TONIKAWA: Over the Moon For You – 03 – Not Your Usual Bath Episode

Tsukasa is impressed to find Nasa has a fully-stocked fridge, but her opinion goes down a peg when she learns he cooks only for optimal nutrition and minimal waste, and after exhaustive research determined the only thing he should ever make is hot pot!

She remedies that monotony by using the same ingredients to whip up an eclectic feast that shows her hubby that cooking can and should be as much art as science. Nasa even references Food Wars while watching his wife work her culinary magic!


After breakfast, it’s time to hit the bathhouse, but Nasa’s taste in toiletries (i.e. the bare necessities) again fall short, necessitating a quick stop to the store for skin toner, serum, and lotion. Nasa is amazed at the complexity of a woman’s skin grooming routine, as it explains both why her skin is so beautiful and why she smells so nice.

The extra characters dam finally opens this week as we’re introduced first to Kaname, who despite being a year younger than Tsukasa practically runs the family bathhouse with her sister (who is Nasa’s age). Naturally, someone who’s known Nasa for years is shocked that he’s suddenly married, but even more upset that he hasn’t properly proposed, or bought Tsukasa a ring, or planned a ceremony!

When Nasa brings up the fact all of those things are wasteful and inefficient, Kaname, wise beyond her years, responds that’s irrelevant. No one will hold him to account if he doesn’t make those gestures, but he still has a primary responsibility to make his wife happy however he can.

Nasa assures Kaname he’ll do just that, because, and he proclaims this loud enough for all to hear, he loves Tsukasa. She comes back to grab the toiletries from him just as he’s saying this, and while she tells him it’s embarrassing, it also makes her happy. Her delivery and face are enough to make both Nasa and Kaname blush!

Once in the bath, Nasa is soon further teasted by Kaname, who for some reason has to clean the part of the bath where he is. She overheard his childhish monologue about this being a “bath episode”, but thankfully that’s not what he or we get. Sure, Kaname gets a good look at Nasa, but that’s nothing new; they go way back.

While there are subtle shots of legs and cleavage, the fan service is kept to a minimum, and instead Tsukasa is introduced to Kaname’s older sister Aya, who is gorgeous but easily mistaken and confused, and has a low opinion of herself, as she repeatedly promises to kill herself for walking in on Tsukasa’s bath.

She ultimately offers to make up for it by washing Tsukasa’s back, during which time she likens her skin to “silk” before questioning why the secretion of a worm is appropriate compliment, then goes too far in the other direction by saying her skin is like “an IPhone X,” which I’ll just say is a really good joke!

Nasa dreams of when he was laid out on the pavement bleeding to death in the cold when he suddenly wakes up in a massage chair to the cold feeling of a bottle of milk on his cheek, put there by his wife. Then Tsukasa watches Nasa and Aya interact, and witnesses the blatantly easy chemistry and bonhomie between the two.

Aya, for her part, isn’t aware they’re married; she just knows they’re “family”, but Tsukasa understandably gets a little self-conscious, as despite her quirks Aya is a true beauty. When she mentions Aya’s looks, Nasa proceeds to gush about Aya. He noticed the change in mood, which he chalks up to the fact he and Tsukasa just walked past a church where a wedding is taking place.

Because of this, when Tsukasa comes right out and says it would be nice if “he called her pretty”, he mistakes it as being in the context of being a bridge in a wedding gown at a ceremony. That means Tsukasa doesn’t understand his response—that he needs to think about it, and even runs off to do some research and “make the impossible possible!”

It’s the first misunderstanding between the two, and yet nothing that should cause bad vibes going into next week. Instead, there will be bigger fish to fry, as a straw-blonde girl in a huge limo has found Tsukasa, someone she’s apparently been seeking. Marriage is all about balance, so after Tsukasa met Nasa’s people it’s only fair for him to meet Tsukasa’s!

Rating: 4/5 Stars

Tower of God – 13 (Fin) – Just Climb, Baby

“‘Be sure to drink your Ovaltine’. Ovaltine?! A crummy commercial?! Son of a bitch!”—Ralphie, A Christmas Story

I thought of that quote from a movie I watched a ton growing up when I watched this finale, because over and over I’d heard that this adaptation was nothing but a pale shadow of/introduction to the sprawling webtoon, something I’d never seen, and was more of a commercial than a product in its own right.

Don’t get me wrong: both Ralphie and I should have known that at the end of the day anime—like radio—is a business. Unless it’s original content, part of its raison d’etre is to sell its source material, be it a manga/manhwa, novel, or game. Much like Bam, I can’t say Tower of God “tricked” me into watching it only for it to be a glorified prologue. Like Rachel’s attitude towards Bam, its true nature was always apparent.

But I only watch anime for anime’s sake. Any product that tries to steer me towards something that isn’t anime is never going to succeed. I watched Tower of God simply for the characters it introduced, the story that was told, and the setting in the title…which, it turns out, we never really got to see. There was never any actual climbing…that doesn’t begin until the very end.

Up top you see Rachel’s look of relief as she says “Finally,” her long ordeal with Bam is over (at least for now). One mark against this finale is how little new content it contains; much of it is a recap of past events with Rachel’s narration providing fresh context, right up to when she shoves Bam out of the bubble and to his apparent death.

