The Saint’s Magic Power is Omnipotent – 08 – Into the Western Woods

The Saint’s Magic Power is Omnipotent would prefer if we forget about Aira and whether or not she and Sei will ever actually speak to each other, and despite being somewhat frustrated by the sudden page-turn, I came to accept it in the spirit of enjoying watching Sei’s magic power continue to evolve, which all starts when she finally gains access to the forbidden section of the library.

Yuri Drewes might have the line of the night when he sidles up to her and asks if she’s thinking about murdering someone. But her interest in poisonous plants is obviously more honorable and altruistic. When her attempts to create holy water or imbue plants with magic fail, she learns from Yuri about “Saintly Conjury”, which is the closest analogue to the “blessing” of water of which she speaks.

At the end of the day, Sei more or less figures out how to perform Conjury quite by accident, simply because she’s concentrating very intently on her desire to help those who have helped her. An orb of magical energy appears just below her throat, and it lets out a little shock wave that imbues all of the surrounding plants with magic, just like she’d been trying.

While this is inarguably a huge breakthrough, Sei isn’t quite sure how she did it, and so isn’t sure how to repeat it. But then duty calls, as the knights request the institute’s best healer to accompany them on a dangerous expedition to the infamous Western Woods. Johan expects her to be very low on the prospect, but to his surprise, she’s fully prepared to do whatever she can to prevent or mitigate more casualties of the kind she treated before.

So early the next morning, she dons her durable, practical, yet stylish adventurer’s outfit and prepares to depart. She’s met by several surprises, first Jude and Johan seeing her off (though I don’t see why she’s surprised; they both adore her). Then she learns Commander Hawke will be joining the expedition in order to protect her. That goes for Yuri too, though a part of him is coming along just in case she pulls off Conjury again.

While Sei is wearing the hear ornament Albert gave her because she knew she’d want to keep her hair out of the way, he tells her that it’s actually enchanted, and will keep her safe come what may. His delicate, respectful, and above all dignified courtship of her has been one of the many surprise delights of this series.

But heck, even if her hairpin didn’t do jack, she’d still be fine, right? I mean, she’s got a Knight Commander and the Grand Magus protecting her. Well, maybe not so much, as the miasma becomes denser and the monsters grow stronger, Yuri and Albert’s hands are full stemming the tide of lesser beasts when a boss-type salamander appears.

When it spits its fire breath at Sei, she doesn’t have time to raise a magical shield, but her hair ornament has her back, raising an ice barrier in the blink of an eye that protects her from the flames. So yes, practical choice of hair accessory, but also a literal lifesaver. Though I suppose she could always heal herself if it came down to it…

But up to this point in the ongoing battle, Sei had been on her back foot and serving a support role as a healer and buffer, a role she knew well from the video games she’d play when not working her ass off. But when she witnesses a demon cat bite Albert in the shoulder, drawing blood and causing a deep wound, Sei just…reacts.

Whether it’s Saintly Conjury or simply Saintly badassery, Sei casts the same spell she cast the other night, but instead of simply imbuing nearby plants with magic, it eliminates all monsters and miasma across a vast area-of-effect, while fully healing Albert and everyone else’s wounds, right down to minor cuts and bruises.

Sei’s not just a healer or supporter. She also might just be the greatest weapon against evil alive. That aside, it was just hella fun to finally see her operating in the field, rising to the occasion as I expected she would.

Wandering Witch: The Journey of Elaina – 09 – Estelles;Gate

Last week’s doll-and-face fetish episode, and the grape-stomping maiden episode before it, made for some particularly goofy Journeys of Elaina, making me wonder when and if show would get dark again. Sure enough, this episode arrives with an “Explicit Content” warning, opens on a starving, broke Elaina, and no OP! What the heck are we in for? At the time, I had no idea.

Elaina finds a flyer promising good pay for “ultra-short-term” work, and encounters a fellow Witch, Estelle. Through meeting her, Elaina is pleased to learn that while Estelle became an apprentice when she was younger, it took her longer than Elaina to become a full-fledged Witch. Wand-measuring aside, Estelle is offering a giant sack of gold coins for the job.

What is the job? Well, first, a sad story: Back while Estelle was training abroad, her dear childhood friend Selena’s parents were murdered in a robbery. Selena’s uncle took her in, and proceeded to abuse her. Selena eventually snapped, murdering her uncle, and then several others. It ultimately fell to Estelle to apprehend Selena…and execute her.

Estelle seeks to use magic to go back in time so she can save Selena’s parents and prevent the chain of events that lead to her having to kill her own best friend. Time-traveling requires more magic than any one witch has, so Estelle has been gradually draining her blood to augment the spell.

