just being in that facility under false pretenses marked him as a criminal.

Throughout the sanitarium part of the series, Shiba had been painted as Youta’s adversary; his rival for the deciding of Hina’s future. It was even implied Shiba had a personal stake in remaining in the here-and-now Hina’s care, which is considerable and not to be undertaken lightly. This week she confronts him about his fraud, but rather than expel him immediately from the facility and turn him over to the police, she gives him One More Day.

The show had me until then, then lost me as soon as that decision was made. I understand this is a fictional show that makes choices out of dramatic license, but for someone who claims to be so committed to Hina’s health and safety, Shiba’s “small kindness” to Youta is as baffling as it is reckless.

Sure, we may know Youta means no harm, but have neither the training or experience to know the extent of how much he may harm her nonetheless. Shiba does, and rather than immediately remove a potential agent of further harm, she lets him not only linger, but take Hina away.

Youta is depicted as being at his lowest point as he’s roughly escorted out of the facility to a waiting car. That should be it, but Shiba takes Hina out into the freezing cold to allow for an extended goodbye, during which it dawns on Youta why Hina kept discarding the card with the drawing of him. The real him was already there, unlike the others, so his card wasn’t needed.

With the real Youta now about to be “missing” Hina verbally protests, repeating how she “loves Yoha[sic]”, jumping out of Shiba’s arms, steadying herself, then walking barefoot into his waiting arms. Finally, Youta has evidence that her memories aren’t gone. She remembers him and his family and friends.

The Hina he knew is still “in there”, merely in a more frail body with a smaller vocabulary, and we can deduce that she wants him to remain in her life.

And hey, that’s great! It really is! But Hina remembering Youta, and even declaring she loves him, doesn’t mean he can immediately take her back home like nothing happened! Shiba was preparing to take Hina to a better facility overseas, implying that the current facility—clearly no slouch itself—wasn’t quite up to spec in terms of being the best place for Hina’s continued care and development.

Youta’s house may be a loving home, but I have to question whether Youta and his parents truly have Hina’s best interests at heart. None of them have caregiver training for special needs children. Worse, Youta returns home immediately, and it’s clear his house hasn’t been modified for Hina’s needs.

If there were plans for Shiba to take Hina abroad, why would she simply give up guardianship and custody to someone she knew was a high school student pretending to be a pediatric researcher? At the very least, Shiba would move into Youta’s house to help with Hina. I’m sorry, but none of these events make any logical sense if you push past the emotional manipulation and think about any of it for one second.

Instead, things carry on as if Hina had simply been kidnapped and returned safe and sound. Youta figures out that the things she did as “Odin”—playing basketball, eating ramen, making a film, etc.—were things the pre-chip Hina wanted to do but couldn’t due to her Logos Syndrome. But then why did pre-chip Hina want to revitalize a restaurant…or get Youta laid by a mahjongg otaku??

Youta decides that Hina always was a god, and even remains one, and credits her with helping him decide his path in life: he’ll go to college to become the foremost researcher on her condition. Wonderful sentiments, but the fact of the matter is he is woefully ill-equipped to help her now.

While he’s plugging away at the books (pre-med is no joke), Hina will need 24-hour care. Assuming he’ll leave that to his parents, will they get the training they need? Again, the fact Shiba simply vanishes without a trace is maddening.

Sora finally finishes her movie, which turns out to be a reflection of Youta and Hina’s arc: a guy rescuing a girl the world needed sacrifice in order to save it. The film sidesteps what effect the actual end of the world would have on their happiness; I guess they’d just enjoy their lives together until the oxygen ran out, because that’s better than being apart and the world going on?

The film is followed by the making-of segments, during which Hina sits down and gets real about her time on the earth with Youta & company. She likens the memories she’s made with them to be a chest full of dazzling jewels she’ll treasure for all of her days—even if “the world should end.”

You’d be forgiven for tearing up during this scene, as with other touching scenes designed to invoke tears. Youta and the others were tearing up. Heck, I teared up too! But once the tears dried, I was simply frustrated to the point of indignation.

This was a show that had all the resources to deliver a realistic ending, in which the acceptance of the loss and change in Youta’s life would spur his own growth and change, bolstering the change God-Hina had already caused. The previous two episodes paved the way for that kind of ending. It would have been difficult, and sad, but it would have felt genuine.

Instead, the show took the easy way out and gave Youta everything he wanted in a painfully artificial happy ending that shredded all previous nuance or appeals to realism. There are no apparent consequences for the fraud he committed, nor for removing Hina from a highly-controlled care facility and dropping her into the chaos of his family and friends.

