Higehiro – 13 (Fin) – Not the Last Time

With Yoshida having said his piece and even kinda-sorta getting through to Sayu’s awful mom, it’s Sayu’s turn to talk to her. She takes a page out of Yoshida’s playbook by prostrating herself, and once again, her mom almost loses it over not wanting to apologize for anything. But she does at least finally understand that he’s the only parent Sayu has, and it really helps Sayu to hear that from her.

Having taken the first step towards détente with her mom, Sayu slips into Yoshida’s bed one more time in the night, asking if he wants to do it just once so they won’t forget each other. As always, Yoshida’s answer is the same; “no”, and “knock it off!” At the airport, after receiving thanks and refusing cash from her brother, Sayu confesses her love to him, and vows to visit him again when she’s an adult. This isn’t goodbye.

That said, when it finally hits Yoshida that Sayu is gone and with her the entirety of the cozy found family they built together, he can’t help but tear up. Even if he followed her easy recipe, his miso soup just can’t measure up to her’s. That said, as time passes, Yoshida settles back into a life without Sayu, which still contains Mishima and Gotou, who continue to battle for his heart at work.

It seems neither has a shot, as Yoshida has become close to Asami, who is apparently now an adult and no longer has a tan or bleached hair. He’s ready to meet her at the stargazing spot when he arrives home to behold a familiar sight: a young woman sitting by his entrance. It’s Sayu, now a high school graduate and evidently an adult.

The two go through the same exchange as when they first met. It looks like whatever Yoshida’s got going on with Asami (if anything), Sayu didn’t waste any time getting back to the guy she fell for—the man she’s glad she ran away and met.

This is all fine—really, it’s fine—but I’ll admit to suffering a bit of Higehiro fatigue. Considering how these last three episodes languished, a thirteenth episode felt like one too many.

Don’t Toy with Me, Miss Nagatoro – 12 (Fin) – The Exhibition

With the cultural festival fast approaching, Naoto has managed to belt out a whole series of Nagatoro Being Nagatoro, and her friends are impressed. Hayacchi herself is happy they turned out well, even if they give off “creepy virgin vibes”—though it’s obvious by now she’s a virgin too.

When the others go to the other side of the clubroom to spy on the President’s progress, Naoto doesn’t go with them, and Nagatoro tells him even if the Prez is “Queen of the Lewds”, he can still beat her. That is, until she sees the Prez’s piece and passes out. Gamo assures the two that she, Yosshi and Sakura will figure something out to help them.

Naoto and Prez have a slightly tense but also very honest little scene together, with the Prez making it clear this is less about winning and losing and more about tapping into the artistic potential she knows Naoto has within him. She’s not holding back, so she urges him to “hit her with a soulful work of passion.”

She then produces a “Torocat” strap that closely resembles Nagatoro, and the next day Naoto learns what that’s all about: Yosshi and Sakura are in costume as Torocats to support Nagatoro in her now familiar catgirl cosplay—though it’s clear Nagatoro is not at all into having to “toy with” all the guys who come to visit Senpai’s exhibition.

That said, as the day goes on, she becomes less stiff and starts to have more fun. When Naoto sees her basically flirting with other guys the same way she does with him, it’s hard for him to hide his jealousy.

The reverse occurs when other girls approach Naoto, express how impressed they are with his work, and ask him to teach them how to draw. Nagatoro doesn’t like that one bit!

That said, when Naoto asks her to join him for lunch, she still comes along. She calls him out for suddenly being so popular with the ladies now, and he chalks that up to the paintings turning out so well, for which he credits her. This causes a rapid succession of Nagatoro faces, and ends with her toying with him, but unlike with the other guys, she genuinely enjoys it.

When they return from their break, which essentially serves as a little mini-date during the festival, they find a huge commotion outside the Prez’s side of the club: the Disciplinary Committee is censoring her super-provocative painting, citing it a threat to “moral order” after hearing rumors it was being used to “play with the male students’ lust”.

While I initially thought we saw the Prez meeting with the committee last week to set this whole thing up in order to create more buzz and win the competition, it seems that isn’t the case, and she’s not in on anything. In fact, she’s outraged her art is being censored.

That’s when her kohai Naoto comes in to defend her, stating that her amazing art has inspired him to find the subject he wanted to draw the most: Nagatoro. Gamo and Sakua push Nagatoro in to back Paisen up, and even she admits that Prez’s art is amazing. Yosshi even produces video footage that proves that there were more people were taking the art seriously than horny boys leering at it.

