Barakamon – 10

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Being the audience this week is tough, because only we know it’s Seishuu’s last day on the island. No one, not even Naru, sees it coming from the way he acts on that last day, and maybe that’s the point. After helping Naru’s grandpa build a wall, he attends the village festival with Naru and Hina, and seems committed to not spoiling the little time he has left with them.

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He does, in fact, try to tell everyone (everyone being Naru, Miwa, Tama, Naru, Hina, and Hiro), but it’s just when the awesome fireworks are about to begin. He can’t very well say it then, now can he? The reaction would be predictable, with Naru likely having a fit and running off, possibly into danger. All episode I was waiting for that kind of confrontation.

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But nothing of the kind came; in the end, Seishuu chose not to mar another happy, fun day with the villagers that just happens to be his last. Instead, he lives that day to the fullest, and doesn’t so much as betray a hint that he’s out of there the next day. He disappears from the island as quickly as he appeared, but his absence is sure to lead to despair.

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Part of me is afraid of the possibility that Seishuu always meant to leave suddenly ike this, like ripping a band-aid from a wound, and that his connection to the island was never as strong as it seemed; that he was merely here to figure out his calligraphy, and once he had, had no further reason to be there. For the record, I don’t think (or rather, don’t want to think) that’s true, but it’s hard not to think like that considering how suddenly he peaced out.

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Barakamon – 09

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Seishuu may have acclimated somewhat to his remote island village home, but that doesn’t change the fact that he’s a city boy, and there’s still a lot he has yet to experience. Case in point, when his gas-fueled bath heater packs it in, he must resort to foraging for twigs and building a fire in the old wood heater. The village chief makes the point that if Seishuu had a wife, she’d tend the fire for him.

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Seishuu has never bothered with romance, pouring everything he has into his art, reasonably certain he’ll die alone, but not necessarily happy about it. He emerges from the bath and is surprised to find Hiro in the kitchen making his food (his mom was busy). Hiro often seems more mature than Seishuu despite the fact the latter is older, and that’s exhibited when Seishuu tries to “out-prepare” a bowl of miso cucumber rice. Suffice it to say, Seishuu can’t cook…but he’s too proud to admit it.

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Next, Seishuu finds himself in the middle of deep-seeded island politics when Hina tells him Naru is being bullied by kids from the neighboring village. Seishuu and Hiro try their best to reason with, and later intimidate the little punks, but they’re at a distinct disadvantage in that said punks know the adults can’t really hit them, or they’ll be arrested. Turns out the punks are friends with Akki, who resolves the situation simply by passing by. If anything, this segment reminds me of the best strategy for dealing with combative kids: Don’t. Just avoid them if you can.

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Finally, with just over two weeks left until the Naruka Exhibition, Seishuu’s sparks of drawing inspiration in response to his new living situation have grown more infrequent, to the point where he questions the efficacy of simply waiting for inspiration to show up, even though that’s really the only way. After a day of playing Tarzan with the kids, he gets one in the form of a truly awesome sunset. He makes a move back for home, but slips and falls off a ledge.

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Reverting to full City Boy mode, being isolated, alone, and lost in the dark terrifies him, until he sees a glint in the grass and finds the key to his house Miwa had lost. Then he gets his second flash of inspiration of the day: a majestic star field. His resulting drawing, with white writing on a black background, is another fun, striking, inventive piece he never would’ve attempted before coming to the island. Which begs the question: what is said to him on the phone that makes him so quickly and easily agree to leave?

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