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.

Steins;Gate 0 – 22 – Another Logical Sacrifice

Thankfully, the latest setback does not shatter Hououin Kyouma just as soon as he makes his triumphant return; more importantly it does not rob Rintarou of his will to keep trying. It only forces him to jump back two days into the past and come up with a new plan. But first, they must determine what exactly is causing the convergence; it may not be the time machine itself.

Rintarou works it out with Daru and Maho. They know how to foil both Leskinen/Stratfor and DURPA, which leaves the Russians. When Nakabachi defected to Russia, they made the connection between his research and Kurisu’s. Thus, in order to prevent WWIII from occuring, they have to prevent that connection from being made.

The only way to do that is to eliminate Amadeus and all of the associated data. Without Kurisu’s memories, brain patterns, and research in digital form, Russia will never be able to complete the time machine, the war will be averted, and both Kurisu and Mayuri should be saved.

So the path to Steins;Gate requires yet another Kurisu-related sacrifice. As Amakurisu states more than once, she’s “just a program”, but it’s still unsurprisingly difficult for Rintarou and Maho to even consider deleting “her,” so similar she is to Kurisu, and yet also an individual personality in her own right.

Amakurisu has Maho send her to Rintarou’s phone, and the two enjoy a stroll together, that lasts through the night into the morning, with Rintarou showing her the city she doesn’t know and judges to be beautiful and worth saving.

Unlike her dead human self, Amakurisu live in a world where only things with a purpose exist (much like The Matrix). Her purpose is to cease existing so a better world can be unlocked. Like Kurisu, she’s ready and willing to assume that cost…but also like Kurisu, there’s a hint of sadness behind her reassuring smile.

Thanks to Daru’s improvement of D-Mail, the D-RINE (like the real-world LINE), Daru can send a save message only to himself telling him to break into VCU’s server and destroy the Amadeus AI data. Maho sends the necessary key and patch as an attachment, the Phone Microwave is fired up, and Amakurisu says her goodbyes.

When the sparks stop we end up with the divergence number of 1.123581—the Beta World Line, tantalizingly close to the 1.048596 of Steins Gate, yet not quite there. We’ll see how well Rintarou & Co. fare in the finale, which I suspect might run double-length (since there’s no episode 24).

Steins;Gate 0 – 21 – Once More Unto the Breach, Dear Lab Members

Thanks to Maho’s improvements, the time leap machine can send Rintarou back 336 hours instead of 48. It’s truly a case of Salieri surpassing Mozart. But he’ll still need to make three thousand such jumps to return to 2011 in order to foil Leskinen, Stratfor, and Durpa and get Mayuri and Suzuha safely off in the time machine on the roof.

That’s a lot of jumps, but Rintarou is committed. Nobody in 2036 particularly likes how things turned out (Rukako has bought it, and soon all of them will), so they’re all for him changing the world if he can. The first jump goes well, but it and many many more after it will require that Rintarou wake up after a long coma.

He gets better and better at convincing Amadeus that he’s indeed from the future, and each time, his friends send him on his way. He even gets to see Lil’ Suzuha! Eventually, he reaches the time where two weeks earlier he’ll no longer have Valkyrie HQ to rely on to time leap.

It’s the day he’s captured, tortured, and allegedly killed. However, things go differently this time, as Amakurisu suggests he uninstall her program and ditch all other tech the enemy is using to track him, while all of his friends act as decoys.

The Leskinen of that time knows he’s lost this round, while the Daru of that time and everyone else sees Rintarou off as he…well, he kinda runs all the way back to 2011. Not sure how that happened, actually, but I’m assuming he didn’t actually run back in time, but managed to escape the enemy and find another means of time leaping.

In any case, when he returns, he’s indistinguishable from the Rintarou of that time, so Maho and Daru think nothing of him showing up in the lab. However, he demands that one of them punch him for being such a whiny little bitch for so long, and Daru does just that.

Daru had no way of knowing what his right hook (or whatever; not a boxing expert) would lead to…the Awakening of Hououin Kyouma from a deep slumber. It took twenty and a half episodes, but we finally get to hear that ridiculous mad scientist laugh. It’s a sight for sore ears.