The other problem is that once they’re actually in the past, Estelle will be drained of all magic, which is why she needs Elaina. By wearing matching magical rings, Elaina will be able to share her magic with Estelle. This job is not without its risks and inconveniences—hence the generous payday.

Elaina, confident and cocksure as always, proudly proclaims herself to be a traveler, and so the next logical step in her journey is to travel through time and see how things used to be in the past. So she slips on the ring, Estelle activates the spell, and off they go.

The witches safely arrive ten years into the past, but only have one hour to do what needs to be done before being sent back to the present. Estelle makes it clear that the timeline in which she executes Selena has happened and can’t un-happen; changing events will create a tangent, but that’s enough for her, as long as there is a timeline in which Selena gets to live on.

Their broom-flight to Selena’s house is interrupted when Estelle spots young Selena walking down the street, and can resist giving her a big hug, no matter how much it weirds the girl out. Elaina notes that Estelle got quie the cold reaction from Selena, but Estelle insists that deep down Selena is very kind.

Estelle proceeds to get Selena’s parents out of the house under the guise that she’s Selena’s half-sister and has business with them. Elaina stakes out the house, waiting for the robber to arrive, but it dawns on her that the murder of the parents was too grisly for a mere robbery. Then her magic-sharing ring glows and shoots a red beam in Estelle’s direction: she’s engaged in battle.

When Elaina arrives, she finds a horrifying sight: Selena has viciously attacked Estelle, and has blood on her mouth just like her photo in the future papers. It turns out Selena’s parents abused her long before her uncle had the chance, twisting her into homicidal mania, even sadism. It doesn’t matter whether Estelle was her best friend or she and Elaina are trying to “help”—Selena is already beyond helping.

While the blood and gore on display in this scene is indeed explicit, I for one am glad we didn’t have to witness the abuse Selena suffered at the hands of her parents, and the warning was meant for the violence. And there is a lot of it—the most in the series’ run for sure.

When Selena prepares to attack Elaina, Estelle gets up and stops her in her tracks. Having worked so hard and sacrificed her own blood to try to save Selena, she is overcome by heartbreak and despair, and there’s nothing left but to kill Selena again before she can kill Elaina or anyone else.

Elaina tries to stop this by removing the ring, but Estelle simply sacrifices her memories of Selena in order to summon enough magic to explode her head off. The hour is up and the two witches return to the present. Sure enough, Estelle doesn’t remember Selena, and barely remembers Elaina. She’s a ruined husk of a witch, and Elaina is so upset by the experience she runs out of Estelles house, pointedly leaving the bag of gold behind.

That, and Elaina’s subsequent breakdown on the bench in front of the clock tower, shows that the effects of this particular journey will (or at least should) last beyond just this episode. Elaina weeps uncontrollably, her confident façade utterly shattered. She no longer thinks of herself as a special or exemplary; only an “ordinary” traveler and witch, inexperienced and unable to do anything.

She’s being a bit hard on herself, as who the heck could have handled that situation better? It was largely out of her hands. The best thing to do would have been to refuse the job, but she really needed money and was intrigued by the prospect of a different kind of traveling. The episode fades to black and the credits roll without images. Black Friday, indeed.

Read Crow’s review of episode 9 here!

DanMachi III – 08 – Suffering Fools

Every season of DanMachi has come with one or two absolute bangers that are both the culmination and transcendence of every preceding episode to that point; a climax that feels epic and cinematic in scope; that pulls out all of the stops. This season’s banger has arrived, and it simply rules.

Bell, foolish as he is, is able to create just enough deniability to not be branded an enemy of humanity on the spot: the vouivre is his catch, and he won’t let anyone else touch it. That said, when Wiene slithers away, crashing into every other stone building and causing it to topple, it doesn’t inspire much confidence he has his quarry under control!

When other Xenos emerge from Knossos, Loki Familia is ready, with Bete, Tione, and Tiona making quick work of Gros, Lyd, and various small fry. It’s especially fun to see the two Amazon sisters in action again. They’re ordered only to disable, not to kill, but it’s clear they could kill easily if they needed to.

Fels summons an Adamantite Golem, but Tiona cuts it down with one swing from her massive two-sided sword, as if to say “That all you got?” As it turns out, it isn’t: the Xenos’ least talkative but most powerful member, the Black Minotaur Asterius, arrives fresh from killing Dix in the halls of Knossos, that’s when Loki’s vanguard starts to have some problems.

The Minotaur proves a worthy match to all three active combatants, then pulls out a magical axe that shoots them so full of lightning they become numbed and paralyzed. That’s Finn’s queue to send in their heavy hitter, the War Princess herself and Bell’s would-be girlfriend…Ais Wallenstein.