This might’ve been one of my favorite scenes not involving just Naoto and Nagatoro, because it subverts the “competition with the club on the line” trope in favor of something more interesting: doing the right thing, even if the person you’re doing it for is a rival. It’s not just Nagatoro; Yosshi, Sakura, and Gamo are good people at heart!

When the Prez returns, tells the others she worked out a compromise, and voices her appreciation for their support with her very first expression resembling a smile, the girls can’t help but gloat over the fact that she lost. That said, the Prez isn’t a sore loser, and even takes their chosen punishment: that she dress up as a bunny girl to help sell Torocat merch. Naturally, it all sells out.

With the festival in the rearview mirror, Prez pays Naoto a visit on his side, explaining her getup as “the fate of the defeated.” She admits it’s humiliating, but also “a new form of oppression” to “stimulate her creative desire” and bring her “unprecedented deliverance.” Let it never be said Prez doesn’t have a way with words, but Naoto’s reply—“Just get changed already!”—is equally sublime!

When Nagatoro, eager to see Naoto, leaves her friends and enters the club room to find the Prez seemingly about to undress, she nearly flips her shit…but the Prez is only joking. She has a sense of humor! She also admits she likes Naoto’s paintings of Nagatoro, which not only contain “a definite passsion”, but love as well.

She may have lost the competition, but the fact her underclassman learned a valuable lesson about art and vastly improved his work renders that competition moot. As a senpai, the President actually won. When Naoto is hesitant to admit his pieces contain his love for Nagatoro, he’s mercifully saved by the bell for the festival’s closing concert.

Remembering Nagatoro’s words at the summer festival, Naoto meekly comes out and asks her if she’d like to go together. Nagatoro, happy beyond words, asks him to ask again, only louder, then takes him by the hand and off they go!

After the credits, we see Nagatoro and Naoto alone again in the clubroom they won back together. Nagatoro is resting her eyes, but looks up to flash a soft smile before returning to her catnap. When Naoto’s drawing is complete, she tells him to close his eyes and accept his reward, which this time is a real kiss on the cheek.

Even this chaste peck proves too much for Nagatoro, who runs out of the club room after pulling down an eyelid and sticking out her tongue. But she can’t undo that kiss, nor does she want to. This has been a relationship of small but meaningful steps forward all along, and I have no reason to think that slow but steady progress won’t continue.

And that’s a wrap! Don’t Toy with Me may have started out with a sharp edge of kinkiness, but turned out to be one of the sweeter loves stories of the last couple years. We watched both Naoto and Nagatoro come into their own as two people who found each other, navigated the often stormy waters, and found happiness and inspiration in one another. We should all be so lucky!

Episode 12 “Senpai” Count: 9 (+2 “Paisens”)—hardly any at all!
Final Count: 391

Higehiro – 12 – We Have to Talk

So yeah, things are not off to a great start when the first thing Sayu’s mom does upon laying eyes on her for the first time in half a year is slap her in the face. It’s super awkward, and continues to be so, because they’ve entered Sayu’s mom’s castle and she’s in charge. Issa, as much of an independent and successful adult as he may be, still shuts up when his mom tells him to, which is often.

The discussion moves to the dining room, where it becomes clear Sayu’s mom isn’t interested in empathizing with Sayu as the young woman she is, let alone see her as a daughter to unconditionally love. Instead, she immediately airs her grievances, citing all the rumors that have cropped up since she disappeared.

She’s not glad her little girl is home, but still angry she left, because of how it affected her. It’s also clear she suspects Yoshida of taking advantage of her. Sayu does her best to state her case and demonstrate how she’s grown, but her mom has long since developed cloth ears to anything she says, no matter how true or perceptive it may be.

Once she inevitably declares that she wishes she had never given birth to Sayu, which, just fuck you, you despicable c-word—Yoshida, who had been sitting calmly and quietly the whole time, almost picks up his glass of iced tea and throws it in the bitch’s face. But rightly realizing that would accomplish nothing and possibly even hurt Sayu more, he does the opposite.

He calmly speaks from the heart about how just as a parent can’t choose the child they have, the child can’t pick the parent either. The difference is, a parent is (usually) an adult, and thus responsible for their life. Children aren’t. They need to be cared about and for by parents, or they can’t become proper adults themselves. If Sayu’s mom doesn’t want that responsibility, Yoshida would happily take it from her, adopting Sayu and raising her until she’s a real adult.