Not ten seconds after awakening, he’s giving Maho a nickname (“loli girl”) and a weird alternate name (“Safina”). He also dubs her Lab Member 009 and calls an all-hands meeting of the other members, who are just as happy as Daru that their Fearless Leader Kyouma is back.

Maho eventually gets it too: this “Kyouma” fellow has charisma, and rather than dragging everyone and the mood down, he’s galvanizing it. And yet, the same old Rintarou dwells within him, it’s just that he’s done running and cowering, and whining. It’s time for ACTION.

After meeting with the lab members, Kyouma talks with Ferdinand Braun downstairs and makes a number of arrangements roughly a half-hour before Akiba became a war zone in the other timelines. This time, the woman in black with the helmet isn’t Kagari, it’s Moeka, who is on Kyouma’s side in this World Line. Talk about an awesome reveal.

Yep, it sure looks like Hououin Kyouma was the missing variable in the formula to foil Leskinen’s plans and ensure Operation Arclight went off without a hitch. It’s a triumphant, righteous moment. It doesn’t last long.

Even though Mayuri and Suzuha get in the time machine and set off far earlier than previous times, that damned attack helicopter still peeks out from behind a building, launches its missile, and destroys the machine in front of Kyouma and Moeka.

Apparently, not enough conditions were met to avoid the convergence. Clearly it’s not enough to neutralize Kagari and Leskinen; something has to be done about the helicopter. I feel bad for Rintarou having to start all over again right after his grand awakening, but no one ever said changing the world was easy or pleasant.

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Yuzu doesn’t understand why she has such a crush on Mei, just that she does, but she knows the only way to move forward is to make those feelings known. To do that, she needs to be on better terms with her, and the universe provides. When the chairman collapses in his office, the first person to find him and call an ambulance isn’t Mei, it’s Yuzu.

Mei is grateful, and lets Yuzu call her by her first name (even if she doesn’t reciprocate), and Gramps even reverses his decision to expel Yuzu. His health scare has made him re-evaluate a lot of things he’d taken hard lines on, be it the new granddaughter he never asked for in Yuzu, or the decision to make Mei live with him.

Mei then returns to Yuzu and her mom’s house, but it couldn’t come at a worse time, considering Yuzu’s feelings for her aren’t very sisterly. Yuzu seeks clarity in a yuri manga (which Harumin sees and jokingly pretends to reinact the action within its pages), while Yuzu’s mom makes things worse by buying a double bed for the sisters.

Obviously, living with one’s (presumably unrequited) crush is not easy, and I can’t help but feel for Yuzu here.

That’s not the end of her torment, as when bedtime comes and she finds herself unable to sleep, she tries to steal a touch of Mei’s hair or skin, and Mei gets out of bed and unrolls a futon, claiming it’s too hot with both of them under the covers.

When Yuzu brings up Mei kissing her, Mei coldly dismisses it as merely a tactic to shut her up, demonstrating its effectiveness by coming in oh-so-close only to withhold a kiss. She states she has “no interest” in Yuzu, or in getting closer, hence her unwillingness to call her by her first name. Yuzu goes to sleep in the bed alone, angry, and in tears.

Adding insult to injury, since Mei is the rule-obsessed class president, Yuzu is unable to hang out with Harumi after school without both of them getting punished by having to clean the bathroom. When that’s done, Yuzu finds a note from Mei calling her to the chairman’s office.

Yuzu is excited by the note, but when she arrives, Mei has her yuri manga, and warns her to dispose of it lest rumors crop up. Yuzu snaps, pushes Mei onto the desk, kisses her, then breaks into tears.

If Mei is uncomfortable here, but the fact is she kissed Yuzu first, and that’s how Yuzu’s crush on her developed; they wouldn’t be on that desk without Mei’s earlier antics. Yuzu knows she can’t go back now that what’s done has been done, but gets off Mei, apologizes for being such a bad sister, and runs off.

Her running off, and Mei lingering in the office, doesn’t go unnoticed by Mei’s friend, right-hand woman, and enforcer Himeko, who immediately suspects something is very amiss. Just as Yuzu and Mei are trying to sort things out, Himeko will no doubt insinuate herself into the situation.

