With a full slate of shows to follow this Spring, I needed Combatants to really knock one out of the park in its third week to justify keeping it around and…it just didn’t. It was a dull, dreary affair, full of sloppy character models, sketchy animation, unfunny comedy, and a cast that are rehashes of Konosuba characters, only less likeable. Agent Six it probably the show’s biggest misfire, as the show is well aware that he’s supposed to be an dishonorable bastard, but gives us zero reasons to want to watch him.
With far less exposition to dump on us, this week’s CWBD is an improvement, flowing much better structurally and focusing on its kooky characters, like the artificial combat chimera Rose and Grimm, archpriest of Zenarith, god of undeath and disaster.
While both are eccentric to say the least, Alice deems them two of the more powerful assets at their disposal. With their ultimate goal of defeating the Demon Lord in mind, they can’t be picky about personalities.
And just like KonoSuba, there’s nobody here whose personality you’d call “normal.” Alice comes closest, but she’s an android. Six continues to be a cad, racking up Evil Points. Rose is a timid glutton who has a sinister chuunibyou side. Grimm wants a man, and Six would seem to do. Grimm and Rose were both exploited by the military as frontline weapons.
The newly-formed party first tastes battle after harassing a demon lord army supply train, which distresses Snow because she wants more exciting frontline combat so she can affort to pay off her sword (the news she clawed her way to where she is from nothing makes her character more interesting).
Then two of the Demon Lord’s Elite Four arrive: the voluptuous Heine of the Flame (whose “cosplay” reminds Six of his comely bosses back home), and Gadalkand of the Earth, who straight up murders Grimm, just like that!
Even though his sole interaction with her was catching a glimpse of her thong, Six still wants to avenge Grimm, but Gadalkand and Heine both withdraw before he can fight them. Then he learns from Snow and Rose that due to her demon blood and position as Zenarith priest, she comes back to life no matter how many times she dies…which should prove quite handy!
While Six continues to be, for the most part, pretty scummy, he comes off far better this week, especially when he sits vigil over Grimm’s corpse in the temple of Zenarith. When she wakes up, she’s surprised he’s there because he didn’t want her to be lonely.
The episode closes on a sweet note, as Six orders her a spiffy new Kisaragi-brand wheelchair and the two go on an adorable date racing through the wastelands and breaking up couples in a village. This is still no KonoSuba, but I came away from this second episode feeling like it’s starting to find its own voice, and liking everyone just a little bit more.
With the director of Master Teaser Takagi-san (and this years excellent Those Snow White Notes!) and the creator of KonoSuba, you could say my hopes for this series were somewhat inflated from the get-go. So I regret to report that while this opening episode of Combatants Will Be Dispatched! was okay, it was not great. It didn’t come close to meeting those hopes.
We open with our (anti)hero Combat Agent Six meeting with two busty women in elaborate, skimpy fantasy cosplay and equally lofty names and titles. Everything is serious for the first few seconds as they inform Six of his mission to investigate an Earth-like planet. But then Six calls out Astaroth and Belial for their chuunibyou getup and dialogue.
While this knocking on the fourth wall is a common occurrence in KonoSuba, and it’s intriguing that Six’s two bosses have real Japanese names, his joking around felt premature and forced here, which can be said about a lot of the ensuing comedy. KonoSuba’s jokes based on Kazuma’s perviness and fish-out-of-water status was comparatively so natural and effortless.
It doesn’t help that right off the bat these characters are all some combination of generic, unlikeable, and inconsistent. Astaroth and Belial seem to be in a position of authority, yet Six apparently helped the two found the “Kisaragi Corporation” they all work for, and Astaroth even seems to be harboring a crush on him.
Why, then, does Six let the two women, along with generic “scientist girl” Lilith, boss him around by shoving him into a teleport tube to this random planet? Six is introduced to the “high spec pretty girl” android Alice and shoved in a teleport tube before there’s any satisfying explanation of what exactly is going on. The episode is waving its hands at us saying “just go with it,” but I’d have preferred something more solid to go with!
