Tada-kun wa Koi wo Shinai – 09 – Various Things

Teresa’s head maid/nanny/governess-whatever warned her; if she went to Japan, she may encounter “various things”…Teresa just never knew that those various things would include falling in love, and not just with Mitsuyoshi, but with his friends, a simple life of school, having fun, and occasional cafe work…and with Japan.

At the airport Teresa all but confirms to Alec what Alec had suspected; that she has indeed fallen for Mitsuyoshi. But Teresa hasn’t abandoned her plan to marry Charles and become queen. That duty remains extremely important…but now it is competing with…various things.

With the air between the girls cleared, the next time Teresa is near Mitsuyoshi, she stiffens up and becomes conspicuously…formal. Mitsuyoshi does not change in turn; he merely continues being the kind fellow he’s always been, plucking a caterpillar from her hair, picking up her eraser, and lending her and Alec his umbrella (though it eludes me how someone as meticulous as Alec would forget hers).

Mitsuyoshi had hoped Kaoru would be able to share his, but neither of them have an umbrella, so they run through the rain. And the chances of someone in an anime getting a fever after getting stuck in the rain always hover somewhere around 99.999999999%, so Mitsuyoshi collapses. Teresa blames herself for taking his umbrella, and works a shift at the cafe with Alec so Mitsuyoshi can rest and recover.

Yui serves Mitsuyoshi her Special Red-Hot Rice Porridge (I’ll call it Reho-riho), but when Yamashita and Hajime leave his bedside, they neglect to bring down the dirty dishes, so Yui sends Teresa up to his room to fetch them.

There, Teresa finds herself all alone with the guy she’s fallen for, and the wind scatters his photos, all of them beautiful and full of love. Even with his fever, she can’t resist bending over to kiss him, but immediately tears up upon doing so, cursing herself for being unable to “stop.”

At this point its almost assured she’ll have to take a significant emotional hit in order to follow through on her royal duty to marry Charles, whom she simply does not love (though could presumably fall in love given enough time, as with some arranged marriages). But “in love now” tends to win out over “in love down the road, maybe.”

For now, once he’s better, Teresa seems poised to invite Mitsuyoshi to a day of Sky Tree Rainbow Shogun fun. And once she’s done having her fun, she’ll presumably return home and do her duty.

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Tada-kun wa Koi wo Shinai – 08 – Growing Up Quickly, Venturing off the Path

As their days in Japan grow less numerous, Alec might’ve hoped Teresa will gradually ratchet down her lingering glances in Mitsuyoshi’s direction. Instead, after a lovely trip to Lake Kawaguchi to photograph Fujiyama and the stars, the opposite seems to be happening, and Mitsuyoshi finds himself glancing back more and more.

The subject of the group’s conversation turns to love when they visit a shrine and purchase their fortunes. Ijuuin continues to quixotically flirt with Alec, while Hajime continues to make remarks about HINA when she’s standing right beside him. Pretty standard TKS stuff.

Teresa probably also hoped Charles’ continued presence would steer Teresa back on course, but Charles is drawn away from the fun by work from home, and has to stay at the inn while everyone else sets out for the lake to make camp and wait for the stars to come out.

Everyone ends up dozing off except for Mitsuyoshi and Teresa, who end up talking a lot about their respective pasts. While Mitsuyoshi losing his parents was certainly more tragic than Alec getting wet and crying, the fact of the matter is both of them reacted the same way: by regretting mistakes they made and wishing they could go back and fix them.

But they can’t so Mituyoshi opines that regret is a means of reminding themselves not to repeat mistakes that were made but can’t be unmade. The symbolism of the clouds parting to reveal the stars just as the two possible soul mates open up to one another was not lost on me.

Unfortunately, any further developments between the two are curtailed when Ijuiin pops out of the darkness, though Teresa instinctively grabs hold of Mituyoshi’s arm, turning beet red when she realized what she’d done.

The photo club gets their star shots, and before you know it the trip is over and Charles is headed back to Larsenburg. When he kisses Teresa’s hand and bids her goodbye, her hilarious lack of emotional response is conspicuous, but Charles doesn’t let his disappointment show until he has his back turned to Teresa and Alec.

Alec, meanwhile, doesn’t have the same faith Charles does that Teresa will end up fine eventually; perhaps because she’s been by her side in Japan far longer. So she confronts Teresa right there at the airport, preparing to ask, no doubt, about what exactly she’s doing falling in love with Mitsuyoshi.

I doubt the question will be phrased quite that way—nor is there a version of such a question Teresa will be able to answer easily—but when the hair of anime characters whips around that emphatically, you know drama’s afoot.

Sousei no Onmyouji – 14

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After last week’s big battle and catharsis, we were due for a break at the show’s midpoint. SnO tries to make the recapping medicine go down easier by surrounding it with Tanabata festivities, but they only comprise about half of the episode, making this a half-recap requiring lots of fast-forwarding.