We start with Rachel arriving at the base of the Tower, meeting Headon, and being told she’s too weak to climb it. But she’s eventually able to convince both him and Hansung Yu to let her make the attempt anyway, but only if she completes a special test: She must kill Bam. They even provide her with a Rak-sized bodyguard, as well as guidance from the redhead Hwaryun.

In Rachel’s mind, what she must do is never in dispute, so much of her ordeal throughout the training sessions is convincing her body to respond to her mind’s intentions. Climbing the Tower and becoming a star, not just seeing them, is her primary objective, and Bam is an obstacle.

She watches and stews with envy and resetment as he gains everything she wants with hardly any effort: an amazing weapon, a tight-knit circle of loyal friends who believe in him, the ability to summon and manipulate shinsu at an elite level.

But finally, the incident with Hoh puts her in a position to get rid of Bam, but tying him to her more closely than ever. Bam was never going to abandon her not matter how badly she treated him, so when she loses the ability to walk, he offers to stay by her side and be her legs.

Throughout all of this, Rachel has no illusions about who and what she is. She’s no savior, she’s nothing special; only something “extra”. She’s not a star, but at best a shadow cast by one. But that doesn’t mean the shadow won’t try to take the star’s place. If she climbs the Tower and becomes a star, perhaps the self-loathing within her will go away.

Yu and Hwaryun arrange things so Rachel is found by the others in a puddle of worm slime, and when she comes to she has no idea what happened to Bam. Anything could have happened, but the theory they’re left with is that he was probably eaten by a fish. In any case, he’s gone, Rachel is free of him. Climbing out of bed with very functional legs, she stands by the window and laughs a villainous laugh.


That’s because despite no longer having Bam to lean on, all of his friends (except maybe Parscale, who goes along with the group anyway) believe that helping Rachel in Bam’s place is what he would have wanted. They’re not wrong, either—even though Rachel played them all.

She continues to pretend she’s disabled, and while Khun most definitely has his suspicions about Rachel and what went down in that bubble, what he doesn’t have is proof, so he holds his tongue as Yu transports the surviving examinees up to the Tower to begin their clumb.

As for Bam, he’s not really dead, but was held in a bubble of shinsu until everyone else was gone. Then Hwaryun releases him and offers to continue training him to climb the Tower, if he still seeks answers at the top. Bam responds that he doesn’t think there are any answers up there, but he’ll search for them as he climbs anyway, because…well, what else does he have going on?

That’s honestly a lot of vague cliched “what will you do” platitudes at the end there, which aren’t very enticing considering how relatively little happened in these past thirteen episodes, and how no Tower climbing at all took place. There’s a certain feeling of arrogance that an audience will simply keep letting itself get strung along a la Attack on Titan, season after season, year after year…and as a newcomer to the series ToG just didn’t develop the clout to do that.

That said, I don’t see what will possibly stop me from tuning back in if and when the anime adaptation of ToG continues. Perhaps this really does mark the end of the beginning, and that an end—teased at the very end with what I assume to be an older, longer-haired Bam standing triumphantly near the corpse of a monster with a color palette similar to Rachel’s—may someday come.

I just won’t hold my bread that we’ll see that end in that next season. But perhaps we’ll finally see the Tower, a bit of climbing, and learn more about why those things are so important. Also Rak eating more chocolate bars. Till then, I’ll be sure to drink my Ovaltine.

Rascal Does Not Dream of a Dreaming Girl (Bunny Girl-Senpai Movie) – Heart of the Matter

From June 2019 (a much simpler time) comes the continuation of the Bunny Girl-Senpai anime, the broadcast of which ended without answering key questions about the nature of Sakuta’s first crush, Makinohara Shouko (Minase Inori). Don’t bother watching this movie without having seen the anime, my reviews for which you can read here.

Our titular Rascal Sakuta is actually doing fine with Mai as his busy actress/model girlfriend Mai. But one day a college-aged version of Shouko arrives at Sakuta’s apartment, ready to move in with the man she loves. Anxiety about the future from a much younger Shouko from the fourth grade led to her Adolescence Syndrome that created her future self in the present.

The younger Shouko reveals to Sakuta and Mai that she’s been in and out of the hospital all her life with a bum ticker; she wasn’t even expected to survive past middle school, hence her anxiety. The older Shouko was created to live out all of the plans her younger self couldn’t write down in that elementary school “future plans” exercise.

Those plans include not only graduating middle and high school and being admitted to college, but meeting the boy of her dreams, confess to him, and eventually marry him. For all those things to happen, Shouko needed a heart transplant, and while she’s doing a “trial run” wedding at a venue in a gown, Sakuta notices a scar on her chest and realizes it was he who gave her that new heart.

According to Rio, Shouko’s will was likely split between one who was resigned to dying young and one who sought to continue her life. Now the future Shouko tells Sakuta about a car accident that will claim his life and allow his heart to be donated to her. She gives him the choice between spending Christmas Eve with her or with Mai.

The wounds on Sakuta’s chest are the result of the contradiction of his heart being both in his chest and in that of the older Shouko. Now that Sakuta knows one version of his future and the doom that befalls him, it means he can act to change it. Preventing his accident spells doom for Shouko, but letting the accident happen means leaving Mai all alone.

Sakuta is desperate to try to have his cake and eat it to, but the bottom line is he simply can’t. And while it’s a tough choice, it’s not an impossible one. He visits the younger Shouko in the hospital to tell her that the both of them have done all they can.