My initial theory, as Six and Alice are dispatched to the Earth-like world (appearing 30,000 meters above the surface) is that Astaroth, Belial, Lilith and Six are gamers in some kind of VR-RPG. That explains how they alternate between playing their roles as agents of universal domination and a group of regular human friends.
The remainder of the episode is all about Six landing in a vast ruddy alien wasteland, heading to a nearby city, and learning about his new android assistant. Alice’s primary feature is an apparently city-leveling self-destruct, which calls to mind KonoSuba’s Megumin’s all-or-nothing Explosion. Otherwise she’s just a little girl, and as such, when packs of dog-like beasts attack, it’s up to Six to defend them.
Alice also serves as a rather clumsy provider of exposition, explaining how Six amasses “Evil Points” by doing bad shit, which he can then spend on stuff by writing it on paper and scanning that paper with a gizmo on his wrist. While somewhat novel, it seems like a rather inefficient system. Also, while we know Six starts out with 300 Evil Points, we don’t learn how many he spends to put a shotgun in Alice’s arms.
The show seems to be full of decisions and details that force me to think about why those choices were made instead of just sitting back and enjoying the silliness. Alice just said she was physically just a little kid, yet we see her moments later wielding a shotgun without issue. And why just a plain-old shotgun? It’s a fantasy anime, why not come up with a more imaginative weapon?
After defeating the beasts, Six and Alice are approached by Snow, a female knight straight out of SAO. While initially both suspicious of the two but otherwise noble and dignified, Snow’s not-always-hidden “other side” is apparently extremely obsessed with recognition, money, and glory—in the same way Darkness is obsessed with being punished and ravaged.
Snow is also the personal knight for the Kingdom of Grace’s lovely Princess Tillis, and she’s apparently such a good bodyguard that she lets two total strangers—a highly-trained spy and his android assistant/bomb—into the same room with their weapons! Grace is also a land where real-world items like tanks are regarded as mysterious ancient artifacts.
One such artifact used to make it rain in the kingdom, but is malfunctioning. Alice shows her worth by fixing it, only for Six to insist on resetting the activation password to “Dick Festival”. He helpfully explains that making Princess Tillis say those words will net him Evil Points, and I can’t argue with him there.
The problem is, Tillis’ father, who I’ll call “King Santa” for now, would also have to say those words, so Six and Alice end up tied up. Even so, the King is grateful the artifact was repaired, and Tillis, citing her country’s desperate need for warriors to fight beasts, decides to make Six one of her knights. Snow is dubious, but Six reminds her she said she’d take “full responsibility” for whatever happened with the rain-making machine.
As a result, Snow essentially gets demoted to Sir Six’s XO in their interceptor group. Along with Alice, the three-person party has been set—I just wish I was more excited about it! Not helping matters is the fact that while overall the series looks fine, there are some glaring off-character model moments that are less excusable in a first episode whose job is to impress.
But mostly, Dispatched! is too similar to KonoSuba not to invite unfavorable comparisons to the older series, which not only aired first but crucially also aired at a time when I frankly had more of a stomach for Kazuma / Six / Rudy’s pervy antics. If I’m sick of Six’s schtick one episode in, it does not bode well for the future.
The next-episode preview is presented as a broadcast on a TV in Kisaragi Corp.’s break/club room as Astaroth, Belial and Lilith have tea and snacks, adding credence to my theory the “corporation” is more of a gaming club formed in high school. We’ll see if the show can redeem itself next week.
From the day her magical ability awoke in her when she was a little girl, Kohaku has been devoted to one goal: using magic to make people happy. You may recall that this goal has already been mentioned a few times in previous episodes. But is it folly—not to mention hubris—to believe you and you alone can make everyone happy?
Magic is all about balance: for everything taken, something must be given. Doesn’t it stand to reason, then, that there will be times when the same conditions that make Person A happy will render Person B the opposite? This episode is framed as Kohaku-centric, and doesn’t so much explore whether Kohaku should do something, but rather whether she can.