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The Tanabata content also rehashes Rokuro’s triangle with Benio and Mayura, but there just hasn’t been enough of Mayura for me to harbor any hope whatsoever that Mayura will have any success in that arena, despite the wish on the back of her tanzaku.

As for “Ohagi-Man”, the bit is funny at first (especially Rokuro’s running commentary), but grows repetitive fast. Checking in on the various adults guiding Rokuro and Benio doesn’t really result in any new insights; they’re just here to recap what’s happened.

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The episode ends on a nice note, with both Rokuro and Benio, having procrastinated what to wish for all night, gaze up at Altair and Vega, and both privately wish for the same thing: to become stronger with one another.

It seems they will certainly have to become stronger, with many foes and battles looming on the horizon. But whether they’ll ever become a true couple capable of producing a child—the Miko—is not addressed here.

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Ushinawareta Mirai wo Motomete – 08

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Whoa…Déjà vu…sorta but not quite! After much foreshadowing and foreboding, we’ve returned (arrived?) at the day before Kaori’s tragic death-by-runaway bus, which is when the first episode started. The most noticable difference between this timeline and that one is, obviously, the presence of Yui. Everything seemingly reset when she showed up in Sou’s arms. Now we’ll see if her actions of the last six episodes paid off and if Kaori was saved this time.

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For the record, I must confess that I loved Suzumiya Haruhi’s infamous “Endless Eight” arc, partially because I love anything that involves time travel. Unlike E8, a lot of time has passed since the first time we saw these events, so while the settings and conversations and general timing of the days are familar, they’re not fresh in our mind, and in any case all the details are different; even little details like what Sou buys for lunch.

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A bigger difference is the influence Yui has had. While her primary mission seems to be protecting Kaori, that’s made more difficult by Kaori considering her competition. As the episodes have progressed, Yui has grown closer and closer to Sou, and Kaori doesn’t like it.

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But she couldn’t do anything about it until the day they see the stars, because that’s when she confessed to Sou in the last go-round. Unfortunately, something Yui can’t control is how the Sou of this time responds to Kaori’s confession, which stays exactly the same: he doesn’t give her a straight answer and Kaori gives him time.

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Even though a weight has been lifted from her shoulders, the fact she doesn’t have an answer from Sou keeps things awkward, and keeps it difficult for either Yui or Sou to stay close and keep an eye on her.

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It hardly helps matters when Kaori spots Yui talking animatedly with a blushing Sou while gazing into his eyes in the hall. Sure, they’re talking about Sou and her, but she can’t hear from that distance, and in any case she knows what she sees in Yui, because she sees it in the mirror everyday: love. Yui can’t hide it, and that plays heavily into the failure of her mission.

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Pissed off at the world, Kaori rebels a little, flaking out on Yui and going off to sing karaoke with classmates. Her conscience makes her eventually turn around and head back, but by then, Yui has gone after her. Then Kaori heads to the site of her previous death, and while again, the details are slightly different, things end the same way: very, very badly.

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When this happened in the first week, it was a bold play that elevated the show. So dark and morose and terrible was that hospital scene, that it’s no surprise it effected us just as much as it did last time, if not moreso. We were hoping, hoping Kaori’s mother wouldn’t collapse to the floor in grief this time. When she did, our hearts sank all over again.

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With that, we cut back to the lab where Yui floats in a glowing blue tube, and hear the voice of Sou call her name before the credits roll, and the questions come rushing up: was this the first time? The last time? Why Yui? How and when did she originally meet Sou? Will things reset again, or will we see more of this timeline? Can the future even be changed, or will the universe keep finding ways for Kaori to die on that day, having never gotten an answer from Sou?

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Ushinawareta Mirai wo Motomete – 07

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First off, kudos to WareMete, for having the Astronomy Club, despite having only one astronomy-obsessed member and a primary mission that has nothing to do with astronomy, actually putting in the work that’s necessary for the upcoming festival. They also want to do things the right way, without shortcuts, meaning baking all the goodies and building the intricate planetarium device themselves.

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Sou and Kenny demonstrating a well-practiced pose for sudden door-openings

Granted, they don’t quite get the personnel distribution quite right the first time, as Kenny is more interested in Sou’s booby mag than working on the device, while Yui seems only marginally interested in baking with the experienced Kaori and the eager newbie Airi.

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After a test batch, Yui takes Kaori aside and asks her point-blank: “Do you have feelings for Akiyama?”; Kaori’s reaction is a sufficiently clear answer, though she lies and maintains they’re just old friends, then starts creating opportunities for Yui to be alone with Sou – putting Yui’s assumed feelings for Sou above her own.