For her part, Mai wants Sakuta to choose a future with her, and follow the older Shouko’s instructions to celebrate Christmas Eve at home where it’s safe. She even tries to lead him on a train journey to take them as far away as possible from a situation where she’d lose him, urging him to share the pain of choosing to live on with his girlfriend.

After paying young Shouko one last visit (she’s in the ICU), Sakuta has a change of heart, especially when he realizes Shouko knew he’d pick Mai. He rushes to meet with Shouko instead, and is almost run over by a van, but he’s saved by Mai, who dies in his place. This is a lot of story to keep track of, but it all unfolds relatively organically, and it’s all appropriately heartrending to behold.

Sakuta lives out a few more days after this Bad Ending partly in a numb daze, partly wracked in grief. His chest wounds are gone, which means Shouko never got his heart, and seemingly the entire region mourns the loss of the famous actress who was taken from them far too soon.

Sakuta wanders off, asking someone, anyone to save Mai, to not let things end this way. Then he’s approached…by Shouko. He may not have given her his heart, but she received Mai’s in secret and survived. Now she’s come to help him visualize the time they’re in as the future so he can travel back to the present and save Mai himself.

Sakuta falls asleep in a bed in the school infirmary and wakes up on Christmas Eve. He manages to find someone who can see and hear him (Koga Tomoe, who had a dream about him needing her in just such an occasion) and then reunites with Mai, the loss of whom is still so raw and fresh that he loses it upon seeing her.

Sakuta tells his past self that there’s nothing he can do for Shouko and that any attempt will cost Mai’s life, but as Sakuta is a stubborn ass, he doesn’t initially hear him. Meanwhile Mai tells him she was resolved to rescue him all along, and knows the other Sakuta would never save himself if it robbed Shouko of her future.

When the fateful moment at the icy intersection occurs this time, Sakuta is rescued by his future self (wearing a bunny mascot suit so his self won’t recognize him and cause a paradox). The future Sakuta then vanishes, merged with the present Sakuta…and Shouko vanishes as well. He then returns to a relieved Mai’s side.

Sacrificing Shouko still doesn’t sit right with Sakuta, however, so he and Mai agree to try to do what they can to help her, starting by visiting her in the ICU where she’s near death. But young Shouko tells Sakuta not to worry about her anymore; she’s seen everything that’s happened in her dreams, and intends to create a future where he and Mai won’t have the painful memories of her.

All the way back in the fourth grade, Shouko manages to fill out her future plans, resulting in a future where Sakuta and Mai indeed do not remember her, and seem to be far more at peace for it. They visit a shrine for the new year, and Sakuta prayed for less weird things to happen to him…a bit ironic considering that’s how he met Mai!

All the same, while discussing a movie in which Mai stars in a role identical to Shouko’s near the beach where Sakuta once dreamed of his first crush, he and Mai spot a girl running along the sand with her parents. It’s a young Shouko, alive and in good health. Suddenly memories of Shouko flood back into Sakuta’s head and he calls out her name…and she calls out his.

Dreaming Girl’s ninety minutes equate to five new episodes and a final arc that ties all of the anime’s storylines togethers. It’s a satisfying conclusion to as well as a dramatic elevation of the TV show; an emotional roller coaster that knows just which ways to twist and turn for maximum heart-wrenching. And it’s absolutely essential viewing for any Bunny Girl fan.

Fate / Zero – 12

“Why do I always sit on my smokes?”

After the Rumble in the Marble, most Servants take a step back and assess the situation. Kiritsugu sits in a dark hotel room and pores over intel as he chats with Maiya on the phone…and that’s about it, really.

“I like the way your tent your fingers. Why don’t you work for me?”

Reports and conversation are the name of the game again, but instead of interacting with Saber and Rider, Archer is stuck with Kirei, trying to connect the dots as part of his larger plan to make him one of his men. Kirei delivers his report on the motivations of the other Masters to Archer, who points out that the one that seems to interest Kirei the most is Matou Kiriya, who also seems to be enduring the most pain and suffering.

“I mean, this isn’t how I would drive, but this is fine too, I guess…”

Pain doesn’t seem to be an issue for Iri, while Saber doesn’t seem to be feeling the lasting effects from her throughout putting-down she endured at the hands of Rider and Archer. But Saber does find it odd that Iri has her drive and perform every other task that requires the use of her hands. When she asks Iri about it, she reveals she’s become extremely physically weak as a result of shutting down her sense of touch (a homonculus ability, apparently).

While she believes she can recover a bit of strength by sitting in the right kind of magical circle, the bottom line is that she’ll be relying on Saber more and more as this War progresses. Saber, obviously, is up to it. I must say I underestimated her mental toughness. That circle is drawn in a storeroom on a Japanese mansion that looks very much like the place where Emiya and Saber live and practice in UBW.

“Feel that sting? That’s pride, fuckin’ with you!”

From there it’s back to Archer gradually wrapping Kirei around his finger, Emporer Palpatine-style. He gets Kirei to pretty much admit that he is actually capable of joy, and even if he’s previously considered such feelings to be a sin, Gilgamesh isn’t a fan of this newfangled puritanical philosophy that generated people like Kirei and Saber. Joy is joy, and leads to happiness.