Now that everyone knows that Hitomi can’t see color, Kohaku has begun to believe that the condition is a kind of magic Hitomi cast on herself. And if a spell can be cast, it can be undone. Her resulting “experimentation” on Hitomi and Yuito is somewhat ham-fisted, and definitely insensitive of two very shy people who are simply going at their own glacial pace.
I don’t wish to pile of Kohaku her, since she first showed up she’s surpassed my expectations as a character. but I’m afraid the time I’ve feared has come, when the force of her personality, not to mention her magical power, conspire to almost completely eclipse Hitomi.
Despite not getting a clear answer on whether Hitomi will ever even want to return to her time (and let’s face it, Hitomi isn’t the best at clear answers), Kohaku works tirelessly to familiarize and master time magic, starting with restoring a wilted rose to a bud, in hopes of being ready to send Hitomi back when she’s ready to go back.
After a photo session, Asagi’s camera suddenly craps out, and Kohaku quickly casts a time spell on it, restoring it to working order. My first reaction to this was “wait, if you turned back time aren’t some or all the pictures she took now gone?”, but be it rose or camera, I couldn’t help but feel like she was messing with powers she shouldn’t be.
That fear is confirmed when the rose and camera die again shortly after her spells, which obviously doesn’t bode well for any other living subject of her magic. For the first time, we see a Kohaku who isn’t sure at all about what she should do and not sure how to to it.
Kohaku’s own grandmother, the voice of reason, tells her that her future self must have withheld the knowledge of how to send Hitomi back for a reason. If she’s meant to have that knowledge, it will come to her in time; she mustn’t unnaturally rush things, as when she tried to literally bring Hitomi and Yuito closer together.
But while Kohaku is rushing to give Hitomi an exit plan, Hitomi is perfectly content where she is, and wants to stay. In other words, Kohaku not using magic will make Hitomi happy, at least right now. So where does that leave Kohaku and her central goal? On indefinite standby, I imagine.
Eto, AKA The One-Eyed Owl, decides to join the fray on the rooftop, siccing Kanae on Sasaki, and the two combine to beat him up enough to send him into his head, where a young Kaneki Ken waits for him. I wonder if that was the whole point: for Eto to re-awaken the Ken in the Sasaki; to rid the Doves of one of their most durable weapons.
The Sasaki inside his mind comes to think of all the sweet dreams he’s had as a corrupting agent; deluding him into thinking “it’s okay to want.” He discards those dreams, and returns to reality with all of Ken’s power, but while seeming to remain Sasaki Haise. He dispatches Kanae, then attacks Shuu as an enemy, forcing Eto to intervene personally, her various puppets bested.
Back in the building, Shirazu summons previously unsummoned powers in order to create an opening for Urie to kill Noro, but in the process, Shirazu is mortally wounded and slowly dies in front of Urie, Mitsuki and Saiko, without doubt the toughest blow the young Quinx Squad has ever had to face.
Saiko can’t stop sobbing, but the loss might hurt Urie most of all…not to mention someone has to make sure Shirazu’s poor little sister is taken care of. Back on the rooftop, Sasaki fights Eto to a draw and forces her to retreat in pieces, leading her to confess her love for Kaneki Ken, who is honored, using her other name, Takatsuki-sensei. This is surely not the last we’ve seen of Eto.
The Sasaki Haise who emerges from the battle turns back into the model CCG investigator once his superior Ui arrives, claiming Shuu for himself while ceding Kanae to him. Sasaki throws Shuu off the building, but Kanae jumps off right behind him, revealing her true identity as Karen and confessing her love for Shuu before saving him from falling to his death at the cost of her own life.
The hardened Sasaki who meets back up with his Quinx Squad, now one man shorter, has no mercy for a crying Urie, blaming him for not being strong enough to keep Shirazu safe. With the loss of Shirazu and Sasaki’s transformative rooftop battle, the fun times are most certainly over. On the bright side, Shuu is still, somehow, alive, and is picked up by Tooka and Chie.