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While showing off the fruits of their labor, Sou points out a basic scientific fact that I for one only rarely consider while looking up at the night sky: that every time you look up at the stars, you’re travelling back in time…and not just to your parents’ high school prom, mind you—but to an ancient time before human civilization…or even humans period.

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Seeing the stars jogs a distant memory of Yui’s, and I think we learn that for her, living in this world is for her what looking up at the stars is for everyone else, though not on quite the same epochal scale: she’s traveled back in time. I say this because the man in the white coat admiring the Summer night sky in Yui’s memory looks suspiciously like an aged, grizzled Sou. And as Kaori suspected was the case with the present Sou, Yui has the feeling this future person means (or will mean?) a great deal to her. Kaori hears that bit on the other side of the door and is further dejected.

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The importance Sou has for her is further exhibited when he gently wakes her up and, with a dream of that other time still fresh in her mind, she puts her hand on his face before snapping out of it. It’s something one would do if you suddenly found yourself before a loved one in the prime of their youth, before that face was weathered by the burdens of life and tragedy; in other words, when their skin was almost as silky as Jennifer’s.

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If the stars of Sou’s planetarium or other stimuli continue to jog her memories, and more details from that future come to light, Yui (and our) understanding of those feelings will grow, as will the amount of information she’s presently concealing, though Sou got a little bit out of her. In any case, judging from her hospital-like attire, it’s reasonable to conclude (*gulp*) that Yui is the girl in the tube, and Sou sent her back to save Kaori…even though Yui loves him too.

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The titular Lost Future, therefore, could be the future with Kaori Sou lost when she was hit by a bus (or some other misfortune), or the future Yui lost by traveling back in time, leaving Old Sou behind. There’s a nice symmetry between Yui helping Sou save Kaori in the future and Kaori yielding Sou to Yui in the present.

Temporal Love Triangle FTW, Baby.

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Patema Inverted

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Even though we’ve collectively logged over 1,900 hours of anime, we still consider ourselves humble tourists in the field. As such, we’ve developed and clung to assumptions more experienced and/or knowledgeable parties might find quaint. One of those is that the Miyazaki/Ghibli juggernaut has classically had the “wondrous fantasy with wide appeal” market cornered.

After this film (originally released in November), the first work we’ve seen from 34-year-old Yoshiura Yasuhiro (Eve no Jikan) which is ostensibly his magnum opus (so far), that assumption has been…inverted. SPOILERS THROUGHOUT.

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Hannah Brave (Braverade): I’m still reveling in the afterglow of this phenomenally gorgeous film. There honestly wasn’t a bad shot in the whole running time. From the opening moments depicting a wide-scale calamity to the transition to an underground world, it just kept dishing out awesome, exquisitely-detailed environments, determined to out-do Ghibli in sheer density of memorable imagery.

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Preston Yamazuka (MagicalChurlSukui): I too found myself spellbound by the sights, but even the best-looking film can be undone by subpar music or voice-acting. This had neither of those problems: the stirring orchestral score, the hauntingly beautiful theme song; the voice-acting and ambient sounds—all conspired to complete our transportation to this new world.

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Zane Kalish (sesameacrylic): The sights and sounds were spot-on (and very Ghibliesque at times, I might add), but where this film really shone was in its premise, brilliant in its elegance and almost universally approachable: what starts as a humble fish-out-of-water tale balloons into an epic tale of two worlds with opposite gravity connected by two young, open-minded representatives of said worlds, who share a passion for exploration and a yearning for the new.

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Hannah: Yeah, I sure did think this was just going to be about the Adventures of Upside Down Girl, but the film became so much more than that as it progressed. The science of what exactly happened to cause this phenomenon is wisely kept vague; it’s the impact of the phenomenon on society that really impressed.

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Preston: To returning to the genesis of the Ghibliverse, Patema sure did resemble Princess Nausicaä, and her village was the kind of individualistic egalitarian utopia ruled by a kindly king the Valley of the Wind was. Meanwhile, gravity may be “correct” in Age’s world (in that the sky is up, but more on that later), but feels like Nausicaä’s unseen Tolmekian Empire; run by a man not afraid to spill blood to validate his ideals.

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Zane: Forget just Ghibli: Aiga, a stark, authoritarian nightmareland where it’s taboo to look up, called to mind Nineteen Eighty-Four, Blade Runner, Brazil, and Pink Floyd’s The Wall. In any case, no where you particularly want to be. Once Patema arrives in Age’s world, the cameras favor Age’s perspective, making her inverted, but it’s Aiga world that’s “upside down” in terms of philosophy.

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Hannah: When Age (pronounced “Eiji”) hides Patema in that little shed, we knew it was only a matter of time before the “anti-invert” state got wind of her and brought the hammer down. If we had to give this film a demerit, it would be for having such a Laughably EEEEVIL Antagonist in Governor Odious Izamura, who spouts dogmatic bullshit but at the end of the day only worships the god Izamura, believing the vast power he has entitles him to keep Patema as a pet…or worse.

