Prison School – 10

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What is that I see in Vice President Shiraki’s eyes, as she files Mari’s nails and then half-heartedly agrees that the school will be better off without the boys? Could it be a tinge of fondness for the five lads; a reverse-Stockholm syndrome, if you will? I don’t know, but I suspect her feelings are conflicted, at the very least. After all, if the boys are gone, who will be left to punish? Girls?

The council would certainly have some punitive measures in place for the likes of Chiyo, if they knew she was sneaking messages to Kiyoshi in his meals. By the way, why haven’t the two of them been doing this all along?

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In any case, the message she gets back is not from someone with any hope left, but someone saying goodbye and take care. The boys’ spirits are all but broken, and Gakuto is downright nuts, even faking out his buds with an absurd idea of sneaking themselves out with the meals like Chiyo’s note, and ordering fried grasshoppers for his “last meal” (a last meal that, by the way, seems to me like Meiko’s idea).

Meanwhile, Mari makes sure her father understands how things are going to go down, and to be ready to affix his seal on the necessary paperwork when the time comes. While it can be easy to deride Mari for exerting so much power while, at the end of the day, being beholden to daddy, it’s also a thankless position considering her dad’s abject inability to avoid exposing her to his latin butt fetish. He even kept the “mousepad” (a tremendous prop) while forgetting that glass is reflective.

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I don’t know if it was the taste of the grasshoppers or what, but Gakuto suddenly comes out of his psychosis, to the point he doesn’t remember ordering grasshoppers and rejects the dish outright. And yet, Meiko not only took that ridiculous order without batting an eye, she personally caught and fried the grasshoppers especially for Gakuto. This just isn’t someone in a big hurry to get rid of the guys. She’s someone who takes great pride in taking care of them, even so close to the end.

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And then there’s Prison School’s wild card, Hana, haunted by the feeling she’s forgotten something very important and impactful; something “that can’t be undone.” It’s only when the conditions of her last encounter with Kiyoshi are replicated that a switch flips in her head, and like Meiko, she doesn’t want the guys gone, but for a very different reason (so she can kill Kiyoshi, then herself).

But not so fast—just as a backlit Mari is smugly looking down on the boys as Meiko marches them up to the chairman’s office, the chairman is on his way down those same steps. Kiyoshi gave Meiko an appeal to give to him, but she tore it up. So what then, happened?

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Simple: the “appeal” was planted knowing Meiko would probably trash it. And that very obvious appeal would distract her from the fact Kiyoshi wrote the real appeal on his withdrawal form. And not just any appeal: a personal message to the chairman than he knows about his “buried treasure” out beyond the school walls. Once the chairman is in the prison, Kiyoshi quickly dismisses the notion that he intends to blackmail him; it was only to get him in the room.

Before he can consider postponing their expulsion to give them time to collect evidence of council malfeasance, the chairman has a very frank question: whether they prefer boobs or butts. Kiyoshi remembers the material he saw him with, and quickly states butts. But that’s not enough: the chairman wants to know why Butts.

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He makes a small origami sphinx out of Kiyoshi’s appeal just as Gakuto likens his riddle to that of the sphinx, about what has varying numbers of legs at different times (and the answer to which is “man”). As Meiko is eavesdropping, Hana tries to attack, but realizing the threat to the council a stabbed inmate would represent, she quickly neutralizes the Hana threat.

When Kiyoshi spots two round shapes from the window, he thinks it’s a butt at first, but it’s actually Meiko’s bust, the sight of which provides the spark to a response that will satisfy the chairman (who won’t hear any patronizing George Mallory-esque “because it’s there” BS). Boobs, Kiyoshi muses, only came about when mankind started standing upright, and no longer had the butts of those in front of them in their faces. Boobs are only a “pale imitation” of butts; butts are the original, accept no subsitutes.

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The discussion transcends its inherent dumbness with the pure seriousness and gravitas of its presentation, like so many other situations in Prison School (never before has shitting oneself in a computer lab seemed so goddamn noble before). As Kiyoshi get more and more worked up; as his idea takes a life of its own; he almost seems to become an “ass man” before our eyes in spite of his previous preference for the top bits. Performance or no, it’s more than enough to convince the chairman to give them one more day.

This outrages Mari, but the chairman, perhaps empowered by what he just witnessed, kindly points out to his daughter that he’s the boss, and he’s decided to postpone the expulsion one more day, and if she has a problem, tough. Like Chiyo, Anzu, and Meiko, he’d rather the male students not go, and wants to believe they can find a way out of their predicament.