So Archer gets Kirei to ‘find his bliss’, and Command Seals suddenly reappear on his hand. Archer believes it’s proof the Holy Grail isn’t done with him; indeed it’s almost as if the Holy Grail rejected his previous role as Toosaka’s ally and spy and reinstates him as a full Master. Archer also suggests Kirei go out and steal a new Servant, and not-so-subtly picks up the Archer piece from the chessboard to indicate who he should pick.

While there were some nice character beats, you can really only portray two people sitting around talking for so long from so many angles before it gets a bit tedious. In other words, another cool-down episode on the heels of a solid 10. That leaves one episode left in the first cour.

Fate / Zero – 11

Iris detects the massive mana of Rider heading towards the castle, and Saber suits up for a battle…only for Rider to show up in his t-shirt and pants with a giant barrel of wine. He’s not there to fight, he’s there to drink and talk. A Holy Grail “dialogue”, as he puts it.

Saber has no objection, and drinks from the barrel with Rider. Soon, Archer also arrives, on Rider’s invitation, and after rejecting Rider’s “swill” opens a portal to his treasury to draw out…a golden jug and three golden cups.

This would be absurd if it wasn’t also frikking brilliant, for Iskandar and Gilgamesh share one thing in common: they are hedonistic tyrants of yore.

Gilgamesh is such a tyrant he considers all treasures in the world to be his, since they all sprang from his treasury—a treasury so vast he isn’t even aware of all it contained.

Iskandar wants to be reincarnated as a flesh-and-blood man to take up his world conquest anew. Saber…wants to save Britain, in part by erasing all of the perceived mistakes she made in life as king. She wants a redo.

Archer laughs in her face at the fact she harbors regret for the deeds in her life, and Rider can’t help but agree. As far as they’re concerned, it’s the duty of the nation and its people to serve and sacrifice for their ruler, not the other way ’round as Saber would have it.

By insisting upon being a “slave to what’s right”, Saber might be able to save Britain, but she can never lead it, and so Rider ceases to see Saber as a real king.

Kingship, to him, has always been a wondrous gift, and throughout his rule he lived and fought as grandly and greedily as possible, living life to the extremes of both good and bad, that he might inspire men to fight and die for him. When Assassins surround them (a test by Kirei and Tokiomi), Rider transports everyone into a Reality Marble.

There, in the vast desert sands, Iskandar’s endless armies march, and when he mounts his trusty horse and orders them to advance, the Assassins are quickly routed. Saber, Iri and Waver can only sit and watch in stunned awe, while Archer does his best to look unimpressed. It’s the biggest spectacle since the port battle, and it is well and truly momentous.

When the battle is over and everyone’s back in the courtyard, Rider takes one more drink, then takes his leave, which is just as well, as I don’t think anyone’s ideals could have been shat on as thoroughly and mercilessly as Saber’s (If I didn’t know better, I’d say Rider was a cruel drunk). Archer remains to mock Saber, urging her to go ahead and continue believing in her ‘backwards’ philosophy so he can laugh at her some more.

Their words cut as deeply as any blade, as Saber remembers one of her Knights of the Round Table stepping down because he didn’t think Arthur understood his people…and Rider and Archer’s words only served to reinforce her growing crisis of confidence.

But while it doesn’t end well for Saber, like at all, it was fantastic to see three Servant Kings simply sitting in a courtyard, drinking wine, and shooting the breeze…and for Rider to show that he can back up all his big talk, and then some.

Classroom of the Elite – 06

Dayum, this show keeps finding new heights of awesomeness. Not only does it constantly zag when I expect it to zig, it manages to juggle a whole array of different plot lines of varying importance with staggering ease.

Did I think Sakura was going to end up being the target of a stalker? No, but the incident is instrumental in Ayanokouji continuing to gain her trust, especially after he says her good works at the trial gained his, Horitika’s Kushida’s, and probably Sudo’s and the rest of the class’s. The timing is perfect for Sakura; unfortunately, when she’s about to bring up her problem, Ayano is called away.

Did I think the latest Sudo situation would be resolved so cleverly, outside the walls of the courtroom? No, and neither did Horikita, until Ayano brings up security cameras. This gets the wheels turning, resulting in a gambit in which Kushida lures Sudo’s accusers to a certain spot where there are cameras, but instead of her meeting them, it’s Ayano and Horikita.

There, the two set to work stuffing the accusers into a smaller and smaller box. Horikita tells them they believe the school has acted the way it did because it is testing them to resolve it themselves, and will expel the accusers for lying because they already know everything…because there are cameras everywhere.

Driving that point home when one of the guy’s temper gets the best of him, the accusers surrender and agree to withdraw their complaint. It’s a masterfully-executed plan that came out of nowhere. No more trial!

It’s a stunning victory that gets Class D its meager but significant points back and clears Sudo of wrongdoing. As for the cameras, they were purchased and planted by Ayano, using funds he borrowed from Ichinose (who as we know is swimming in cash).

Just beneath the main Sudo storyline lurks Sakura’s plight, as she’s finally cornered in a dark alley by her creepy stalker, who is exactly who we thought would be her stalker: the camera store guy. Sakura is in a very bad way here, with the guy starting to force himself on her.

It looks for all the world that in order to save Sudo and the class, Ayano had to neglect someone, and that someone unfortunately would end up being Sakura. But that turns out not to be the case, as Sakua managed to call Ayano, and he uses that call to pinpoint her position and stop the assault, with Ichinose and two cops in tow.