But he can’t do that, because Sayu has a mom, and she will never not be her mom. So he prostrates himself and begs her to take care of Sayu. Issa follows his lead and does the same. Faced with this unexpected groveling, Sayu’s mom simply freaks out, and Yoshida and Sayu have to leave the house while Issa tries to calm her down.

As Sayu and Yoshida sit outside and wait, Yoshida can’t fight back tears, lamenting just how much worse the situation between Sayu and her mom turned out to be. Sayu is surprised, but also can’t stop herself from crying once she sees him doing it. But it’s a good cleansing cry that transitions into looking up at the beautiful night sky and holding hands in solidarity.

Even though things are not great, they’re going to be alright. Sayu feels forgiven after Yoshida’s groveling, and after making her piece with her friend on the rooftop last week, feels confident in being able to stand for herself. She also admits that things aren’t going to get better with her mom overnight, but neither of them have even given it a try, so that’s really the first step.

Issa comes out, telling Yoshida that bowing before their mom seemed to do the trick. She’ll insist Sayu live there until graduation, and as long as she doesn’t cause problems for her, she’ll “leave her alone.” It sounds like more selfishness and an inability to see Sayu as anything other than a burden and a hassle, but again, we’re at the start of something. Sayu and her mom will have to adopt and entirely new way of interacting with each other, and that will take time.

What’s important is that not only Sayu is willing to put in the work to give it a try, but Sayu’s mom is too. After Yoshida meets with her again to apologize for lecturing her before, she asks if nothing really went on, he answers truthfully, and she seems to believe him. What puzzles her is why he’d go so far for her daughter, to which he can only say “because I met her that night, in that moment.”

Surely Sayu’s mom must understand how something like that might work; she was, after all, presumably in love with Sayu’s father. She simply didn’t know of any way to keep him around other than the hail mary of having Sayu. When it didn’t work and he left anyway, she put all of her scorn into her.

But she seems to finally understand that it can’t go on like that anymore. Sayu ran away to get away from her, but now she’s back, and she’s grown a little more. It’s up to her, the parent, to ensure that growing up is completed. So she’ll talk with Sayu about their future together, however much of it there ends up being, and go from there. And Yoshida will go back to Tokyo in the morning. But it’s a good thing he came.

 

Vivy: Fluorite Eye’s Song – 13 (Fin) – Mission Accomplished

The finale to Vivy, entitled simply Fluorite Eye’s Song, hits all the right notes, as our titlar AI diva gets her second and final chance and doesn’t waste it. I’m a big fan of going back and redoing things, whether it’s Back to the Future or Steins;Gate, and Vivy doesn’t disappoint in switching up the actions she took last time, culminating in saving Toak and Yui before Elizabeth can even arrive on the scene.

Armed with data, footage of the imminent satellite disaster, and the means to shut down the Archive, Vivy asks Toak to believe and stand with her as she accomplishes her mission as she’s always seen it ever since she and Matsumoto met: make people happy with her singing by first keeping those people alive. Yui concurs, and Beth helps inspire the troops.

Toak will be heading to Arayashiki as before, but as Vivy is armed with the knowledge from their first ill-fated raid, they’re able to avoid the mistakes that resulted in all their deaths. Vivy, meanwhile, is headed to the only stage appropriate to sing her song to shut down the AIs: the Main Stage at NiaLand.

After Matsumoto mentions he’s never actually heard his longtime companion sing on the stage, Vivy snaps her fingers like Diva, but she’s got the wrong idea. Matsumoto wants to hear her song. Vivy tells a joke, then psychs herself up by playing with Matsumoto before taking her leave.

As we see from Archive’s core, a new branch is forged on the timeline tree of the Singularity Project. Archive knows she’s coming, but as promised is giving Vivy a chance to prove that humanity shouldn’t be annihilated.

On her way to the stage she encounters another old friend, beside her first stage: Navi, once her one and only friend. Navi doesn’t want Vivy to go to the Main Stage, even summoning a hologram of Momoka to try to keep her there. She rejects Vivy’s expanding of her mission, which used to be just to make people happy with her singing and nothing else.