Youta claims to now know the path he wants to walk, but reached that epiphany only after being unjustly rewarded for his missteps and ignorance. He learned that if he was stubborn and passionate enough, all obstacles would fold and he’d get his way…and they did. Finally, the less said about any romantic undertones to his bond with Hina, the better. I wish this ending didn’t leave such a bitter taste in my mouth, but here we are.

Cardcaptor Sakura – 68 – A New Spring Dawns

Eriol writes a letter in his dark office then observes the intensifying winter snow through the French doors with Spinel and Nakuru. He assures them that it’s “almost time”…for something. Meanwhile, we join poor Sakura rollerblading through that snow in her jammies while being chased by a swarm of mini snowmen pelting her with snow. She’s eventually buried, but quickly emerges and fights snow with Snow.

Kero is impressed with how powerful Sakura is becoming, noting that she could one day surpass Clow Reed, but Yue disagrees, saying she isn’t close. That ends up keeping Sakura up at night, wondering if and how she’ll ever be able to live up to Clow’s legacy. Then it dawns on her: she can use the Return card to go back in time and ask him herself—and while she’s at it, ask him why she keeps feeling his presence before strange things happen.

After another pinky promise to Syaoran that she’ll safely return, Sakura uses the Tsukihime cherry tree as a conduit to the past, where she finds Kerberos, Yue, and clow. They’re just having an afternoon nap in the shade of a sakura tree, ironically enough. Sakura sees how happy Kero and Yue are and can’t help but feel a little jealous, simply because she isn’t Clow.

The seasons pass, and the tree transforms with it, which Clow uses to make a point about everyone and everything: that it all changes, and that it’s all supposed to. That means even he, the most powerful sorcerer alive, must one day shuffle off his mortal coil. That doesn’t mean Yue is happy about it, or about the prospect of having a new master, so Clow tasks Kero with the duty of finding one.

While at first seeing Clow interact with his creations and vice versa only heightened her feelings of inadequacy, the fact is she is her own worst critic, and not even Clow, whom she replaced, would see value in comparing her with himself. Clow is Clow and Sakura is Sakura. He had his time, and now it’s hers. This point is aptly illustrated by the transition from the winter when Clow passes on to a spring when all the lovely flowers—including sakura—bloom anew.

Her confidence and enthusiasm in her task thus restored, Sakura returns to the present, where Tomoyo and Syaoran had been waiting with baited breath (though they don’t mention how long they were waiting). Sakura reports that while she did meet Clow, she didn’t learn any thing about why they keep feeling his presence. That’s when Eriol jumps into the conversation and offers an explanation.

You see, he is Hiiragizawa Eriol now, but in his previous life, he was…Clow Reed. While this isn’t exactly a shocker, now that it’s out in the open means we’re finally poised for the final showdown between Sakura and Eriol. That said, despite all the shadows and dark musical stabs, Eriol may prove not to be an enemy, but simply a reincarnated Clow ensuring that Sakura becomes powerful enough to convert all of his cards and complete her succession.

Cardcaptor Sakura – 27 – Return By Card

First when she met Kero-chan, then Syaoran, and now Mizuki-sensei: Sakura tends to have strange, cinematic dreams involving the Tokyo Tower after meeting someone with a lot of magical power. These dreams, and the music that accompany them, are always wonderfully otherworldly and striking. This latest one also ends when Sakura wakes up at six in the morning, long before she needs to be at school.

Sakura uses the extra time to take a morning stroll on her blades, and ends up at the Tsukimine shrine, where she encounters Mizuki in her shrine maiden garb. Sakura decides to help her sweep the shrine grounds, and Yukito shows up to help, making it a very good morning for Sakura. Only when she and Mizuki-sensei come to school, Syaoran’s mistrust of the latter remains as strong as ever.

That night, after revealed through her father that Touya and Mizuki indeed knew each other, Sakura heads back to the shrine, where Kero-chan senses a strong Clow Card presence. So does Syaoran, so he joins Sakura in the search. Notably, neither Meiling nor Tomoyo are there. This leads to Sakura and Syaoran having some quality alone time to frankly discuss their mutual love for Yukito…at least until Syaoran is too bashful to continue and runs off.

When he does, however, the previously concealed Return Clow Card makes its move, pulling Sakura into the past using both the magical power of the tree the full moon. Turns out a lot happened under that tree over the years: it’s where Touya first met Kaho, who was a student teacher when he was in eighth grade.