Now that she’s in a safe position, Sakua finds the courage to give her stalker a piece of her mind (even though a part of me wondered if some of his rambling was actually true…and yes I feel dirty about that but this is a show that seems to keep all its options on the table). She then removes her glasses, a symbolic gesture of taking off her “mask.”

Chabashira-sensei has some questions for Horikita, but doesn’t press the issue when her student “leaves it to her imagination” how she managed to get the Class C accusers to withdraw. What sensei does do is ask Horikita why, rhetorically, someone as talented as Ayano is dabbling in obscurity in Class D, suggesting he is the most “defective” of the class by far. Sudo, meanwhile, seems genuinely grateful to Horikita, calling her “amazing” to Ayano.

President Horikita is similarly impressed with Ayanokouji, who mananged to somehow bypass the trial altogether and resolve the conflict between the classes without breaking a sweat or even leaving any fingerprints.

We also get a glimpse at the power struggle between Ryuuen, who suffered a defeat when the accusers recanted, and Sakayanaki, his Class A rival for kingship of the school. Looks like the show is going to keep expanding beyond the core triad of Ayano, Horikita, and Kushida—and I have every confidence it will be able to pull it off.

That being said, the episode ends right back with Ayano and Horikita, with the latter calling the former out for planting the seed of security cameras in her head, leading her to forge false evidence to win the day. Horikita is eager to know what Ayano is thinking and who exactly he is.

All Ayano does is reiterate his promise to help Horikita get to Class A. Other than that, he asks her not to “pry into his life.” From the glimpse of his past as a child in a line of others undergoing some kind of conditioning, it’s clear the character with the darkest secrets of all in  Classroom of the Elite seems to be its protagonist, one Ayanokouji Kiyotaka.

Macross Delta – 10

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Walkure/Delta earned themselves a little respite, and so their mission pivots this week to cultural interaction on Ragna in the form of participating in the Jellyfish Festival, which is a big draw for lovers, which of course makes the likes of Mirage very nervous, but also brings to the forefront a potential Kaname/Messer pairing.

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Maki and Reina aren’t trying to be matchmakers per se; they just want Messer to have at least one more happy memory with Kaname, since who knows what tomorrow will bring. Well, we can kinda guess it will bring hard times and tragedy, since Messer is surrounded by death flags before his sendoff, after being reassigned from Delta following his escapades last week.

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Perhaps to the disappointment of the colleagues who brought them together, Messer only manages a heartfelt thank you to Kaname—no confessions and no kiss, just gratitude—and the next morning, he’s off to his new assignment. While he’ll probably never be allowed to fly combat missions, he’s being allowed to keep his plane. Hmmmmm.

Meanwhile in Windermere, Roid tries to stop Keith from using his little brother’s song when he needs rest. An ally of Keith’s has come up with a way to amplify the power of the song, at the cost of more strain on the little prince. But after Keith beats Roid in a duel (for the first time), Heinz insists both but their swords down: he’s made his decision: he’ll sing, and die, for his people.

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The song that follows resonates in the ruins across several planets, including one where it wasn’t known there were ruins. Walkure and Delta quickly scramble, and Mikumo sings like a songstress possessed in order to counter Heinz. What results is an unprecedented “clashing of winds”, which puts both Mikumo and Freyja out of commission at a crucial time.

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The Aerial Knights also harass Delta, who immediately miss Messer…only for Messer to show up in the nick of time to protect Kaname from a direct attack from the Knights. He’s Var-ing again, and begs Kaname to sing. With two of her girls down and seeing the protruding veins on Messer’s face, Kaname does the only thing she can do: belt out “Axia.”

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With Kaname’s song, Messer is able to not only stay in control, but ride the wind, garnering impressed comments from both Keith and the older Windermereans. But then all those foreboding lines about living the life you have to the fullest (since you never know how long that life will be) come home to roost, Keith looses a single shot that goes straight through Messer’s canopy, filling the cockpit with blood.

In short: shit’s in a bad way for Walkure and Delta. Offing Messer was all but inevitable, but the death still stings, as this episode let him be less hardass training officer and more nice guy with bad luck and a special place in his heart for a certain someone. Kaname’s crestfallen look to close the episode had real impact. She sang as hard as she could; he fought as hard as he could; yet it just wasn’t enough.

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Macross Delta – 09

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This week Hayate officially learns (in a noxious cloud of technobabble) that he possesses fold receptors just like Freyja and the other members of Walkure. Specifically, he “resonates” with Freyja; something that causes Freyja to blush when she hears about it. Poor girl doesn’t realize she’s in a love triangle the show probably isn’t that concerned with resolving, like the one in Frontier.

Also this week, Messer puts his own pride and personal desire to “repay” his savior Kaname (the one who first saved him from the Var) above his safety and the safety of Delta Platoon and Walkure.

Hayate and Mirage follow the chain of command and honor their colleagues wishes, but insofar as their overarching duty, it seems like a very bad idea to put a ticking time bomb like Messer in a Valkyrie and hope for the best.

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For their part, Hayate and Mirage are conflicted over how to do with what they know about Messer, and try to put their heads together to come up with a solution throughout the episode.

Of course, because they’re largely doing this alone, in front of a romantic sunset, everyone, including Freyja, thinks these two are going out now, or something. Freyja is overcome by a combination of jealousy and FOMO, but is too timid to interfere, so she doesn’t, and thus never finds out the truth until the end of the episode, after much emotional stress.