After ethereally floating down to street level, Ais unleashes an Aerial Tempest combo, and suddenly the Minotaur is down an arm. The moment Ais takes the field, you know shit’s getting real, but that’s by far the most damaging blow she’s able to land, as in the ensuing fight Asterius is able to keep up with and defend her lightning-fast attacks. He’s no slouch!

But when the Minotaur slashes her left shoulder, Gareth and Finn step in to relieve her and prepare a pincer when Hermes’ chienthrope child Lulune covers the area with smoke bombs, allowing Asterius to flee. It’s clear Hermes wants Ouranos—and Bell—to succeed.

As for Bell, he continues to chase a berserk, raging Wiene as she leaves a trail of destruction in her wake. When adventurers and guards try to attack her, Bell launches Firebolts in their general direction (but without intent to harm them). Little does he know their arrangement through the city blocks is no accident.

Wiene ends up being led straight into the amphitheater, where she’s surrounded by more than two dozen mages who fire lightning attacks at her in unison. One of Dix’s henchmen delivers the coup-de-grace before being crushed to death by Gros. The arena floor collapses and Wiene and Bell take a tumble.

With Wiene now near death and no longer thrashing about, Bell is able to replace her jewel, but while she regains her “humanity”, it seems too late to save her, as she begins to turn to dust, like someone snapped away by Thanos. As tears well in her eyes, Wiene smiles. She had a dream that no one saved her, but it was just a dream. In reality it’s Bell, whom she loves, who saved her, and for that she is happy and grateful.

It’s obviously heartwrenching to see her vanish in a cloud of black dust while Bell embraces her, but thankfully we don’t have to endure the despair for long, as Fels decides to whip out a spell he’s been attempting for 800 years and long since condemned as useless: Dia Orpheus, which essentially rewrites the rules of the universe to return Wiene to life and to Bell, back in her humanoid child form.

This time it works; Fels achieves a miracle. And one could hope that this time it worked because it had to in order to restore hope of humans and Xenos coexisting. That’s only possible because of Bell, who, foolish as it was, rushed headfirst to protect them when they were being unjustly demonized and oppressed.

After Wiene is returned to the other surviving Xenos in their hideout, Bell returns to the surface, and the city is half-destroyed, due in large part to his chasing Wiene around. Eina asks him if it’s true he exposed the city to danger and allowed other adventurers to suffer injury. When he responds in the affirmative, she slaps him…then hugs him, not wanting it to be true.

But there’s no overlooking the destruction around them, nor the injuries of the adventurers involved in the incident. Bell likely has a lot to answer for. Hesita & Co. stayed out of the fighting, and I doubt Bell will be expelled from the Guild with Ouranos in charge. But surely some measure of sanction or reckoning awaits him. As he couldn’t let Wiene die—and she didn’t—it will have been worth it no matter what. But that doesn’t mean Everything’s Going to Be Okay.

Lord El-Melloi II Case Files – 09 – Straighten Yourself Out

Gray and Caules are consulting with Olga-Marie about Hephaestion when the path of Rail Zeppelin is suddenly altered, turning into the infamous “Child of Einnashe,” or Forest of Dead Apostles, and stopping dead in the middle of a horrendous blizzard.

Some enterprising mages are quickly stabbed by the predatory trees. With El-Melloi still unconscious and most of the passengers locking themselves in their rooms, it falls on Gray and her allies to figure out how to get the train back on track.

In a rather abrupt transition, Luvia and Kairi visit the “Zombie Cooking” studio of Jean-Mario Supinerra. They ask him about the crimes involving beheadings, and he assumed from his Scotland Yard contact that such a case had been resolved. Trisha also contacted him about it just before she died in the same manner, suggesting she had some pecognition about her fate.

Melvin Weins, who had been following Rail Zeppelin by helicopter ever since meeting with Reines, joins Gray, scaring the crap out of her with his unorthodox, bloody entrance. Soon Karabo and Yvette arrive with the conductor, who asks them to assist in getting the train moving again, lest they be forced to cancel the auction.

Caules agrees to stay with El-Melloi, and Melvin plays his violin to tune the magical circuits of everyone, buffing them for the upcoming mission; judging by Yvette’s reaction, the tuning also happens to feel really, really good.

The eclectic, hastily-built party (a really cool combo, by the way) sets out into the bitter cold. Yvette locates the main Leylines and Karabo marks them for activation. Add warns Gray of trouble approaching, and hangs back, once again encountering Hephaestion, a Servant whose true name she knows but whose role—and Master—she doesn’t.