As Sakura observes, the tree was also where Touya confessed his love for Kaho, Kaho returned his feelings, and where they eventually broke up, all of which Kaho handles with a kind of stoic serenity that suggests she knew everything that was going to happen ahead of time…and maybe she did! Eventually Sakura is pulled back to the present. Return’s physical form is revealed, and Sakura seals the card…but this one flies over to Syaoran, and Kero-chan grudingly admits Sakura owes him her thanks.

Just as Return needed an enormous amount of magical power to activate (and even then could only send Sakura to the past), Syaoran expends a great deal of power using Time to bring Sakura back in a timely fashion. Sakura expresses her gratitude by giving Syaoran a big old hug, and when he starts glowing pink, it’s an early sign that he’ll get over his Yukito crush…all in good time. Of course, the question remains: Just what exactly is Mizuki Kaho’s deal? Is she a baddie? Are WE the baddies?

Arte – 12 (Fin) – The Firenze She Made Along the Way

Matei pays a visit to Arte to apologize for his rude comments. Especially once he sees her gorgeous portrait of Lady Sofia, he admits to harboring an “ugly jealousy.” Arte replies that if his jealousy is ugly, the jealousy she’s had for male artisans is ugly too. He urges her to always treasure the talent that comes from her unique position, and to continue to cultivate it.

Matei helps Arte realize that she has unique talent and value as a female noble artist, and she doesn’t want to become tied down by a patron just yet. On top of that there’s much she still wants to learn from Leo, so she turns Yuri down and prepares to return to Florence. Yuri respects and even admires her decision; she and Katarina leave on good terms as well, committing to being friends from now on and vowing to write one another.

Upon returning to Florence, Arte finds Leo’s workshop empty. Darcia informs her that he’s come down with a fever and is resting at Ubertino’s house. Ubertino believes Leo will be fine, but is more concerned with the fact the ceiling mural he started won’t be finished by the Easter deadline. As a member of Leo’s workship and with Ubertino’s approval, Arte rolls up her sleeves and vows to complete the ceiling herself.

When the timeline proves impossible for any one person and Arte nearly collapses from exhaustion, Angelo steps in to assist with the painting while Darcia resolves to keep them fed and healthy. Eventually a group of other apprentices Arte has met and befriended join the team. With all the extra manpower the ceiling is completed on time.

Leo and Arte don’t end up meeting until the mural is unveiled, and while her “light calculations” are still in need of some seasoning, he’s nevertheless grateful for her help. When he asks why she came back, Arte says she wants to paint paintings that encourage people, like the triptych of the Virgin Mary encouraged her while she was in Venice. Leo’s glad to have her back, even if he’ll have to get used to the extra noise and energy all over again.

Finally, Arte’s mother accepts an invitation to the unveiling, and shows that she’s big enough to admit when she was wrong. She was sure that despite her late husband’s encouragement, a woman only had two paths: marriage or the convent. Arte proved she could forge her own path, but she didn’t do it alone, and made sure to honor everyone in her life—including her parents—who aided her in her journey by painting them into the mural (in heroic garb, of course).

It’s a touching gesture, and a fitting end for an anime with a lovable heroine in a very unconventional time period and setting, but a timeless message: Believe in yourself and your abilities, work your ass off, rely on friends and allies when needed, and you’ll eventually convince the skeptics and soar to success. Brava, Arte!

Cop Craft – 04 – Temporary Insanity

Picking right back up from last week, Tilarna and Kei reach the roof where the fairy Leahyah is trapped in a psychic bomb on a timer. Zelada is ready with magical blue flames that horribly burn the better part of Kei’s back.

As Tilarna tries to counterattack with little success, Kei focuses not on what his eyes see but on what he hears, knowing Zelada is hiding himself with illusion magic. His pistol, which Tilarna said had a certain level of latena, briefly glows purple before he gets a shot off, and it’s a direct hit.

Tilarna presses the attack by claiming one of Zelada’s arms, but he throws himself off the building rather than suffer the dishonor of being killed by a human and a pipsqueak knight. With Kei too burned to get up, the clock winding down on the bomb, and no known way to defuse it, Tilarna sits down with Kei and Leahyah for their final shared moments alive.

Realizing the child she helped when she was lost in the forest is ready to die beside her, Leahyah sacrifices her body before the bomb detonates. With no other choice, Tilarna uses the resulting output of latena to cast a healing spell on Kei. With Leahyah dead, Tilarna and Kei have failed in their primary mission.

Tilarna prepares to board a ship back home where she’ll return a disgraced and dishonored knight, but is ready to face the music. He gives her the floral broach he got back from O’Neill, and she thanks Kei for his partnership, praising him as a “gallant doreany soldier” when they part.