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She didn’t happen to stalk Mirage while she was talking with Kaname, for instance, about how Kaname used to be the lead vocalist of Walkure before Mikumo joined, and before that, she was a solo idol.

Kaname is very harsh and frank in her assessment of herself, and flat out believes she doesn’t have the talent to be lead vocalist, and has to be content with leading them in every other way. But as far as Messer is concerned, hers is the only voice that can save him.

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That’s pretty strongly demonstrated when the Aerial Knights arrive to do some scans on Ragna’s Protoculture ruins. The camera focuses on Kaname both singing and talking Messer through his Var flare-up as he duels with the White Knight, Keith. Meanwhile, Hayate and Mirage protect Walkure from Bogue’s bold but ultimately fruitless attack.

The Knights retreat almost as soon as they arrive, but not before learning they can use Ragna’s ruins, and Keith is impressed enough with Messer to want another rematch in the near future.

But let’s be honest here: Delta Platoon dodged a bullet here. Had their ace Messer gone fully berserk, he would have fallen under enemy control, and as we saw in training, it wouldn’t take long for him to waste the rest of the platoon.

That being said, Freyja’s misunderstanding is cleared up, though she’s already shown her hand, Hayate-wise, and has to bug out to scream at the night to relieve the embarrassment, in the same place where Messer is alone, thanking his own personal god things didn’t get too out of hand due to his own selfishness.

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Prison School – 06

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You wouldn’t think a day in which Kiyoshi was shanked in the ass by a tree branch and almost peed on by Hana would end up being a good day for him, but that’s the kind of crazy world Prison School is. There’s no situation too inappropriate or absurd that won’t befall its protagonist, and yet he remains resolutely human and moral.

Knowing a rift has formed between Kiyoshi and Shingo, Mari aims to drive a large, voluptuous wedge right through that rift, widening it. That wedge is Meiko, who begins giving Shingo special attention treatment, plying him with sweet treats and panoramic views in order to make him a snitch. Shingo, still pissed about his extended sentence, obliges all too easily.

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What’s weird and kind of endearing about Meiko is that while she’s built like a brick shithouse, the show makes sure to keep ambiguous whether she’s aware of how seductive she is. Her inner thoughts are more interested in making sure she doesn’t say something to upset Mari, who will then sic her crows on her. Regardless of her self-awareness, the sound effects employed whenever she’s doing something are pretty amazing.

With an inmate who will do whatever they want, Mari decides to implement a plan to stir up trouble, after intentionally applying more stress and punishment to the other inmates (or, to Andre’s detriment, less punishment). Her target is Joe, the least stable of the quintet, who loses it when it appears a crow is killing his beloved ants.

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He’s just waking up when he notices Meiko and Shingo talking in the shadows, but Kiyoshi still finds it odd that the entire council is out in force in the schoolyard. Then Joe produces a branch-as-shank and lunges at Mari, and something happens the president did not expect: a man protected her from harm. And in front of half the school watching from the windows. Unfortunately, his good deed is overshadowed by the fact the branch went up his ass, creating a great deal of blood. …And the fact Mari still despises men.

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Joe is thrown in solitary (after being told the crow was only “bathing” in ants as a grooming exercise, not killing them; a neat bit of ornithology mixed into our ecchi comedy!), and Kiyoshi is escorted to the nurse’s office…by Hana. Last week Hana promised she’d pay Kiyoshi back, and after being unable to force him to pee into a jug, she decides to accelerate her plan and pee on him herself. Things get pretty far, with her shedding her leggings and panties, but Chiyo inadvertently, temporarily saves Kiyoshi when she pays a visit to the nurse’s office.

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Unfortunately, that also means Hana and Kiyoshi have to hide from her, under the bed, occupying as little space as possible to avoid detection. As neither Kiyoshi or Hana are wearing underwear, Hana is a girl, and Kiyoshi is a guy, things outside his control start to happen. He’s bailed out again when Hana passes out, either due to the heat or from overexcitement.

In any case, Kiyoshi and Hana continue their very bizarre kinky physical relationship rooted in dominance and tit-for-tat; the precise opposite of the wholesome romance he desires with Chiyo (or, in his own words, “coming on to her just enough that she doesnt’ think he’s a creep”). While that’s going on, Mari’s dad the Chairman has his own close call when Mari visits him in his office…just as he’s opening a latin ass jerk-off device he ordered from Amazon(ess). That latest blunder from her dad kills any goodwill Kiyoshi might have created by saving Mari from Joe.

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But his heroism wasn’t all for naught: he didn’t just save Mari from a shanking; he saved Joe from possible arrest and internment at a real prison, something Joe thanks Kiyoshi for, being the first inmate to break the “shunning line” set by Shingo. At this point, even a weirdo like Joe can tell something not quite kosher is up with Shingo, and Kiyoshi lets him know that whole lunch break situation was similarly odd.

This is good, because it means Kiyoshi’s instincts aren’t entirely blind to the council’s DTO machinations. But he still doesn’t know what’s going on, only that things are off. With Meiko offering Shingo a uniform and two hours of freedom off-campus, Shingo remains in the council’s pocket. Whether he knows it or not, he is the weapon Mari intends to use to get all the guys kicked out—something, by the way, Hana seemed reluctant to agree with at first; I must look out for that, as she has her own agenda.

