Mekakucity Actors – 10

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It’s been abundantly clear for some time now that Mekakucity isn’t particularly interested in presenting a linear narrative, preferring to blend episodes of the present with glimpses of the pasts of the characters involved in that present, for us to better understand, or more to the point, care about said characters.

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This week, the present is mostly placed on the back burner in favor of Kozakura Marry’s backstory. Wouldn’t you know it, she’s the granddaughter of the “monster” in the fairy tale. One day, fearful townsfolk come to kill the monster, but she fiercely protects her husband and daughter Shion—Marry’s mom—before leaving them, and the world.

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Marry was raised to believe her eyes would turn others to stone, just like her grandmother Medusa, but her life of lonliness grows intolerable, and she can’t help but cry out for help. Help arrives in the form of Seto Kousuke, who has eyes just like hers, even if they’re embued with a different power. In any case, a connection between two kindred spirits is formed, and the rest is history.

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The entire flashback is neatly framed by a dream the present-day Marry is having while nodding off, when she’s supposed to be keeping an eye on Amamiya Hibiya. This leads to her finding Konoha and bringing him back to HQ, and after seeing Marry’s mom and dad, we couldn’t help but wonder if Honoka’s resemblance to them was intentional. In any case, Akiyuki Shinbou certainly has a thing for manipulative asshole snakes…and now that we know where Marry is coming from, we care about her more than we did before.

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Mekakucity Actors – 09

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The story of Mekakucity Actors is gradually moving forward as more pieces of the central mystery come into focus and fall into place, but it’s a circuitous route forward full of switchbacks, some of which go downhill into the past before coming back up. Along with Ene, we are Kano’s guide as he leads us down one, to the time when he, Seto and Kido became family when Ayano’s parents adopted them.

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At first, this seems like a good thing: two well-off archaeologists bringing disadvantaged children into their home (another very stylish structure studded with vivid full-length stained glass windows). But then Ayaka dies in a landslide, and Ayano finds a journal of her investigations. The entries are brought to life in Ayano’s head with intricate, really gorgeous ink illustrations that have an Aubrey Beardsley thing going on.

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When science and reason failed her, Ayaka began shed those constructs, and entertained the possibility—accompanied by compelling evidence—that the monster fairy tail she often read to Ayano (and snippets of which end each episode) are, in fact, real events. The monster was persuaded by a serpent under an apple tree (a la Genesis) into creating a new world (and eating a fruit from the tree of knowledge did indeed lead to a new world for Adam and Eve).

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But while the fairy tale ends “happily ever after”, the real story predictably doesn’t. It would appear the serpent is trying to recreate Medusa in the real world by gathering children like Seto, Kano, and Kido together. Ene and Haruka were sacrifices to that end. And even more disconcerting, Ayano’s dad seems to have a Jekyll & Hyde condition, in which Hyde is the Serpent.

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So…what to make of all this? We’re certainly very intrigued in this stylish synthesis of folk stories, mythology, and the modern scenario of uniquely-dressed kids with superpowers. Like the Monogatari Series, director Shinbo explores personalities who t and weaves soaring, timeless tales into the contemporary present with lots of panache. Mekakucity has yet to truly wow the way the best moments of Monogatari did, but it has three episodes left, and a strong finish can go a long way.

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P.S. Rentaro’s “first gift” to Ayano is a Coelocanth, a “living fossil” of a fish thought to be extinct but turned out not to be….kind of like Ayano, right?

Otorimonogatari – 04

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Koyomi orders Nadeko to put the talisman down, but she swallows it instead, reviving the serpant god with her body as its vessel. Fast-forward to the shrine, where Nadeko quickly dispatches Koyomi and Shinobu. She converses with the serpent – i.e. herself – about how she came to be in this situation. When she’s about to kill Koyomi, Senjougahara calls his phone. Nadeko answers and agrees to a half-year truce before killing her, Shinobu, and Koyomi, in that order. The episodes ends with a “trailer” for the battle that takes place in half a year, with Nadeko taking on Koyomi, Senjougahara, Shinobu, Kanbaru, and Hanekawa.

Monogatari likes to mess with our expectations. After an arc about time travel, Nadeko’s story starts at the climax, when she’s about to kill pretty much everyone we know and then, who knows, chill at that shrine for a few millenia. Things come full circle this week, but instead of a conventional resolution, the arc lobs another curveball. Most of this episode is simply Nadeko, in the moments just prior to her final victory, reflecting on how she got here. Koyomi and Shinobu just lie there bleeding as she talks to herself, and in the end, none of the contemplation really matters. She was just lost in thought.

Except that it does, because that amount of time she was ruminating ended up delaying Koyomi’s death just long enough to allow Senjougahara to call and postpone Nadeko’s plans. Had she not called, Nadeko would have killed Koyomi before killing Shinobu, which wouldn’t have been good for anyone (see last arc). And then the series switches gears again with that bizarre post-credits trailer, presented by Nadeko, who, at least from her own perspective, has that final boss battle in the bag. But that confidence might be premature. After all, she gave the enemy a half-year to prepare for her.

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Rating:7 (Very Good)

Otorimonogatari – 03

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Expecting to find Koyomi in his bed, Tsukihi is surprised to find Nadeko there. They have a heart-to-heart, in which Tsukihi suspects Nadeko takes comfort in persistently loving someone who will always be unattainable. Bored with that stance, Tsukihi snips Nadeko’s bangs. The next day at school, Nadeko is as different a person, confidently, angrily chewing out her teacher and classmates. She leaves school early, and asks Kuchinawa to tell her where his object of worship is so they can part ways quickly. The object is at Koyomi’s house – a talisman hidden in porn. When Kuchinawa asks her what she wants (other than her bangs back) in return for helping him, she asks if he can make Koyomi fall in love with her. Koyomi enters the room and says no.

Well, Nadeko’s “honeymoon” with Kuchinawa is over; and by episode’s end she wants a separation. After an immersive, somewhat wall-crumbling talk with (and haircut by) Tsukihi, Nadeko becomes a new person at school. To that end, Hanazawa Kana dispenses with her cutesy affectation and goes into full Bimbougami-ga mode, firing with both barrels. Nadeko shocks her teacher and classmates, but she, Kuchinawa, and we all know that this wasn’t a case of Kuchinawa taking over her mind and body. This was a look at the Nadeko within – prodded by the oddity and enabled by Tsukihi’s frustration with her. Disheartened by the realization all she’s been has been cute, in one day she upturns that persona – without even thinking.

We think she scares the crap out of herself, leading to her suggestion to split with Kuchinawa at the earliest possible convenience. Her desire for alacrity suits Kuchinawa just fine, since he’s after his object of worship…which just so happens to be in the house of Nadeko’s long-time object of desire. Once Kuchinawa offers to do more than simply restore her bangs, Nadeko contemplates doing what those bangs allowed her to do: take the easy way. Instead of looking straight at people and speaking her mind, she’d always look down and apologize. Instead of going after Koyomi’s heart the hard way (like Tsukihi wished she would), the shortcut tempts her. And then Koyomi catches her in his room. We’ll see if the jig is finally up.

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Rating: 9 (Superior)