As Yvette, Karabo, and Melvin battle the forest’s defenses and finish activating the leylines, Gray and Heph spar, with the latter not at all interested in dialogue and the former hesitant, but not altogether unwilling to use force.

When the train starts back up, Olga-Marie happens to land on a dimensional pocket with an imaginary attribute; a signature spell of the Fellows family to which the late Trisha belonged. When Olga unlocks the pocket, Trisha’s head falls out, to Olga’s shock and dismay. Adashino enters the room, pleased the head of the victim has been found.

Even when the train released from the forests and ready to continue on its proper course, Gray isn’t about to let Heph get away, so she rescinds her first restraint, transforming her scythe into a giant hammer. Will they get left behind, or will the battle again be interrupted, whether by an awakened El-Melloi or someone else? Even standing still, with its titular character out cold, Rail Zeppelin continues to crackle with intrigue.

Iroduku: The World in Colors – 13 (Fin) – Back to the Future…In Color!

The structure of the Irodoku finale is simple: Everyone says their goodbyes before Hitomi heads off back to her proper time. Shou (“I loved…your photos”), Chigusa (“Uhh…Smile more, I guess?”), Kurumi (“Don’t make me cry!”), Asagi (“I don’t care, I’m crying!”), and Kohaku (“See you in 60 years!”) each get their turn as the star sand matures, but when it’s time for Yuito, both he and Hitomi hesitate to say everything the want to say, despite the fact this may be the last time they see each other.

Turns out Hitomi, or rather Hitomi’s unconscious magic, isn’t going to be satisfied with their sedate, half-assed goodbyes. The magical device starts to malfunction, and Hitomi is swallowed up into another full-dive illusion. Only Yuito jumps into the stream and ends up in the same place. He rushes about looking and finally finds her, devoid of color, and they embrace.

They thank each other for having such profound effects on each other’s lives before confessing their love to each other, saying all the things left unsaid before. Yuito was all but done drawing before she showed up, and Hitomi couldn’t see colors. Both had shut themselves into dark, gray corners, but now the walls of those corners have shattered and given way to brilliant colors.

But as I predicted, love is the answer here. Saying she loves Yuito and hearing that he loves her back is enough to restore color to her world; this time, permanently. In the moments before she’s sent back to the future, she can see everyone and the town in color for the first time.

Kohaku privately remarks that it wasn’t her time magic that sent Hitomi back; it was Hitomi’s own unconscious magic simply wearing off. Shortly after Hitomi disappears, Kohaku gets a text from “Kohaku Level 77” in the year 2078: Hitomi has returned safe and sound.

Her life-changing journey thus at an end, Hitomi finds herself on the same hill where she left her granny, and they embrace tearfully. Kohaku (she insists Hitomi call her that rather than “Granny” since they became such good friends in the past) then presents Hitomi with a time capsule containing all the photos they took together.

It was probably already there, buried in the yard, before Hitomi left; Kohaku always knew she’d become a great enough mage to send Hitomi back. She’s just glad her action led to Hitomi finding happiness. Finally, she shows Kohaku the children’s book she read as a child—the only thing she saw in color. Turns out, it was written by Aoi Yuito.

After leaving flowers at her mother’s grave, Hitomi, brimming with the confidence her time in the past awakened, reconnects with her friends with school and starts an all-new Magic Photography Arts Club. As for where the 70ish-year-old Yuito and the others are…the show does not disclose that, nor does Hitomi seem in a hurry to seek them out.

That seems strange, since one would’ve thought Kohaku would have kept in touch with one if not all of them, and one would think that due to advances in technology people would live longer than they do in 2018. Alas, this finale wasn’t about Hitomi reconnecting with her friends from the past (other than Kohaku), nor her rather uninspiring romance with Yuito.

It was about Hitomi leaving that dark corner where she shut herself off, embracing all of the new colors in her world, and resuming her life in her time. She got what she needed in the past. Now it’s time to build a new happy future for herself.—MagicalChurlSukui

Iroduku: The World in Colors – 12 – The Firework Called Love

Yuito and Hitomi’s embrace late last week felt like a turning point in their romantic development—as scenes  in which two sides of a couple run towards each other in the middle of the night tend to feel. But the aftermath of that embrace is tempered by two factors this week.

The first is the looming dread of Hitomi having to return to her time, despite not wanting to. The second, and possibly most unfortunate, is that as romantic pairings go, Hitomi and Yuito are just a bit dull. The flame of last week’s dramatic gesture was fizzled out rather quickly and anti-climactically, without so much of a hint of the ever-important confession.

But maybe that was the point. After all, what’s the point of confessing your love to someone you may never see again…though considering Kohaku is still around in the future there’s a good chance Yuito could be too—more on that later.