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Preston: I can kinda forgive the scenery-chewing arch-villain, because while this film is often broken up into extremes of good and evil or up and down, it’s just as concerned with the “in-between”, the “third way”, and in finding a way to connect the two worlds, which starts with the two kids Patema and Age. And even Izamura’s evil is diluted by his right-hand man, who operates in more of a moral gray area for most of the film.

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Zane: Izamura’s character was definitely informed by the old-school bad guy immortalized by Muska, whom even Miyazaki said he was a bit disappointed in, but when two crazy kids start makin’ eyes at each other, you need a strong, unrelenting force to break them apart in order to make their reunion that much more of an accomplishment. And I loved everything about the friendly love triangle of Patema, Age, and Porta, including how the two guys put their rivalry aside to save the girl.

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Hannah: That was one hell of a rescue…even though it technically failed! But while Patema and Age’s escape back down (or up? Oh dear…) to her world was delayed, the standoff on the roof of the skyscraper left us breathless, and led to one spectacular aerial vista after another, until they grow so close to the stars in the sky, they learn they’re actually lights from a huge network of structures. I have to say, I wasn’t expecting that.

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Preston: Actually, when Age and Patema watched the stars together for the first time, I was truly hoping against hope they were actually the lights of another city. That the film actually went there really made my evening. And in a glorious moment of continuity and coincidence edging on kismet, Patema finds her backpack, which just happened to land right beside the Age’s dad’s wrecked flying machine.

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Zane: Kismet or not, I really liked the way one life-threatening situation after another led to the Patema and Age growing to trust each other implicitly with their lives, and even becoming comfortable in their inverted hugging. The tender romance takes an important step forward up there in the “stars” where Age is the Inverted, and thus truly understands what Patema went through. As a recovering acrophobe, every instance of someone looking at their version of “down” generated a visceral response, a combination of primal fear and excitement. Unfortunately, there was no Spider-Man (or girl, in this case) kiss.

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Hannah: Part of me hoped the lovebirds could just stay up there, but not only did practical issues preclude that (it gets really hot up there during the day, plus there’s no food), they’re the hero and heroine of the story; they can’t just run away from their responsibility—and their desire—to serve as the bridge between their worlds. When they arrive at Patema’s village, it’s in the middle of her memorial service—now that right there is some Huck Finn/Tom Sawyer stuff!

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Zane: Yes, Duty Before Booty.

Preston: Please don’t type that. Also, you cut in line, it’s my turn to write something.

Zane: You going to subtract points and revoke my citizenship?

Preston: No, there’s no need to go Aiga on you. Ahem…anyway, yeah, Izamura’s plan to invade Patema’s realm with a handful of men using a flying device he has no idea how to operate seemed a bit short-sighted. You’d think someone who has that many weapons on his person would more carefully prepare for such an operation. It was akin to Dennis Hopper’s President Koopa travelling to Manhattan armed with Super Scopes in the live-action Super Mario film.

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Zane: Damn, nice reference. That was a properly nutty movie. But regarding Izamura, he was so obsessed with crushing the Inverted and taking personal possession of Patema (best illustrated by his tirade about why she chose Age – because he’s the same age and not a dick, duh!) it dulled the survival instincts he’d ostensibly cultivated as ruler of Aiga, resulting in his excellent death-by-falling-up into an endless sky.

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Hannah: Izamura’s was a Bad Guy Death you can set your watches to, made more deliciously ironic by his long-held belief the sky swallowed up sinners. By then, his right-hand man is fed up with his evil shit and saves Patema, Age, and Porta with his trusty casting-net gun. That leads to a happy ending in which the first steps towards amity between the worlds are taken. And at that point, Patema and Age have been holding each other to prevent the other from falling to their doom for so long it becomes second nature. What do you think guys: too tidy an ending?

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Preston: I don’t think so. The happy ending felt earned, after all the heavens and hells they went through together. Their success is also a handy allegory for real world conflict: Just because my up is your down and your down is my up doesn’t mean we have to be enemies. A difference of perspective, literal or not, will always lead to isolation and strife…but there will always be outliers in those groups who realize it doesn’t have to be that way, and work to unite rather than divide.

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Zane: I second Preston’s opinion. By the end, Patema and Age are sweethearts, pioneers, and diplomats, but also very important symbols of the viability, and benefits, of harmony and accord. Aiga’s hardcore Orwellian society is far more brittle than it looks when exposed to the sight of a cute couple soaring through the sky like birds. I like to imagine a sequel taking place a decade or so later, when the two societies coexist amicably in a new shared infrastructure resembling Escher’s Relativity.

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RABUJOI World Heritage List

MAL Score: 8.31