Re:Creators – 22 (Fin)

With Altair, well, not defeated per say, but ceasing to be a threat to the world last week, Re:Creators can relax and do a leisurely victory lap. The five creators remaining on the battlefield accept their supporting roles in a story that ended up being primarily about Altair and Setsuna. The other creators congratulate Souta for his achievement, even if, especially for Matsubara and Takarada, it hurts that their heroines had to die in order to win.

But Meteora steps in to assure Matsubara that only one possible Selesia’s story ended there; there are countless others that remain alive, and more still as long as he’s committed to keep adding to her world…coffee, for instance.

After a celebratory feast at a down-home restaurant, Meteora also points out to the other creations that they will all have to return to their respective worlds soon, as her magic will eventually cease to work as the world restores its proper order (an order in which her magic doesn’t exist).

After the creations and their creators spend one last day together, saying what they want to say and suggesting what they want to suggest, Meteora opens a return gate.

One by one, the Creations say their final goodbyes and walk through the gate, disappearing from the world in physical form but not in the hearts and minds of their creators and fans. I was kinda wondering where Magane was in all of this, and I really wish we’d been able to see more of her…did she de-coalesce off-camera after using her ability to help Souta?

In any case, Meteora has one more plot twist in store: she’s staying. I mean, even if she wanted to go back, she can’t go through a gate she is keeping open any more than she can pick up and throw herself. But she loves this world, and has always seemed quite comfortable here. So while she loses the rest of her magic as soon as the gate closes, I have no doubt someone as strong and brilliant and charming as she will land on her feet.

A bit of time passes, marked by the emergence of several new advertisements around the city promoting new seasons of the creators’ creations, each with new stories that reflect their experiences during the Chamber Festival: Shou and Yuuya fighting side by side, Blitz with his daughter by his; Hikayu’s new martial-arts master alter-ego; Magical Slayer Mamika meeting Aliceteria.

Everyone continues to create. Whatever problems people had with the story of the Chamber Festival (and it did kinda go all over the place, if we’re honest), creators can’t look up to a standard they worry they’ll never approach; they can only keep moving forward, and keep creating. That’s the surest way to achieving happiness not just for themselves and those who consume their work, but for their creations too.

I’m also heartened to see Souta and Meteora exchanging texts in much the same way Souta used to do with Setsuna, only now he’s a little older, a lot wiser, and more importantly, confident enough in his ability as a creator in his own right, to be anything but proud and supportive of his friend’s efforts.

Meteora has pivoted to creation herself, and has decided to name her first work Re:CREATORS—the very work we just spent 22-plus weeks watching.

Shouwa Genroku Rakugo Shinjuu – 11

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What started out as a simple errand (retrieve Sukeroku and bring him back to Tokyo) becomes much, much more for Kikuhiko, due in no small part to Sukeroku’s daughter, Konatsu. The girl is pretty hostile to Kiku right up until she learns who he is, and then her demeanor rapidly shifts to tearful veneration, and she insists Kiku come with him to see her Dad.

I’ve always loved Konatsu, and lamented how little of her we’ve seen (albeit out of necessity) since Yakumo’s story began. Kobayashi Yuu isn’t quite as convincing as a five-year-old as say, Kuno Misaki, but it doesn’t matter: by the end of the episode, I was in love.

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On the way to her Pops, we learn from her that her mom has run off, abandoned them, and I take her at her word (we later learn Miyokichi does this often, but always comes back eventually). She also says her mom forbade her dad to perform rakugo, and when we arrive at Konatu’s domicile, we see just how well Sukeroku functions without it.

I mean, a frikkin’ five-year-old is the breadwinner here! Things are bleak. The only thing that rouses Sukeroku from his mid-day nap is Kikuhiko’s voice, which sends him flying out of the filthy house. In a perfect reunion moment, Kiku smacks him in the face with his bag, but Sukeroku pounces on him anyway.