The club has a festival to execute, and despite her issues, Hitomi puts on a brave face and gives it her all. The result is some of her most impressive magic to date; Kokahu notes after the immensely successful first day that it’s the result of Hitomi’s training, not to mention being around people she wants to make happy with her magic, something she didn’t have in the future.

Back home, Kohaku’s folks have prepared a lavish feast to send Hitomi off, but some of their practical logistical talk initially harms the mood until they drop the subject and just let Kohaku enjoy her last night there, while preparing for her last day.

Festival-wise, the second day goes as well as the first; so well that Asagi, having made a mint off her bunny postcards, decides to kick Hitomi and Yuito out of the clubroom to explore the festival together, a sweet gesture on her part that shows how far she’s come.

Asagi later tells Shou people shouldn’t apologize for having liked someone (in his case Hitomi). She respects how Shou was able to put himself out there, and hopes one day she’ll have the courage to do the same. Naturally, she doesn’t specify whom she’d muster the courage to confess to, and even if she did, Shou still might not quite get it.

As for Hitomi and Yuito, they have fun running around the festival, culminating in a visit to what frankly seemed like a pretty lame haunted house—only one thing jumped out at them. Still, the darkness is an opportunity for the oh-so-timid couple to hold hands some more.

When they exit, Hitomi decides to cut their break short, perhaps satisfied with the moments they shared, but possibly also because she doesn’t want to get too deep into anything so close to ZHIEND.

During the festival wrap party, Kohaku and Hitomi join forces once more to create magical fireworks. While watching them burst in the sky, Hitomi describes how she feels, and Kohaku remarks that it sure sounds like it’s “happiness.” In that moment, Hitomi sees color in the fireworks—a huge improvement from when she saw them in black and white back in the future.

Unfortunately, the fireworks are the only thing she sees in color, and when they’re gone, her vision is back to monochrome. Perhaps there’s one thing she needs to do to make the colors permanent: tell Yuito how (I presume) she feels.

Whether she can do that in the past, or track him down in the future (when I imagine he’d recognize and remember her, as would the others), who can say. Maybe she’ll never confess openly at all, or maybe the magic ritual with the clock won’t work. However happily or bittersweetly it’s likely to end, I’m eager to see how this story resolves.

Iroduku: The World in Colors – 04 – Fewer Colors, More Understanding

When Kohaku arrived she looked so bright and confident I feared her light would completely envelop Hitomi. But instead of a bright sun blinding everything else in its vicinity, Kohaku proves to be a warm sun, embracing Hitomi just as her granny would…because she is her granny. She takes that role very seriously without pulling herself out of her own present.

Immediately, Kohaku attracts a lot of attention, especially when she “transports” her class to England by casting an illusion spell that puts the class into a photo. It would seem her penchant for causing mayhem at school rears its head when an illusory steam locomotive covers everyone with soot and smoke.

That night, at the ridiculously awesome Tsukishiro residence, Hitomi and Kohaku talk before bed, about how Hitomi not knowing precisely why she’s there or for how long, in other words not knowing what will come next, is exciting. She also shows Hitomi a photo of a train that was in the album she held; the magic train was her doing; she has magic power, it’s just hidden and dormant, only coming out under certain circumstances.

And for all the havoc she’s wreaked over the years, Kohaku maintains that magic should only be used to help people and to make them happy. She considers magic to be a gift from God, and its the duty of every mage given such a gift to give it back to the world through happiness.

The photography arts club is a happy bunch, with Chigusa and Kurumi slowly growing together (though Kurumi puts on a front of loathing and Chigusa pretends to be aloof). They go on the high school roof at night to take photos of the skyline.

Yuito tells Hitomi that seeing only in monochrome can have its advantages. She’s able to see or understand things color normally obscures for everyone else. The gang also learns that Hitomi is Kohaku’s granddaughter from sixty years into the future…and they’re perfectly fine with it (for the most part).

The two Tsukishiro mages cap off the night by transcribing Yuito’s tablet drawing of a train into the sky. They’re using magic to help their friends by making them happy. The next day while going over their shots, Kohaku officially joins the club and adds “magic” to its name,  making it the “Magic Photography Arts Club.”

Rather than someone who was going to shove Hitomi out of relevance, Kohaku is a net positive to the group, strong and self-assured in every way Hitomi is not, but also warm, generous, and loving. Knowing Hitomi is from the future worries Yuito, because he doesn’t know if or when she’ll return there. I imagine such worries are premature; Hitomi still has a lot left to experience in the past.

Iroduku: The World in Colors – 03 – Someday Works Just Fine

Yuito’s words echo in Hitomi’s mind, as she now has a reason to explore her magic—so she can “someday” show it to him again, as he showed her his art. Each of them did something that made them vulnerable but came with the reward of growing just a little closer.