Needless to say, this felt less like an ending and more like a mid-season wrap-up, because Tokyo Ghoul re: will be back in the Fall. I’ll be sure to tune back in.
Tsukiyama’s underlings will do everything they can to keeping him alive as long as possible—no easy task when you have some of CCG’s finest after him. Having already lost so many people, Shuu all but begs Matsumae to make him a promise to come back alive along with Mairo, but she can’t keep it.
Kijima and Ihei await Matsumae and Mairo, while Shuu ends up encountering Sasaki on the rooftop helipad. Sasaki urges Shuu to surrender. Shuu doesn’t comply. He can’t. His life is no longer his own, if it ever was. Shuu has decided that honoring the sacrifices made in his name by living is more important than trying to wring Ken out of Sasaki Haise. So they fight.
It’s a bloody outing, as expected. The two new recruits Shimoguchi reluctantly accepted into his “cursed” squad are taken out by a masked Kanae; killed protecting him, who did nothing but shit-talk them till the end. Ihei is simply having fun fighting Matsumae…until she fails to mind her surroundings, slips on some blood, and gets run through.
Noro, one of Aogiri’s top ghouls, has also arrived, and the Quinx squad along with some others are unlucky enough to face his constantly-regenerating ponytailed ass. And get this: Saiko actually gets to demonstrate her power for once, rather than just stand there with her giant hammer waiting to be rescued (though she does that too, and her big attack has no effect on Noro).
Somewhat surprisingly, two of the most cocky and confident Doves in Ihei and Kijima meet most inauspicious and gruesome deaths; Ihei by a last minute suicide assist from Mairo; Kijima by his own chainsaw quinque, which happens to land right down the middle of his oddly-proportioned head. I wont miss either of them?
When everyone’s in deep shit and there’s seemingly no answer for Goro’s regenerating, Shirazu volunteers to cast away his fear and wield Nutcracker, but like Saiko’s kagune, it’s a lot of sound and fury signifying (and settling) nothing. Noro is simply blown into tiny pieces that are reformed into something even more grotesque and deadly.
Back up on the roof, the Eto-coached Kanae joins the fight, relieving Sasaki of his arm. Sasaki, for his part, was able to correctly predict every move Shuu made, though he didn’t dodge them. We learn that like Shuu is now, Kanae was once a girl, and the last living member of her family, but shed the gender of her birth in order to take on the Rosewald mantle.
But whether Sasaki, remembering Arima’s tough-love training, will show Kanae or Shuu any mercy is up for debate. And we have another ghoul incoming who will shift the momentum once more. But so far this is turning out to be a win for no one.
Eto confronts Kanae and proceeds to read them like the open book they are. She seems intent on changing Kanae’s fruitless course to make Shuu love them. Eto offers them an apple, or “fruit of knowledge”, in the form of one of her “bones.”
This will likely make Kanae more powerful and thus capable of taking away that “something precious” from Shuu—namely Sasaki Haise—in order to take their place as Shuu’s “precious person.” It’s also sure to come at a heavy cost: Kanae’s remaining humanity, sanity, et cetera. Like Rize and Ken, the deal seems a bit…Faustian.
We also learn the core of Shirazu’s hesitance to use Nutcracker. The final words of the first ghoul he killed echoed what his sister said, once what had been a mole under her eye turned into a life-changing growth: “I want to be pretty.” He’s in CCG and the Quinx Squad only to make enough money for her considerable care.
Fura comes upon him, and relays to him the commonality of investigators having trouble with quinques from their first kills. He says it’s perfectly normal, and even healthy, as someone who felt nothing for taking another life is probably not a great way to start one’s CCG career.
As we’ve seen, the opinions on morality vis-a-vis ghouls within the organization run the gamut from “ghouls are people” to “ghouls are targets to be eliminated.” Shirazu would seem to be oriented more towards the former; S1 investigators Ui and Ihei the latter.