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Kiku gets down to brass tacks, but Sukeroku is initially unwilling to hear him out: he’s done with that part of his life; rakugo has gotten “boring”; he’s out of practice; the raft of excuses is almost unending. But Kiku cuts through all that with one simple fact: ”

If people want you, you have to do it.” And Kiku is one of those people. After hearing and being envious of Sukeroku’s rakugo—and being unable to replicate it—Kiku needs it back. He’s starved for it, and wants to hear it again, and continue striving to match it, even if he never will.

Kiku doesn’t come out and say he’s been gliding along without Sukeroku around, because he hasn’t—he’s been working his ass off—but when his brother compares how he looks to a shinigami (which sends a shiver up a listening Kona’s spine), it’s clear he’s missed him.

Until Sukeroku reconsiders, Kiku is staying. He fronts cash for Sukeroku to pay off all his debts, but fully expects him to repay him by acquiring jobs in town. He’ll live with them, but insists they clean the house thoroughly. In this manner, Kiku is like a stiff, purifying breeze that blows out the cobwebs.

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But Sukeroku and Kona aren’t the only two benefitting from Kiku’s stay. Kiku decides to do small performances at dinner parties and the like to pay for food and his fare home, and gets really into it. The master of the inn even presents him with a more formal performance space (ironically formerly a geisha prep room).

In a bath scene that hearkens back to one of the first between the two brothers (something Sukeroku points out but Kiku claims not to remember), Kiku does confess that he’s never felt this way abotu rakugo before; this good.Sukeroku knows why: Kiku can see his audience; there’s less physical and emotional distance between them, motivating him to strive do his best.

At times it seems like Kiku himself could settle down here as Sukeroku did, and if not thrive in the upper echelon of his craft, at least lead a happy life.

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But that’s not really the case. Kiku still wants to return to Tokyo, with Sukeroku taking his rightful place as Yakumo. As always, Kiku is looking out for Sukeroku, striving to put him on the path he thinks is best. That means getting him out of debt, cleaning his house, and cutting his little girl’s hair so it’s out of her face.

In one of my favorite scenes of the whole show, Kiku scolds Kona for badmouthing her mother, then discourages her from taking up rakugo, since he earnestly believes it’s a man’s job to be on the stage performing. He then goes into a pretty woman’s crucial role as the rakugo performer’s muse, drawing out their best performance.

Konatsu then puts Kiku in checkmate by getting him to admit she looks pretty with her new haircut, so now he has to do rakugo for her!

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If Kiku was enjoying himself at all the small informal gigs in town, he seems even more at ease and in the zone with an audience of just one. The story Kona makes him do—an at times creepy, at times hilarious story involving sexy ghosts or some such—is one of the best I’ve heard, and it’s made even better when Sukeroku, who can’t help himself, joins in and turns the solo performance into a duet; their first.

These are two brothers who haven’t seen each other in five years, and yet here they are, a perfect comedy duo. Perhaps the performance is technically a little rougher and unpolished than it sounded like, but who cares? Konatsu is over the moon, and Kiku is hopeful he’s shown Sukeroku why he can’t give up on rakugo. It’s not just Kiku who needs it, it’s his daughter too.

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We don’t hear Sukeroku’s answer, but their performance, and Konatsu’s elation, clearly has a powerful effect on him. Then Miyokichi enters the picture, at the very end of the episode, having been handed a sign announcing a public dual rakugo performance starring Sukeroku…and Kiku-san.

Miyokichi’s reaction suggests she’s still carrying a torch for her old boyfriend after all this time, which goes a fair way in explaining why she’s not home with Sukeroku or Konatsu; perhaps the former reminds her too much of the man she really loved. The question is, will she attend the performance?

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Boku dake ga Inai Machi – 07

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As expected, shortly after Satoru is arrested he’s able to activate another revival (there wasn’t much he could have done in a jail cell), but despite knowing it was going to happen an infectious wave of relief still washed over me, just as it washed over Satoru upon realizing he was back in the museum with a very alive Kayo. This time he thinks out loud and means it, and starts responding to Kayo’s “Are you stupids” with “Yeah!”