Still, the fact is Hitomi really isn’t that good at magic, even if she has the potential within her. To unlock it she’ll need to practice; her great-grandmother suggests she use a “wand” in the form of a Pocky to help focus while doing so. No harm in trying something new a little at a time.

She’ll also need practice finding a place at the school, which is practically fanatical about clubs. Both faculty and students insist she join one, but believes her achromatopsia precludes her from joining Yuito & Co’s photography arts club; conveniently forgetting the existence of black and white photography (though to be fair, she is from sixty years in the future).

When Yuito has her dive into the arts part of the club by painting a picture, her treatment of color all but confirms to him her inability to see them, at least as others do. Still, he’s quite sincere in his appraisal, and considering she’d “never drawn a picture” before, she did quite well!

From there she gets drawn more and more into the photo/arts club’s activities that day, from accompanying them as they recruit potential new members, to serving as a model during a dreamlike shoot at the pool.

While she fails to use the star sand that enables one to walk on water, she isn’t aware she picked the wrong color, and her own magic allows her to walk on it anyway…until one of the club members tells her she picked the wrong one, and she plunges into the drink.

Upon drying herself, Yuito comes to apologize, but she believes it just as much her fault for not refusing strongly enough (I don’t know, I thought she refused pretty dang strongly; they just ignored her!) Indeed, her tendency to so easily say there’s “no way” she can do something, or that she stay out of people’s way to make it “easier for everyone.”

Thankfully, she does decide that she can join the arts/photography club, and even helps them with their punishment of cleaning the pool into which they weren’t allowed to let anyone jump. Meanwhile, her grandmother Kohaku is almost home, and she seems to be someone who doesn’t just think, but knows she can do anything, and does it. In other words, she’s someone Hitomi could probably use in her life right now.

Iroduku: The World in Colors – 02 – A (Little) Star Is Born

Hitomi wants to see Yuito’s vivid drawing again, but he’s preoccupied with the fact she broke into his room. Fair enough; it is a crime, not to mention a hassle for someone who clearly hates hassles. Hitomi has no choice but to tell the truth—it’s the magic’s fault—and hope he believes her.

Fortunately, he does, and accepts her apology without further trouble. Unfortunately, he scoots off before Hitomi can ask about his drawing. In the meantime, Hitomi isn’t sure what to do now that she’s in the future past, so her great-grandparents enroll her at Kohaku’s high school for the time being.

We only see a still image of Kohaku, but I found it exceedingly amusing that the mild-mannered granny of Hitomi’s time was such a wild child menace sixty years in the past, her presence is felt even in her absence, like some kind of Sauron-like supervillain!

Kohaku, with her frequent destructive exploits, has single-handedly given all mages a bad name, so it’s only natural that the students at school would be weary of Hitomi. If only they knew how much she can’t stand magic!

Well, they get a slight demonstration of that contempt when, in front of dozens of witnesses, among them her new acquaintances with the photography club, Hitomi proves she’s a mage by creating a very tiny, dim star that only sparkles for a moment.

And yet, even that poor showing represented the best Hitomi had probably done in months if not years. As a self-styled loather of magic, she never practiced, so whatever natural magical ability may dwell within her, she stinks at it because it’s like a totally unused, atrophied muscle.

Hitomi finds Yuito drawing on the rooftop after school, and offers an apology for causing such a stir. Yuito apologizes right back for forcing her to prove she was a mage when he could have simply trusted her word. Hitomi is surprised by his contriteness, but also uses it to ask to see his drawing one more time, as it’s something “special” to her.

This week I came to identify both Hitomi’s latent magic and Yuito’s private drawings as representing parts of themselves they’re loath to reveal to others, as if they were parts of their hearts or souls. Even though Yuito loves drawing while Hitomi hates magic, both of them would rather not show it to others…right up to the point they met each other.

Now, as one of Yuito’s friends observes later, Hitomi might not find magic to be that bad after all, as she’s practicing her star-making and has clearly already improved markedly from her previous attempt. In her case and in Yuito’s, all about who you show it to, and why.

I’m kinda glad Kohaku didn’t appear for at least one more week; I feel like her blowing in like a storm would have disrupted the delicate initial bonds forming between Hitomi and Yuito, not to mention even more adversely affect her first impression at school. We’ll see how the dynamic shifts when young Kohaku returns.

Re:Zero kara Hajimeru Isekai Seikatsu – 25 (Fin)

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This was an episode full of tying up loose ends, the most important of which being Subaru presenting himself before Emilia a better and more useful man than the last time he saw her. He even gets to be a badass action hero! But as a loose-ends episode, it works very nicely, even if it’s not perfect, and leaves a lot hanging in the air (likely for another season, but not anytime soon).

