Kakegurui – 06

Following her stunning victory, Mary is approached by her former entourage, who offer a half-hearted apology…that she accepts, and things are back to the way they were before she became a Miké.

She doesn’t seem to hold a grudge for how they treated her; written or unwritten, they abided by the rules and traditions of the school with regard to treatment of livestock.

But they also revealed something about the school’s enrollment: one need not be in debt to be livestock. These three girls aren’t technically Mikés, but they are another kind of livestock: they never lead; they only follow, even unto the slaughterhouse.

Momobami and the council seem interested only in those who break out of that mold; in someone like Yumeko, who has yet to pay her debts and be relieved of Livestock status even though she has the funds…and like Mary, the “girl who became a human.”

No one truly knows why Yumeko maintains her Miké status, but it’s assumed its so she can challenge the council to another offical match, and it’s assumed the one she wants to gamble with the most is the president, Momobami Kirari. But she doesn’t get Momobami; not this time.

Instead, she’s intercepted and arrested by the council member she’ll have to play with first in order to get to Momobami; Beautification Committee chairman (and noted gun nut and lunatic) Ikishima Midari.

Midari has her stylish gal-goons take Yumeko (and Ryouta) to a dank interrogation chamber in the bowels of the school, where they’ll play an “ESP card game” in which they guess which cards will be drawn in the adjacent room. Each correct guess means a point, and the person with the most points gets to fire one of two .357 Magnum revolvers loaded with anywhere from zero to six bullets.

Knowing what we know about Midari, it’s a very Midari game (what with the large amount of pure chance involved), and if Yumeko is worried, she doesn’t let on, keeping her calm, cool face throughout. However, Midari also sees in Yumeko a slightly more buttoned-up version of herself: a pervert who gets off on gambling to fulfill her appetites.

Making Ryouta deal the cards that he believes will determine the fate of two women is a great exercise to toughen him up (or just make him a nervous wreck), while Midari agrees that if she loses, she’ll pay Yumeko a cool billion yen ($9 million).

Following a fairly routine pattern in this show, Yumeko loses the first of three rounds by one point, giving Midari the first shot. Since she fully loaded her pistol, Midari has at least a 50-50 chance of shooting her. If Yumeko loaded any bullets into hers, the odds are better. Of course, either of the guns could backfire, which could be why Yumeko warns Midari not to fire when the time comes.

Yumeko always seems to gamble like her life (and certainly her enjoyment) is on the line, so as theatrical and wild as Midari is, this is simply a more raw and concentrated version of the feeling Yumeko craves. I forsee both parties coming away from this not only alive, but…satisfied.

As for Mary, she’s the one intercepted by President Momobami, who doesn’t mince words over tea: she wants Mary to join the council. Clearly, she sees potential in her. Mary may not be as nuts as Yumeko, but she’s definitely going places.

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Koufuku Graffiti – 03

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This week’s warm open (calling it ‘cold’ wouldn’t do it justice) is a three-way: with Shiina joining Ryou and Kirin in gastronomic bliss over some particularly delectable-looking omelettes designed to flow over rice just so. I’m already hungry.

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After the credits, it is now April, Ryou is in ninth grade, and her parents have just sent her a 5kg bag of rice and a note telling her to study hard, among other things. Ryou is fired up about both written and practical exams…

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…But when it’s time for the practical, she sees ingredients displayed for the still life motif and she can’t help but draw a dish that encompasses those ingredients, rather than drawing what’s actually there. It’s a pretty bizarre screw-up, but one that was apparently impossible to avoid, what with the way food makes Ryou’s mind work. It’s not enough just to draw them; she has to draw their potential.

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That compulsion gets her third in her class…from the bottom, and generally ruins her day. Not to worry: Kirin springs into action, grabbing the bamboo shoots from class and grabbing Shiina to accompany her to Ryou’s so she can cook them food, and they can eat it and cheer her up.

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The bamboo blanched in water and rice bran then added to rice, looks absolutely outstanding, and the taste and texture are so spot-on, it changes Shiina’s very character design! By the time the meal is over, it’s late, so Ryou invites Shiina to stay over, and the usually possessive Kirin has no objection.

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The next morning, after watching a show they all love in which omelette rice play a large role, Kirin and Shiina run out to grab ingredients so Ryou can make some. And make some she does: omelette rice a half-dozen ways, all of them positively mouth-watering. I for one love using leftover Golden Curry rice to make mine, though I’ve yet to find a ketchup bottle that allows for precision writing.

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Ryou is an old hand at these omelettes. Her holy grail is the soft-cooked one, which is solid on the outside, but when sliced down the middle, runs down the sides of the rice mound and covers the rice. Many failed attempts dozens of eggs, and many grams of cholesterol later, she finally succeeds, leading to the warm-open triple foodgasm up top. Most importantly for Kirin, Ryou is fully cheered up.

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When Ryou takes stock of her rice supply—lowered a surprising amount, but all for a good cause—she notices her parents’ letter doesn’t just tell her to study, but to make good friends, too. She’d already made one in Kirin; now Shiina makes two. Kirin has also warmed to Shiina…though she’s not about to let her and Ryou “cheat” on her by going out for cake without her!