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Prison School – 05

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Rarely has an anime made me feel so goddamn down as when Kiyoshi’s house of cards crumbled. So very much was riding on him performing the mission perfectly, and more to the point, the first nine tenths of the episode, with its sense of optimism, occasion, and essentially adolescent paradise, perfectly set us up to be as devastated as possible when the curtain fell.

But the show was cleverer than simply having Shiraki kicking in the door to find an empty stall. Instead, it played us once more, juxtaposing two scenes without indicating their exact timing with regard to one another. By the time the jig is up and Shiraki kicks in that door, Kiyoshi not only got back, but got back with Gakuto’s prized figurines.

Then Kiyoshi walks outside, and Mari is waiting for him, and she knows everything. Not because she realized he was the girl she stopped at the gate, but because her sister Chiyo texted her and their dad a picture of her with him. Pretty damning evidence, right there! But crucially, Chiyo didn’t send it in scorn or spite; she sent it before she found her uni in Kiyoshi’s bag, back when she was so overjoyed by the experience she was having she couldn’t resist sharing it. She also assumed Kiyoshi got permission from her sister and father.

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Chiyo’s intent, however, doesn’t change the fact that Kiyoshi is in deep shit, and not just with Mari and Chiyo, but with his comrades in stripes. Shingo in particular is extremely hurt and upset Kiyoshi didn’t trust them enough to tell them of his plans; had he done so, they wouldn’t necessarily have stopped him, but things might’ve gone smoother. He’s also extended everyone’s sentence another month, so they have every right to feel mad and betrayed.

As for Kiyoshi, Mari informs him he’ll be expelled, but we later learn behind closed doors she technically lacks the authority to do so and would prefer not to involve other parties. Whatever Kiyoshi’s intentions (and she of course assumes the worst, in part because of how her dad has shaped her opinion of men in general), his predicament is just what Mari needs to further her agenda of making her school all-girls once more.

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Mari can probably tell Kiyoshi feels terrible about what he did (which would indicate he’s not the degenerate she’s make him out to be—of course, that doesn’t serve her needs), and what lies in store for him in the next three years now that rumors of his misdeeds are already being spread. She intends to use that fear and despair to induce him to sign a withdrawal form, giving her the legal cover she needs to dispose of him. He’s ready to sign it, too; but he’d regret one thing from doing so: never having the opportunity to clear up the misunderstanding with Chiyo over her uni.

It would seem fortune wasn’t done smiling on Kiyoshi, and his inherent kindness and goodness thus far comes in to play as much a role in his fate as his badness. Chiyo, you see, is mostly upset that she stormed off without hearing an explanation, delivering a verdict with the barests of cases. Sure, her uniform in his bag looks bad, but she feels he deserves the chance to explain himself nonetheless.

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That fierce sense of decency and empathy leads her to storm into the office where Mari has Kiyoshi in her clutches, having heard rumors of him being expelled for what he did. She won’t stand for that, as she played a considerable role in getting him in the mess he’s in. Mari wants this situation to be seen as her looking out for her poor, naive, victimized sister, but Chiyo is a lot less messed up than Mari. She has a clear head and knows exactly what she’s saying and doing.

When Kiyoshi is about to fall for Mari’s bluff, Chiyo descends like an angel from on high, to call that bluff: if she makes Kiyoshi leave, she’s leaving too. Kiyoshi tells her—honestly—that he just grabbed her uniform from among hundreds by chance, and she believes him. And she doesn’t seem naive in doing so. Instead, she only ends up putting Mari in a tighter and tighter corner (even bringing up Kiyoshi’s affinity for Mari’s beloved crows), until she has to basically concede this battle.

But the reason I’ve come to love Chiyo so much—and why Kiyoshi probably only loves her more after all this—is not because she pressed his head to her chest, but because she showed us what she was made of. She’s not just some shallow pristine angel to be placed on a pedestal; she’s a fully fleshed-out individual with all manner of motivations and desires, ideals, and an iron will. She is Kiyoshi’s rock and his salvation. Now he must strive to be worthy of her.

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Mari may have lost this round, but she intends to wage a full-scale war on Kiyoshi and the other four boys, officially forming the “DTO”, or Boy’s Expulsion Operation. Shiraki, so strong and dominant towards the boys, cowers and sweats profusely in her president’s presence, and will do whatever she commands in service of this operation. I wouldn’t be surprised if they bend or break all the rules that are necessary; the ends will justify the means.

As for Kiyoshi, he managed to remain enrolled at school thanks almost entirely to Chiyo, but he immediately starts to see the effects of the means he employed to reach the ends (his sumo date). They seemed so innocent and logical and perfect at the time, but failure wouldn’t just mean more jail time or possible estrangement from Chiyo.

It also fundamentally damaged his relationship with Shingo, Joe, and Andre—but mostly Shingo, who forces the others to ostracize Kiyoshi. These wounds won’t be easily healed, if ever, but regardless Kiyoshi intends to bear the consequences of what he did.

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And that brings us, impeccably logically, to the Return of Hana. I said when they last parted that she wouldn’t be above pissing on him as payment for him pissing on her, and here we see her present that very idea to Kiyoshi in the bathroom, where she all but orders him to prove he doesn’t find her “dirty” by allowing her to do this at some point in the near future.

This could mean several things, or a combination of them, and more: Her sense of justice and equatability may be so rigid and literal, that this is the only way to settle the score. She could be a Mari plant, working towards inducing him to slip up again, in a way that will get him yet another month in jail and only one more infraction away from official expulsion.