And from the time they bid one another farewell, Kei goes through the rest of the day positively miserable—more so than usual for him. Then he comes home and hears the TV is on, tuned to a basketball game. He draws his gun, looks inside…and finds Tilarna, in casual clothes, lazing on the couch with Kuroi.

She changed her mind: Zelada may not be dead, and there are other threats in San Teresa, so she got a field commission to detective in order to continue serving as Kei’s partner. Kei tries to seem put out, but there’s no doubt he’s happy about this.

On their next arrest raid, Tilarna and Kei are front and center when they take the door, but in her medieval overzealousness Tilarna also takes the finger of a gunman. She thinks nothing of it—she was simply serving justice—but their new chief, Zimmer, lights them both up, saying whatever the “alien” (as he racistly refers to Tilarna) does, her partner Kei is just as responsible.

Thus the old earlier dynamic Tilarna and Kei being at each other’s throats continues apace, with Kei refuing to thank Tilarna for rescuing him and Tilarna repeatedly punching Kei in the back. This all looks like flirting to other detectives, who show them an old wooden coffin with Semanian writing…and a Semanian mummy inside.

They take the mummy to the medical examiner (and Kei’s ex), Dr. Cecil Epps, who resents having to perform an autopsy on an archaeological artifact, but becomes fast friends with Tilarna when the two women share their mutual disdain for Kei. Though Tilarna still isn’t quite clear what an “ex” is, she does chalk up her reunion with Kei as a bout of “temporary insanity.”

The pair is summoned to the station to speak with the suspect whose finger Tilarna sliced off, and she immediately establishes herself as the “bad cop” by pulling her dagger and tossing the perp around. It ultimately pays off, as she learns from where they stole the coffin…and realizes that Cecil is in mortal danger.

Back at the M.E.’s office, Cecil has delegated the CT scan of the mummy to her assitant, Chapman, who either hates her or has a secret crush on her he’s not handling well. That means Chapman becomes the mummy’s first victim, as Cecil enters the CT room to find all his blood being drained and drunk by the now fully animate vampire.

Tilarna arrives to save Cecil, and the vampire says something in what she identifies as “the old language.” The vampire is superbly nimble—not to mention extremely creepy—and even naked, unarmed, and without her morning coffee, still proves more than a handful even for Tilarna. Perhaps she’ll get some timely backup from her partner and his latena-infused sidearm.

While Cop Craft’s fish-out-of-water buddy cop dramedy is deceptively simple, it sports some of the summer’s best and most creative cinematography and action animation, and Tilarna’s striking character design is one of the coolest (and cutest) while Yoshioka Mayu does some great work as her seiyu. And despite its perils, San Teresa is still a really fun place to spend time.

Sarazanmai – 10 – A Little Bit of Dishtory Repeating

Way back when, after the siege of Keppi’s castle, Otter saves Mabu’s live with a mechanical heart, but only if he makes a solemn promise. In the present, Reo reveals he’s a kappa too, once a vassal of Keppi’s along with Mabu. He shrink-wraps Keppi and demands the final dish of hope, but empathizes with Kazaki’s wish to save someone close to him, and so lets him tag along while he collects the other four dishes.

During the descent, Reo laughs at Kazuki’s earnest attempt to save his connection with Enta, and his jadedness is understandable; the Mabu they encounter is less his Mabu than ever; cold, distant, and in Reo’s words, nothing but a fake, half-baked doll. They descend further and find Dark Keppi, the half of Keppi created when he split his Shirikodama to escape capture by the Otters.

This otter demands the dishes, and also places Enta in “Enta’s World”, in which his desire—to be loved by Kazuki—is made real. But like Reo with the resurrected Mabu, it’s just not the same, and Enta escapes the fantasy. Reo has a key assist by shooting the head off the Otter and producing four of the five dishes needed, but just then Mabu jumps from a precipice and ends up transforming into a Zombie Kappa.

This means Reo has to be transformed by Keppi—like he and Mabu were in the old times—and go through the same (literal!) song and dance as Kazuki, Enta, and Toi. Even Miyano Mamoru’s casual singing voice is better than those of the other three, as he peers into Mabu’s Shirikodama and learns that in order to live and stay by Reo’s side, Mabu had to give up his connection with him.

That means when Mabu, who he only just freed from zombiehood, decides he can’t live on with that severed connection anymore. Pledging his everlasting love for Reo, his deal with Otter is broken, his mechanical heart stops, and he disappears. When the dust clears, Keppi creates a new fifth dish of hope (Kazuki broke one earlier) and Reo is beside himself with grief, unleashing it with his pistol in a destruction spree that ruins Asakusa’s bridges.