This time Satoru is doing away with all pretense and restraint. If he’s suddenly acting strangely for a kid of his age to people around him, so be it. No matter what the consequences are for him, he won’t let Kayo die again…and he’s operating under the assumption this is his last revival, having already been given an unheard-of third chance.

As such, the relief soon washes away, replaced with the weight and suspense of everything he must accomplish in the next couple of days; a weight that never lets up.

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For a moment at school, I thought he was in trouble again, because I still can’t bring myself to fully trust Kenya, but again I was all but proven wrong for suspecting him of anything but the noblest of intentions. He’s simply a good enough friend to know when Satoru has completely changed.

When he asks Satoru “Who are you?”, Satoru gets to think out loud on purpose again: “A superhero.” He hopes to become one, anyway, but as far as Kenya’s concerned, he already is one, even if he doesn’t have the results yet.

I loved how Satoru’s plight is filtered through the prism of two kids talking about friends and heroes. It doesn’t feel like material that should be over the kids’ heads because we know Kenya isn’t your typical 10/11-year old, and Satoru is an adult.

Another tense scene was with Satoru at Yuuki’s place, where he probes Yuuki in preparation to give him an alibi, so that whatever happens, his life won’t be ruined by the events to come. What’s striking, and highly disturbing in its ambiguity, is Yuuki’s initial reaction to hearing that Kayo is in Satoru’s group of friends now.

This was the first time since siding with Satoru on Yuuki that I thought both of us might be being overly naive, and that Yuuki’s odd interest in Kayo could have been something going on for a while now.

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Regardless, Satoru takes Yuuki’s secondary reaction – one of joy – to mean he’s still good, so he proceeds to duck out on his birthday party to toss a rock through Yuuki’s dad’s window so that the cops will come, securing Yuuki’s alibi.

After that, Satoru spots Kayo’s mom, and seriously considers pushing her down a flight of steps to her death, but he’s stopped by Kenya, who has been following him. Kenya agreed to help him out, and he realizes he may have to get his hands dirty, but killing Kayo’s mom will only create new problems, and Satoru was too close to the situation to see that.

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From there, Satoru starts walking Kayo to her house as before, but this time, in another magical little back-and-forth, he announces his intent to “abduct” her, and she consents to let him. Satoru takes her to an abandoned bus hideout with a heater and blankets.

I understand the plan: simply keep Kayo out of the equation altogether; away from those who might kill her. But unless someone is with Kayo the entire time, it also looks like the perfect place to kill her where no one would notice. What makes it a great hideout also makes it a great grave.

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The first time she’s left alone, however, that doesn’t happen, allowing me to lower my guard just a little. She’s knitting away when Satoru calls on her, and they have a hot meal and fall asleep huddled together (something they’re embarrassed about upon being woken up by Kenya in the morning…they are kids, after all.)

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It worked for a day…but so did Satoru’s first plan. And that crushing weight I was talking about didn’t go away just because Satoru brought not just Kenya but Hiromi into the hideout. Kayo makes a neat little adjustment Satoru hadn’t though of: that she was the one who instigated all of this, thus absolving everyone involved of blame whatever may happen.

Rather than pick Satoru’s Joker, she takes an Ace to match her last card. She wins here, but the foreboding at this point is almost unbearable. I couldn’t help but wonder why the guy smirking under the umbrella in the present was so emotionally invested in Satoru’s downfall, or Yuuki’s bizarre reaction, or the ominous scenes of Yashiro noticing Kayo gone in class, then making a phone call in the faculty lounge.

It’s also just the seventh of twelve episodes, so it’s clearly not all smooth sailing form here. Sure enough, when an adult with a backpack pays a visit to the bus, not knocking the way Satoru would or saying a word, but just entering, Kayo under her blanket already looks like a body under a shroud, and the bus a cold, dark tomb.

Once again, the show mercilessly cuts to credits just before confirming that Kayo has in fact been lost to us once more. That leaves us simmering with a tiny shard of irrational hope for another week, knowing we know that hope is irrational, but not being able to let it go.

In reality, all I can realistically hope is that Satoru can engage revival and try again. Because if I put my heart aside and use my head, this isn’t going to go well for Kayo.

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