As Haise deals with his worsening identity crisis, he continues to do his job, wanting both himself and Quinx to be useful to S1 in the operation to take down Rose. To that end, Ui allows him and Quinx to don the masks Uta made them (or in Haise’s case, made for Ken) and mingle with the ghouls for intel.
They learn that all the ghouls on the street are uneasy, guarded, distrustful of newcomers, and in Haise’s case, deathly afraid of his mask, which is that of the “Eyepatch Ghoul.” He learns the name “Kotarou Amon”, then meets with Shuu, wanting to learn more about Kaneki Ken so that he can accept him.
But despite having been restored to health by Haise, Shuu has no idea what to tell him about Ken, and ends up running away. Besides, his hands are full; his servant Yuma is still being held by Kijima. In a sickeningly brutal scene that shows where on the spectrum Kijima falls, he executes an already brutally tortured Yuma.
As Ui receives permission from CCG Chairman Washu to implement the Tsukiyama Family Eradication plan (with S2 head Washu breathing down his neck), Haise searches the archives for more info on Kotarou Amon and the Eyepatch Ghoul, fearing that in reality he was the latter and murdered the former. Akira draws him into a hug, comforting him without confirming any of his (correct) assumptions.
That night, Shuu’s Papa Mirumo gives him a cup of coffee, which makes him pass out instantly. The Doves surround the mansion, and Mirumo greets them in the grand foyer, claiming he does not intend to fight or resist, but only asks that he and his family be left alone and allowed to live out their lives as people, as they have done. Ui isn’t having it.
When Shuu wakes up, his world has been inverted. He’s in a car, being driven by Matsumae at top speed away from the mansion, where Papa and all the other servants are making a stand for Shuu’s sake. Shuu wants to go back; Matsumae won’t comply. It’s imperative Shuu survive.
They arrive at the headquarters of one of the Tsukiyama Group’s many subsidiaries, where an army of Ghouls loyal to Shuu’s Papa stand ready to fight to the last man to keep him safe. All Shuu can do is admire the greatness that inspired such loyalty, greatness he likely doubts he himself possesses.
The three Tsukiyama veterans in charge of the defense get prepare for what may be their final night alive, as a smug-as-hell Ihei orders the commencement of the extermination operation.
As the aggressors in this latest conflict, led by those who made the decision long ago that Ghouls are not to be empathized with or shown mercy, the Doves definitely felt like the Bad Guys this week—which means Haise and our Quinx Squad are fighting on the wrong side.
Tsukiyama Shuu……is BACK, YA’LL! He knows Kaneki Ken when he sees him…and “Sasaki Haise” IS Kaneki Ken and Shuu will have him. He’ll chase him round the Moons of Nibia and round the Antares Maelstrom and round Perdition’s flames before he gives him up!
Even if he doesn’t know who he is. That means striding right up to the pack of young Doves that surrounds him…and having to be scooped up and whisked away by Kanae. No matter; it’s great to see the Gourmet has his appetite and vigor back…all thanks to Hori Chie (Kanae seemed particularly clueless about how to quell their master’s slump).
The Quinx are in that ward because Kan…er, Sasaki wants to have them all fitted for masks at Uta’s shop, so they can infiltrate ghouls. Uta is glad to be of service, and has a high opinion of every Quinx member. Kori officially denies Sasaki’s request to go forward on such a plan, but cannot deny it’s a good idea considering how similar the Quinx are to Ghouls.
Meanwhile, creepy-looking Kijima has released a gruesome video of him torturing a member of Shuu’s household staff, presumably out securing food for him. Kijima is dangling his captive as bait, no doubt hoping to snag more important Ghouls. Not the most pleasant methods!
Within a day or so, Shuu’s Kaneki-fueled recovery is complete. The kid’s alive, and so he can keep on living. The hard part will be to get someone who’s forgotten who they are to remember who he is.
Shuu arranges for a number of “chance encounters”, but if we’re generous, he’s basically just stalking Sasaki, and coming to the same roadblock every time: the pesky Quinx kids that keep him from being alone with Kaneki.