Or perhaps Hana simply liked how things went down and wants to reciprocate, furthering her dominance of Kiyoshi (similar to Nakamura’s relationship with Kasuga in Aku no Hana). Last week everything seemed to be over for Kiyoshi. But everything—from his struggles in prison to his enduring relationship with Chiyo to Mari’s war agains the boys—is only just beginning.

With every episode of Prison School I watch, I feel dumber for not giving it a look when it was airing. The title scared me away, of all things! But it’s far more than its title, and it’s far more than silly ecchi comedy (though there is plenty of that); it’s a rich and dynamic exploration of the complexities of morality and adolescence. The two most compelling, relatable characters in Kiyoshi and Chiyo are also the most balanced on both fronts.

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Aquarion Logos – 03

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Blergh…when you’ve checked out of a show only three episodes in, it’s time to say Sayonara. And between the almost painfully-goofy word-of-the-day crises, Akira’s “I’m the Savior” schtick, and the introduction of a snot-nosed little kid as the newest pilot, I find myself suddenly but categorically checked out of Aquarion Logos.

I’m not alone in this; as of writing fewer than 650 people have bothered to rate the show on MAL (compared to over 11,000 for GANGSTA.), and its rating sits at a paltry 6.20, more than a full point below the older, better Aquarion Evol.

I’m no stranger to going against the whims of MAL (especially when small sample sizes are involved), but in this case our opinions align. Dropped.

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Aquarion Logos – 02

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This week follows much the same pattern as last: Sougon weaponizes another “Word of the Week” (it’s “illness”), Kaibuki Akira commandeers a Vector, goes into the Logos World, and forms an Aquarion with Maia to defeat it.

But in between the problem and the crisis was a part I found much more interesting: when the captured Maia breaks free, she’s kept from flying off in her Vector by a team of tough-as-iron cleaning ladies whose practiced, precises motions, synchronization, strength, and ability to read minds has the sheltered Maia assuming they’re DEAVA’s elite guardian force.

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They assume she’s the new girl, so they set her to work, and Maia learns about the “sacrifices” her master Sougan said were “inevitable” in order to bring about his “Utopia Without Words” (whatever that is). It struck me as a Spirited Away-style situation in which an ignorant, arrogant girl gets a lesson in humility and humanity by putting on another skin for a spell.

Still, if the ladies knew Maia was an escaped prisoner, they’d have probably called security. Why is there no security in the hangar containing the Vectors? Ya know what….never mind.

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Once Akira arrives at the hangar deck and spots Maia, he tells her he’ll “do as he ought, by his own will”, reinforcing the dissonance between her beloved Sougon’s ideal and the price people like the nice ladies she befriended pay for it. She comes to her own opinion on the matter: that any word that starts hurting people is a mistake (even though we know it isn’t a mistake, but exactly what Sougon intended it to be).

Her faith in Sougon’s ideal doesn’t match who Sougon really is: a social networking tycoon trying to make a new world without regard to the casualties that result from the destruction of the old one. As such, her will doesn’t run parallel to her master’s, so perhaps it’s good that he doesn’t let Maia come back to him, but orders her to continue observing Akira.

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Aquarion Logos – 01 (Part II)

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Okay…so I was right: THIS half of the hour-long special I watched was the actual first episode of Logos, representing a clean slate, with no cameos from past shows, just a recycling of terminology (e.g. sousei, vectors, gattai, Aquarion, etc.)  Logos’ new angle is that kanji are possessed with great power that, when unleashed, can be extremely destructive to the fabric of the world.

The “Word of the Day”, if you will, is “Maki”, the kanji for which also means “twist.” Every instance of the kanji in written or digital form comes to life and starts wreaking havoc on modern-day Japan, leaving it up to a special few young people to fight back with the Aquarion hardware we’re familiar with. I must say, this is a pretty clever idea, if a bit Sesame Street.

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That organization is called DEAVA (Division of EArth Verbalism Ability), fronted by a cosplay cafe. When one of those members, Kikogami Kokone, calls out for help when an old lady’s purse is stolen, a dude named Kaibuki Akira answers the call and retrieves the purse. Akira is a bit of a cipher so far, who is fond of calling himself a savior, but also probably happens to be correct about that assertion, as crazy as it sounds to everyone else.

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So sure is Akira that he’s meant for greater things, he follows Kokone into DEAVA and steals her vector to deal with the beastial manifestation of maki in some kind of undefined dimension where one normally does battle with words. In that space, we also have a pair of individuals, one of whom is sure to become one of Akira’s love interests, Tsukigane Maia, who seems to be on the side of the guy who released the word and considers this an important mission.

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Somehow, Akira manages to disconnect Maia’s vector from her partner and dock it to his own, resulting in their transformation into an Aquarion mecha. Maia isn’t sure what’s going on, only that it “feels wonderful”, and she and Akira pair up to blast the maki back into submission with the patented Infinity Punch.

So we have a technicolor cast of characters, an elaborate, often hard-to-follow action that sometimes makes you feel like you’re on some kind of animated Gravitron, yet everything is pretty neatly summed up as “words are power”, and can be used to create as well as destroy.

I wouldn’t exactly call Logos greatit’s awfully helter-skelter and demanding to the senses—but I’ll go with “good” for this first outing. It’s certainly like nothing else this Summer. I’ll just have to see if I have enough time to keep up with it.

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