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The first loose end is Betelgeuse, who very annoyingly won’t go down much of the first act. I was pleased Subaru used the Witch’s curse to expel Betelgeuse from his head so Julius could finish him, especially since we got a good look at the witch Satella herself. She does look a lot like Emilia…if Emilia were all black with a purple outline and glowing eyes!

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I rolled my eyes a little when moments after defeating Betelgeuse, Juli and Subie get a call from Felix about another problem fresh out of the blue: an unaccounted-for sack full of fire stones.

There wasn’t any doubt that sack would be stashed in the wagon Emilia and the village children just happen to be riding in, nor was there the slightest chance, even in an often sadistic show like this, that this latest particular bomb would go off.

When Subie and Otto are acting like a comedy duo in a wagon Otto has nitrous’d with his magic in the last episode, it’s reasonable to assume things will work out.

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The whole rescue attempt felt like an excuse for Subaru to confront Emilia as the one who led the army, something she only just learned about from some snot-nosed kids who don’t know how to keep their damn mouths shut. Betelgeuse’s extended demise further delayed the inevitable reunion, and by the time Betel had become a Ghibli Goop Monster with his head on fire, I had long since had my fill of the manic bastard.

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But the how of how Subaru came to triumphantly reunite with Emilia didn’t mar the fact that this episode took great strides to repair what had been an estranged relationship not just between these two, but between myself, representing the non-manga-reading audience, and Emilia. Takahashi Rie does a great job reintroducing Emilia-tan to us, as she gets to express a good number of powerful emotions during the final ordeal.

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Subaru basically gets to make the perfect series of gestures to reunite with Emilia, swooping in, grabbing the bomb, and running off to get it away, but not before telling Emilia he loves her. After smashing the whales, the giant fallen tree is the gift that keeps giving, as its trunk largely shields Subaru from the blast he’s still pretty close to when the stones detonate.

It is here when Emilia, still processing everything Subaru has done for her these last few days/weeks, completely unbidden, springs into action, rushing into the danger, desperate to find Subaru alive and alright. And perhaps because the show is finally done torturing us, he is!

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From there, there’s no long, sprawling epilogue, showing what becomes of who. Just a simple scene of Subaru lying on Emilia’s lap, the two of them overjoyed to be together again.

The way Subaru describes it, Emilia is made happy for the first time by the prospect of “special treatment.” This can’t quite match the Rem Confession episode in emotional power, but it comes darned close with much less time to work with.

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I also appreciated that Emilia doesn’t have an instant reply to Subaru’s confession. It’s all well and good to say “I love you too”, but loving and being loved are so new to her it’s going to take time. Time Subaru assures her she has.

Subaru doesn’t wake up back in front of that convenience store, but merely admires Emilia’s tearful, radiant smile, as the episode fades to white and we’re treated to an extended mix of the original ED.

All in all, an imperfect but still solid and satisfying, and entertaining finale. If a second season comes along one day (April 2020!—Ed.), I’ll surely be tuning in. If not, it was a fun ride. Often stressful, enraging, and heartbreaking…but also fun.

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Macross Delta – 24

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Hayate, Mirage and Freyja are in custody for a good part of this episode, and what with the restraints and show trial and general passivity of Heinz (the only one who can pardon them), things certainly looked pretty bad for our triangle…in a vacuum.

But Arad, Kaname, Makina and Reina were still free, thanks in part to Mikumo and in part to their own competence. While pondering their next move, the still-free members of Chaos are approached by Berger (sporting a new voice actor, as the original is in poor health), who promptly leads them to Chekhov’s Still-working VF-22.

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Lloyd’s courtship of Mikumo continues, as he tells her she’s not only an artificial life form, but also the legendary Star Singer, descended from the Protoculture. Hard to argue with him considering what she’s managed to do.

Furthermore, he believes Walkure was created to provide cover for her. She was once Lady M’s, but now she’s Lloyd’s, and he intends to use her; her own desires are irrelevant to the equation.

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After the show trial (which is a bit dull), we get to the execution, which consists of the three condemned taking flying leaps off the edge of a huge sheer cliff. Hayate stalls as much as he can, assuring both himself and the girls that this isn’t the end.

Sure enough, the VF-22 streaks through the sky and causes a big ol’ ruckus, allowing Hayate and Mirage’s remote-controlled planes to catch them when they jump. It’s a neat stunt, though the whole exercise makes the Windermereans look a bit dumb.