Hana, meanwhile, is now a loose cannon consumed with a desire for revenge, even at (or perhaps especially) at the cost of her own life. She could represent Mari’s nuclear option, or contrarily, Kiyoshi and the others’ salvation. But like the lads, I’ll take that tiny strand of light as a sign things could still work out.

But guys, seriously: there’s no wet t-shirt contest. Meiko was just teasing!

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Akuma no Riddle – 06

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First and foremost, this was an efficient episode in which three assassins fell, leaving only five (excluding Tokaku) left with seven episodes remaining. But it also happened to be one of the show’s more intricate and affecting episodes, due to the use of the Romeo & Juliet play to serve as a mirror of sorts for the couple of Namatame Chitaru and Kirigaya Hitsugi.

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One of the most famous couples in literature is a very easy well to draw from, but its used effectively here. R&J were victims of their famile’s mutual hate, which is really another way of saying “bad luck”; Chitaru and Hitsugi are similar victims of bad luck, in that the Hitsugi just happened to be “Angel’s Trumpet”, the murderer of Chitaru’s mentor’s daughter, and someone she’d sworn to kill. Had Hitsugi’s victims been strangers to Chitaru, there’d be no reason to kill her.

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But she was, and Chitaru won’t abandon her mission. Still, after some nice swordplay between Tokaku and Chitaru, Hitsugi fesses up, and later forces Chitaru’s dagger into her own heart, killing her. We’ll never know if Chitaru would have actually killed the girl she loved; considering she promptly poisoned herself right after, I’d say probably not. In any case, it’s a suitably tragic end, and we were invested enough to feel bad about it and wish things could have turned out differently.

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It was a good move to combine two assassin’s backstories, though in Hitsugi’s case, we don’t know any more than Chitaru why she killed her mentor’s daughter. Maybe it doesn’t matter; it was a job, and it was the job that made them enemies, even though they loved each other. The short shrift goes to the play’s director, Shiena, who is poisoned by Hitsugi, hospitalized, and disqualified. I guess that saves the show the trouble of giving us her backstory.

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Stray Observations:

  • The reveal of Kirigaya as this week’s baddie is very well done in general.
  • I particularly liked the loud, foreboding music that accompanied the montage of otherwise innocuous candid photos.
  • The civilian students are never shown in color, which may well save cash, but also makes the assassins seem that much more vivid and beautiful.
  • I also approved of the crowd’s predictable swooning at the sight of Chitaru-as-Romeo. She was one debonair girl.
  • There’s just one thing that bothered me a bit: when Chitaru thinks Haru is Angel’s Trumpet and she and Tokaku go outside to duel, Haru was left unprotected, and Kirigaya was free to assassinate her right there. I guess she couldn’t do it in front of the civvies…or maybe clearing up Chitaru’s misunderstanding by telling her the truth was more important. In any case, “the show went on.”
  • We almost forgot to mention: both Romeo & Juliet’s and Chitaru & Hitsugi’s fates served as a kind of cautionary tale for Tokaku & Haru, past enemies themselves. You never know if something about Haru comes up that Tokaku just can’t forgive, or like Chitaru, possibly be able to forgive, but ending up killing her anyway.

Akuma no Riddle – 05

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This week’s riddle is “How do you get a bird out of its cage?” One thing Haru, Tokaku, and this week’s assassin Sagae Haruki share so far has been a sense of confinement due to circumstance. Haruki’s cage is poverty, and she has assassinated to put food on her large family’s table, and she’s promised they’ll be forever free from want if she kills Haru (even if she dies in the process).

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Tokaku’s cage is her name. Even though she never saw her father and her mother died right after she was born, the Azuma family has shaped her course in life and assigned her expectations. Haru’s cage has been built from the bones of those who died so that she could live. Haruki neither gets off on killing like Otoya, nor is she unsuited for killing like Kouko; she’s good at it, but it’s a means to free her family from its cage.

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Yet Haruki doesn’t seem altogether apathetic to Haru’s plight, nor Tokaku’s. She believes it to be a service and a kindness to free them too, but that suggest an inability to fathom that death is not the only way out of those cages. In Haru’s case, she considers it a solemn duty to always smile, be merry, and try to live as normal a life within that cage, honoring those who built it with their lives.

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By the same token, death isn’t the only way out of Tokaku’s cage either. She may be stuck with her name, but by choosing to subvert Class Black’s system by swearing to protect rather than assassinate Haru, Tokaku seems determined to survive in her cage her own way, while building a tunnel from her cage to Haru’s, connecting the two. Darmok and Jalad at Tanagra. I will stop using metaphors now.

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