Then Reo forgets who Mabu ever was, and is then shot through the heart…by Toi, who has returned from the ferry. Kazuki thinks he’s changed his mind and come to rescue him and Enta, but Toi hesitates, wanting the five dishes to bring his brother back. Enta’s clock runs down to fifteen, ten, zero seconds…and Kazuki makes his  wish, even at gunpoint.

When Enta wakes up, Toi admits he probably would have saved Enta too…but now he’s as full of grief and rage and desire as Reo was before he shot him. That attracts Otter, who looks to bring him under his influence, using the spectre of his older brother to lure him in. Once Chikai appears, whispering in his ear, Toi lets go of Kazuki’s hand and walks into the darkness of his own volition.

With Kazuki, Enta, Haruka, Mabu and Reo’s stories largely complete, the final episode will seek to close the book on Toi, one way or another, who has only had to live in a world without his brother for a few hours (maybe less), and is thus all too easily manipulated by Otter. We’ll see how Keppi and the Golden Duo fare against that negative influence, and maybe get back to being three normal soccer-loving kids.

Steins;Gate 0 – 23 (Fin) – Fortune Favors the Foolish

With Amadeus deleted from history, Rintarou ends up in a slightly different present, in which Leskinen never succeeded in fully brainwashing Kagari. Moeka subdues Leskinen when he pulls a gun on Rintarou, and the two head up to the roof just as Mayuri is successfully stopping Kagari and Suzuha from killing each other, by badassedly positioning her head between their handguns. Mayuri and Suzu are able to board the time machine safely after receiving the blessing of a Rintarou who’d just arrived in that time.

All the times the time machine was wiped out by a missile from a helicopter gunship, it was only seconds away from disappearing into the spacetime either, so a few extra seconds is all Mayuri and Suzu needed to get away safely, and they do, in an extremely thrilling scene that pays off all of the failure and heartache of previous attempts.

Better still, Hououin Kyouma is able to lustily gloat to Leskinen, Stratfor, DURPA and the Russians for having foiled their plans to acquire the time machine. In the timeline where Mayuri and Daru await the return of Rintarou and Suzu, two time machines briefly appear on the rooftop at once, and Mayuri gets a call from…the other Mayuri, convincing her not to let Okarin give up when he returns in the depths of despair.

Mayuri and Suzu aren’t able to stay in that timeline long lest they cause a paradox, and with the time machine all but out of fuel, they soon lose the ability to choose their next destination. But both of them seem to take their descent into temporal oblivion quite well, all things considered.

Back on the rooftop, Suzu and a defeated, blood-stained Rintarou return, and he gives his little speech about everything being hopeless and deciding he’s going to give up. Then Mayuri remembers the words of the other Mayuri, recalls when Kyouma was “born” (when he hugged her to comfort her at the cemetery) slaps Rintarou, her Hikoboshi, and convinces him not to give up.

Soonafter Rintarou receives a video D-Mail from the Rintarou in the future, and we switch to his point of view, as we watch his grainy recording unfold where and when it occurred. After sending the message, Rintarou’s next operation, Operation Altair, consists of him “deceiving the world”, as well as himself, by travelling back to another point in spacetime in the first version of the time machine to be built by Daru & Co.

Deceiving himself and the world, it turns out, is the only way to reach the Stein’s Gate. He thanks his noble, trusty Lab Members, receives a hug from Maho, and sets off to locate and rescue Mayuri and Suzu, who were lost in time but can be found thanks to something called a “Kerr black hole tracer”, the nature and operation of which are not specified (which is probably for the best).

Suffice it to say, in his experimental but still brand-new and fully-gassed time machine, and with the Kerr thingy, Rintarou successfully locates Mayuri and Suzuha, who by their perspective had just arrived themselves in the year 18,000 B.C. in a dark and stormy wasteland.

They seem ready to accept their fate with grace, but the bright light of Mayuri’s Hikoboshi appears, and from that light, Okabe Rintarou—AKA Okarin, AKA Hououin Kyouma—emerges triumphant; perhaps his most badass moment yet.

And that, folks, is where Steins;Gate 0 ends things. We don’t get to see Steins Gate, or learn whether Rintarou is right that it does exist. All we know is that they’re in a good position to reach a world line in which both Mayuri and Kurisu can live.

It took a lot of gumption, guile, teamwork, sacrifice, trauma, math…and downright foolishness, but the gang is headed in the right direction. It’s a positive, hopeful ending; an ending full of promise and excitement for what may come next for all of these kind, brave fools—even if we may not get to see it.