Kanae hires a team from Aogiri Tree, including Torso, to eliminate the Quinx Squad so her master can have what he wants (Kanae also gives Shuu a second photo, at which point a much more lucid Shuu realizes his little friend Hori is supplying the pics for his benefit).
Quinx ends up scattered, with Sasaki taking on the bulk of the Ghouls in a parking lot; Tooru and Saiko go one way, while Urie and Shirazu go another. Among the mercs is the “Grave Robber”, who is a fan of burgundy nail polish and, presumably, stealing quinques from the Doves she’s killed.
When up against Kanae, Shirazu’s kagune is damaged and he has to use Nutcracker…but he just can’t. He’s still not okay with how things went down, and especially not okay with using what amounts to her corpse as a weapon. Luckily, a stronger Urie is up to the task of forcing Kanae to retreat, and then intervenes in the battle between Tooru and Grave Robber.
Saiko, who was told to hide, is found by…someone, who proceeds to try to choke her out until she’s saved by…someone else. So many new (or old?) faces to keep up with! Her vague description of her savior causes Sasaki stare into space thoughtfully, as Eto, who we know wants Kaneki to get his memories back, perches atop a building not far away.
It’s always more complicated than “good” and “evil” in Tokyo Ghoul; there are plenty sympathetic ghouls and detestable doves, and everything in between. Somewhere on that spectrum lies Kanae, a ghoul who became the ward and attendant of Tsukiyama Shuu.
Shuu taught Kanae to live proudly “like a rose” and never cry alone. But with Shuu withering away, Kanae is worried about being left alone (again). Enter Hori Chie, who may have just the thing to save her friend Shuu’s life.
Meanwhile, not all is ducky at Aogiri Tree, as Ayato’s request to retrieve Hinami from Cochlea is denied by Tatara. Tatara decides they’ll simply have to replace her with someone else, but that doesn’t sit well with Ayato, who has an emotional bond with Hinami and feels responsible for her being caught. Haise tells Hinami that he can’t be Kaneki Ken…but is he sure he has a choice in the matter?
Back at Casa de Tsukiyama, Chie hands Kanae an envelope that contains something that will help Shuu, then goes on her way. She’s very nearly apprehended by CCG for suspected aiding of ghouls, but demonstrates her talent for elusiveness, as well as her stalwart vow to have as much fun in life as she can before dying.
At CCG, Shirazu receives his new quinque derived from Nutcracker…and he can’t handle it. He still has nightmares about how she said all she wanted was to be beautiful. Quinx hooks up with the elite S1 Squad to take care of a group called “Rose.” S1 is led by Special Class Investigator Ui Koori and his pink-haired partner Ihei Hairu.
That creepy-ass dude Kijira Shiki is also there, looking more like the bad guy in some Lerche anime. Saiko, who didn’t have breakfast and is flagging fast, insists that she, Shirazu, and Kuroiwa stop at a bakery for sustenance; one of the bakers there knows Kuroiwa from way back.
S1 corners a squad from Rose, and we see Hairu in action; Urie may think her an “airhead”, but she knows what she’s doing when it comes to fighting ghouls. However, only one of the three is captured; one returns to base to have her injuries treated, and she’s visited by Kanae.
Later, Kanae shows Shuu the item Chie provided: a photo of Sasaki Haise. Seemingly able to discern that there’s something (or rather someone) verrry familiar about the guy, Shuu, demonstrating admirable restraint and calm, asks Kanae to be shown more of this Sasaki Haise guy.
It’s just not right that Shuu should stay in such a state; I’d love to see the guy return to his former vitality. At any rate, whether you’re a ghoul, a dove, or one of the people in between just trying to survive and thrive, the work is never done.
Last week’s TZX left us hanging, with apocalypse apparently upon Ladylake, but this episode made no attempt to arrest that suspense in any way. Indeed, this week’s story may well have been in another world than the adventures of Sorey, Alisha & Co., but I didn’t mind, because it was so goddamn awesome.