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A huge aerial battle ensues between Delta and the Aerial Knights as Walkure attempts to destroy the protoculture system without Mikumo’s help. It doesn’t go well: Makina takes a sniper’s bullet for Freyja, and while they try to keep it together, Lloyd repeats a mantra enough times to awaken the Star Singer within Mikumo, and her song starts overpowering everyone.

So Walkure/Delta has no choice but to retreat, having left Windermere in much worse shape than when they arrived. Makina may heal, but now Lloyd has perhaps the Ultimate Trump Card in an awakened Star Singer, while an ice crystal appears on Freyja for the first time; it would seem her singing has shortened her already-short life.

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Re:Zero kara Hajimeru Isekai Seikatsu – 24

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So, the first attempt to save the village and take out the Witch’s Cult was met by some mishaps, such as the time-consuming misunderstanding that led to a confrontation with Ram, the killing of villagers before evacuation was complete, Emilia taking the field of battle, putting herself at risk, and oh yeah, Subie getting possessed by Betelgeuse.

But when Julius and Felix killed him, he died and came back just like he always did, without any twists due to his possession. And fortune not only smiles, but beams on him, as he wakes up right in the middle of the planning phase, allowing him to casually introduce the new information he gleaned about body-snatching, the traitor in their midst, and Ram.

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His new plan revolves around convincing Emilia to go along with “Crusch’s plan” to evacuate the mansion and village, including Emi-tan herself. She agrees, because she believes the plan put before her, while not entirely or even partially of her own making, is the best plan as far as she can tell.

So she’s put on a wagon with some enthusiastic village kids, and sent off to safety, while Subie and the knights capture the traitor and take the metia he was using to pass information to the cult. It’s important to note Subaru himself wore the recognition-blocking robe Emilia threw at him, so she had no idea he planned all this.

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Suffice it to say, thanks to learning the lessons of last week’s ‘dry run’, everything goes off without a hitch, as Subaru once again confronts a Betelgeuse now weakened by a lack of fingers nearby. Subie also allows Juli to cast a spell, Nect, that lets him see with his eyes, allowing him to see the unseen hands and cut through them.

This achieved one of Subie’s secondary objectives: to properly make up with Julius. He is, after all, a crucial part of the plan and why, when the episode ends, it looks like the end is near for the Sin Archbishop, and very good for Subaru, who has once more learned from his past mistakes, put pride aside, planned carefully, and relied on and trusted in others.

This is how he has truly become Emilia’s knight.

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Flying Witch – 06

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This may not make much sense, but Flying Witch felt like it was almost trying too hard to be about nothing all last week, which pulled of took me out of its world. But this week it returns to its effortless coziness. Like the magic it contains, Flying Witch is not usually flashy, but it can be powerful.

Just seeing Mako in the air on her broom again was a sight for sore eyes, and Akane’s suggestion that she not try to ride a broom she is levitating, but levitate herself along with the broom, provides invaluable insight into the ways of witching.

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While Makoto figures out how to ride properly, Chinatsu is satisfied she’s seen enough: she wants to be a witch too, and formally requests Akane take her on as an apprentice. Akane entertains the request, waiting until the young child is out of the room when she tells Kei that it’s a difficult, possibly life-changing path for one who was not born a witch.

But young and impulsive as Chinatsu is, there’s no arguing with her assertion Akane and Makoto are cute and amazing. And Chinatsu’s fantasies of how she’d use her powers are just as cute.

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Akane drives home the point that magic isn’t always about telekinetically manipulating toys, transforming cars into pumpkin carriages, or creating candy houses that eat people. The basic stuff is subtle, and yet still requires precise preparation to work at all.

Akane proves to be a good teacher, precise in her directives while maintaining her pupils’ faith throughout, in spite of evidence of the spell working. I like how Kei, meanwhile, is simply sitting on a bean bag watching dumb movies. Hey, after that weeding, he earned a break!

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When the spell is finally complete, and Makoto eats the newly-enchanted Pocky, I perked up to see what, if anything, would happen. Turns out the lesson also served as a prank, which is it’s own lesson about the power of even minor spells. Makoto ends up crying at everything for about an hour, while Chinatsu ends up laughing at everything

Cats be all like “humans be crazy”, Kei’s movie is interrupted by their noise, while Chinatsu and Kei’s mom has a little fun making her daughter laugh (though I dunno about letting Makoto handle a knife while crying uncontrollably). As for their dad, he eats both snacks and is domed to spend the next hour laugh-crying over everything. Magic, man: You gotta respect it.

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P.S. One issue I wish would be addressed, but probably won’t be: the music. There seems to be one main musical theme to FW, and it’s used every week, usually more than once. It was cute and matched the mood, but it’s totally played out. More musical variety, please!