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Koufuku Graffiti – 02

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Two episodes in, and KG is definitely my cup of tea…and my tamagoyaki, and my grilled squid, and my corn on the cob…and my Russian Roulette sandwiches. This week is bursting with gorgeous sights, smells, and tastes, but while last week Ryou learned that her food tastes infinitely better when she shares it with someone, this week the food is a medium for Ryou and Kirin to learn more about each other and grow closer as both family and friends.

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Like last week, the joy is all in the delectable culinary details. Ryou carefully, lovingly prepares lunches for the sakura festival (damn, I wish it was Spring already), and Kirin contributes her own bento: one that at first seems to be a pure white void, but then the seams of delicious-looking sandwiches become visible. The fact that Kirin’s mom helped her shows that the two have made up, in part thanks to Ryou’s hot pot recipe.

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Food doesn’t just taste better depending on the company you keep, but the environs. And what better place to eat than in a city park exploding with cherry blossoms?

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Kirin meets Ryou’s Aunt Akira for the first time, and while she’s initially shy, Akira’s wild, laid-back, but friendly demeanor puts her at ease. However, Ryou is a bit cross that Akira brought plenty of Asahi Super Dry for herself, but contributed no food. Akira makes up for it by presenting the girls with cash and sending them out into the fair.

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It turns out to be the first real fair Kirin’s ever been too, and thus encounters several different and wonderful fair treats for the first time. Ryou tells Kirin she used to look forward to Spring like no other because she got to enjoy a picnic with her mom, dad, grandma, and Akira. Now only Akira is here…and Kirin.  It may not be exactly the same, but it’s still good.

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We formally meet Ryou and Kirin’s fellow cram schooler Shiina (Komatsu Mikako), who has come to the festival with very clear goals in mind: “sketch it all (including drunk salarymen) and eat it all”. Her encounter is marked by a classic slo-mo Shaft Head-Tilt™, followed by an impatient Akira doing the same thing in short succession.

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Kirin, exhibiting a child’s weariness to strangers to match her small stature, seems to see Shiina as a rival for Ryou’s affection, but more than anything she’s envious that Shiina knows a side of Ryou (the super-focused side she shows in class) she doesn’t. Shiina apologizes for assuming she’s a grade-schooler with a candy apple—a somewhat juvenile food—but the thought is what counts, and though she may not know it yet, Kirin has made another friend just like that.

Back at the picnic blanket, Akira jumped the gun and paid dearly, having gotten the sandwich with gobs of hot mustard; Kirin’s mom’s contribution to the meal.

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Ryou and Kirin return, and a three-way FOODGASM ensues, complete with very specific food sound effects, extreme close-ups, and precise yet flowery descriptions of the mouth-watering food being scarfed down. I wanted to jump into the TV and scoop of a dollop of that cold, crisp potato salad, or crunch into that perfectly-charred corn.

At this point I feel I point out I make a clear distinction between highly enthusiastic consumption of food and any potential sexual acts either the act of eating or description of the food might conjure. KG dances on the edge with these fetishy sequences, but never crosses the line into ‘ew, gross’ territory, IMO. Don’t be like George Costanza: There is sex, and there is food. This is food.

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When the two set up another blanket under the blooming cherry tree outside Ryou’s place so Kirin can sketch, Ryou surprises her with the steamy, sweet and fluffy tamagoyaki we saw her enjoying in the cold open, it’s obvious that food is far more than just sustenance for the body. It’s also the mortar used to build the friendship blooming between two sweet, formerly lonely souls in Ryou and Kirin.

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P.S.: I’m really digging the Alice in Wonderland-themed OP, with Ryou as the White Rabbit and Kirin as Alice following her down the culinary rabbit hole. The stirring opening theme, “The 5 Ways I Know to Become Happy”, is structurally and thematically similar to “No Need for Promises”, the theme of Escaflowne (one of my favorites). As it happens, both are passionately performed by Sakamoto Maaya, more than eighteen years apart.

Mirai Nikki – 11

Detective Kurusu wants to become God so he can save hi son You’s life. To that end, he brings Yuki and Yuno in for interrogation, and activates Yuno’s “Protection Mode” to bait her and Yuki into committing a crime. This way he can track them with his investigation diary. Yuki and Yuno escape after shooting several cops and become fugitives. They follow Kurusu’s wife to a hospital where Uryuu is waiting for them, and proposes the three of them form an alliance, using the Fourth’s wife and son as their trump card.

Yuki’s snappy-dressing psychopathic girlfriend proves beyond a doubt that she is his guardian, and it isn’t even her choice. Anytime he’s in danger – real or percieved (and her perception is pretty wide) her eyes go dull and she goes full commando (and no, I’m not referring to the scene where she has to pee in front of Yuki, though when you’re fugitives, that’s the kind of thing you have to do). Kurusu was even able to manipulate her nature in order to get her and Yuki in deep trouble. We really like how utterly crazy Yuno is, but we’re starting to not envy Yuki.

We’re not quite sure why he had to shoot a cop, but we’ll chalk it up to panic, which is never in short supply with the young whelp. As for Uryuu, well, considering what’s going on and what she plans, she provides a surprising amount of levity to the episode, when everyone is bickering at once about who’s betraying whom. This show remains unapologetically ridiculous and over-the-top, but also doesn’t take itself too seriously.


Rating: 3