TZX has proven adept at embellishing simple scenarios with its imposingly gorgeous production values, and does not stray from that M.O. here. This is a simple prison break for the episode’s protagonist, Velvet Crowe. But it’s a prison break given great weight by how it’s presented and more importantly, why she’s breaking out.
Trapped in the lowest dungeon for three years fighting and absorbing daemons into her left arm, Velvet receives a sudden visit from an unlikely ally: Seres, a former(?) Malak of her nemesis, Artorius. I loved how Seres would land softly on her feet no matter how hard Velvet tossed her.
Once they’ve climbed out of her vast cell, Velvet and Seres immediately face a group of exorcists, and Velvet demonstrates the results of all that daemon-eating by taking them all out herself.
The duo reaches a storeroom where Velvet dons her sexy, elaborate armored pirate outfit and finds a gigantic Tempest Blade. Shortly thereafter, the blade’s owner shows up, also breaking out of jail. Velvet claims finders-keepers, but will give the guy his blade back if he joins the party; he agrees, and the duo becomes a trio. There’s a great satisfaction in watching Velvet clear each hurdle and build a party that will facilitate her escape.
Rather than fight wave after wave of exorcists with no distractions, Velvet has Seres open up all the cells, and the prison becomes a chaotic battleground between the escaped daemons and exorcists, allowing Velvet to reach the top of the tower.
There’s a definite tinge of “badness” to Velvet and her party that’s not present with the innocent goody-two-shoes nature of Alisha, Sorey, and Mikleo. These guys, particularly Velvet, have been through some shit, and they’re going to do whatever it takes to survive, even if it means a big collateral body count.
TZX also breaks out its “dramatic vista unfolding” to show us how isolated the prison tower is, upon a rocky island surrounded by ocean. Velvet isn’t going to let a steep drop stop her, and she uses her daemon claw to slow her descent. Rather than a pancake, she survives the drop with a dislocated shoulder she nonchalanetly pops back into place, and which Seres (who teleports down) quickly heals.
So…they’re out of the prison. But how to get off the island? As fortune would have it, a ship is approaching, and it would seem that Velvet’s nemesis is aboard, meaning a huge confrontation is imminent. And thanks to the game-like previews, we learn that we won’t be switching immediately back to Sorey’s story next week. I haven’t mentioned those previews yet, but I like them, because they allow the characters to take a breather and let their hair down a bit.
And despite Velvet looking for all the world like a tortured villain, the fact she’s seeking revenge for a guy who killed a kid to become stronger (and is now considered a savior) is all we need to know her heart is in the right place: seeking to avenge the innocent and week from those whose heads have grown too big to do the same. And as a quick look at her Wiki indicates, she’s the heroine of Berseria.
Sorey wakes up, ReZero-style, in an ornate room, with Lailah and Mikleo by his bedside and a relieved Alisha not far behind. Wanting to provide more than a simple thank you for taking on the mantle of Shepherd, she provides him with some dope Shepherd threads. Now the hero looks the part.
What continues to be an refreshing twist on the RPG party-gathering is that Alisha can’t see or hear two of the party members. But she does believe, and her faith is affirmed when Lailah sets it up so Sorey, blocking his senses and holding his breath, can serve as a conduit through which she and Mikleo can speak to Alisha, and she an hear them. I loved how her eyes sparkled at this revelation.
From there, after a brief tour of Ladylake (where everyone has raised flags of the Shepherd in celebration of his rise) Alisha splits off from the other three, to meet with the council and refuse Lord Bartlow’s demand she “hand over” Sorey to them.
Surely she suspects the not-so-good lord had a part in the hiring of that assassin last week, even if there’s no proof. Meanwhile, Sorey, Lailah and Mikleo go down a Zelda-style staircase into a dungeon, towards the source of a large amount of nausea-inducing malevolence.
There, they encounter a swarm of bats who have turned into hellions, which coalesce into one giant bat that serves as a miniboss. The enemy is frightening, but the battle goes relatively easily for Sorey thanks to backup from his fire-and-ice-aligned Seraphim comrades.
Lailah also shows him that now that they’ve contracted, she can turn into a ball of light and retreat into his body when not needed, and also tells him he’ll be contracting with more Seraphim before long. It’s crucial for him to travel the world in order to gain wisdom and strength to fight the big bad: the Balrogesque Lord of Calamity.
After discovering a charnel house filled with malevolence-filled bones of defeated rebels, things get a little more hairy, as malevolence starts to seethe from beneath their feet, blowing bits of the dungeon floor into the air, creating action-RPG-style obstacles to avoid.
When they surface, a great dread storm has arrived in the city, complete with a massive swirling twister. Surely the Lord of Calamity hasn’t already arrived? Whether it is or not, it looks like a pretty bad situation.
Sorey will have to hold close to his comrades absent the wisdom and strength he has yet to amass, while Alisha must deal with both political and existential threats to her monarchy.
Three episodes in (four if you count the prologue) and we still only know three of the eight party members in the OP, so the show largely skips past Sorey and Mikleo’s journey to the point where they’re at Ladylake’s gates, meeting the fourth (future) member. She’s got rosy hair, so I’ll call her Rose for now.
Were it not for Rose, Sorey wouldn’t be able to enter the city. That being said, Mikleo doesn’t do well around so many humans, who excrete a miasma of malevalence due to the worries about a war between Hyland and neighboring Rolance.
Princess Alisha’s non-aggressive stance, refusing to launch a preemptive strike, is only intensified by her experience in Elysia, where she say her dream of mankind (well, one man) coexisting with the Seraphim. Also, the hellion is also in Ladylake, though apparently not to kill Alisha, only to observe.
The rest of the episode takes place within the confines of a kind of great temple to the sacred blade, which is stuck in a rock smack dab in the center. No pun intended, the relatively close quarters prove a double-edged sword, compared to the more exciting hellion chase last week or earlier this week on Ladylake’s rooftops.
It’s good that things are so compressed in this one room, because it ups the tension. There’s also the sense that the assassin hired by frustrated warmonger Lord Bartlow is closing in and tightening the noose on Alisha.
Of course, there’s no mistaking Komatsu Mikako’s wonderful voice, so it was clear the moment the female assassin started talking that she was Rose, the girl Sorey met. The episode isn’t coy about this, also showing her piercing blue eyes a small glimpse of her rosy hair under the helmet.
Sorey and Mikleo learn that the Lady of the Lake is a Seraphim who dwells right beside the sacred blade, though no one can see her but them. After Alisha delivers a speech that goes over with the crowd about as well as Ted Cruz’s at the RNC last week, the Malevalence coalesces into a giant hellion in dragon form, at about the same time Rose attacks Alisha.
Suddenly the vast interior of the temple feels like a suffocating braizer in which Alisha is fighting for her live against a very skilled opponent (who uses a very different style than a knight would) and a boss none of the people can fully see causing a right ol’ ruckus.
Of course, we know what has to happen here: Sorey must take grasp the sacred blade, form a contract with the lady (named Lailah), and pull it out of the stone. Sorey becomes Lailah’s vessel, transforming him into a dazzling dandy of a hero to slay the dragon with the blade.
The dragon is slain, and the assassin withdraws, but Sorey has been warned: being the Shepherd will be an exhausting, alienating, thankless, lonely job. I’m not so sure about that last bit, especially after seeing that ED featuring Sorey hanging out with Alisha, Rose, Mikleo, and the rest of the party he has yet to assemble.
So far, each episode has set out to progress Sorey’s story by a notch, and has so far succeeded. Alisha’s prologue set the stage. Then Sorey and Mikleo met Alisha. Then Alisha invited Sorey to Ladylake, where he met Lailah and became the Shepherd.
It’s a brisk, efficient pace that manages not to feel too hurried or contrived. The addition of Komatsu Mikako to an already strong voice cast is always welcome. And, as expected, ufotable’s visuals and music continue to be beyond reproach.