Navi gets one crucial detail wrong: Momoka would never have called her “Diva”—she’s the one who gave her the name Vivy. She knows her first song in decades may end up being her last, and she’s already prepared for that. But her mission has changed since it was just her and Navi, and she’s a different person, too.

As Vivy walks up to the half-ruined stage and sings the proper, beautiful, major-key “Fluorite Eye’s Song”, Toak and Matsumoto infiltrate Arayashiki, outmaneuver the AI guards, shut down the power, and get to the Archive’s core faster and with fewer (but still not zero) casualties.

As for “singing with all her heart”, Vivy finally learned what that meant: she surrounds herself with images from all the memories she’s amassed. Those memories, and the people and events that changed and shaped her into the Vivy she is, comprise her heart.

And she indeed sings with all of it, which proves too much for her century-old body, which slowly begins to deteriorate as the song gains power. Matsumoto sacrifices all of his cubes but one to take out his dark counterparts, interfaces with the core, and shuts the satellite drop countdown…with just two seconds to spare.

With Armageddon from the sky averted, Vivy’s song reaches its apex and takes care of the robot apocalypse on the ground. Every AI shuts down, a whole bunch of them just one more moment from killing a human. The program Matsumoto inputted into the core fails to stop one satellite from falling—and right towards NiaLand, but he sacrifices his last cube to detonate it before it destroys the stage.

With the Singularity Projec and Vivy’s mission accomplished, Matsumoto’s wrecked cubes lie dormant while Vivy shuts down, her own fluorite eyes going dark after thanking her audience for their kind attention one last time. Or it would be one last time, if either Matsumoto or Vivy were flesh and blood beings.

As it happens, at some point in the future, Vivy wakes up in a different chair in a different building, sporting a new short hairstyle. She’s woken up by Matsumoto, who directs her to the windows where an adoring crowd is waiting to hear her sing. She doesn’t remember her name or Matsumoto at first, but her face brightens up when she’s asked to sing. The mission continues.

Don’t get me wrong; I’m a fan of epic anime series that air across years—Attack on Titan, for instance—but there’s something to be said for a tight, compact, self-contained tale (which nevertheless spanned centuries and pitted all of humanity against AI-gone-wild. Wit Studio didn’t just flex its visual muscle with Song, but its considerable character and storytelling chops as well—all in one tidy cour; no sequels or prequels necessary. It was a fun ride, and very pleasant surprise.

Higehiro – 11 – Someday Is Here

This week begins with Sayu saying goodbye to Asami and Tokyo and taking a plane to Hokkaido with her brother and Yoshida, and ends with her returning home after more than a half a year of running away. If that sounds to you like not enough material to fill a whole episode, well, that’s when I must bring up one of the major cons of this penultimate outing: it’s padded within an inch of its life.

Whether its on the oddly-proportioned plane and its odd-looking seats, or during the two to three hours when Issa is off doing business and Yoshida and Sayu hang out in a café, scenes just feel artificially far longer than they either need to be or should. Granted, it’s Sayu’s first time on a plane or in a café with a friend, but when she held up an hourglass, I couldn’t help but think Can we maybe get a move on?

While a detriment early on, I’ll fully admit that Sayu’s trip to her school, which neither Yoshida nor Issa knew she’d request, is actually very effectively paced, as we feel with her the precise and growing dread of drawing closer and closer to the spot on that damned rooftop where her only friend’s life ended—and her life changed forever.

Honestly, I don’t know if or how she’d have been able to do this without Yoshida, so it’s very much a good thing he came along. Even an adult would have a hard time returning to the spot where their friend died for any reason. Add to that the fact Sayu witnessed Yuuko jump and blames herself for it, and you have yourself a brutal veritable trifecta of trauma.

When Sayu blames herself for Yuuko jumping, Yoshida had to be there to tell her she was wrong, it wasn’t her fault. It wasn’t that she didn’t really care about Yuuko, but cared too much. Her desire to help her fight the bullies wasn’t a bad instinct, even though things went terribly wrong. And frankly, Sayu wasn’t Yuuko’s entire life and can’t be expected to be such…she had her own life, and problems.

Thanks to Yoshida’s support, Sayu is able to wail with grief, letting it all out, until a stiff wind reveals the nearly-full moon and seemingly blows away the ghost of Yuuko that was haunting her. On their way back to the car, Yoshida asks if she’s okay now, and she answers quite correctly “not at all”…but she will be. She’s going to work towards the time when she can remember Yuuko and smile, rather than cry.

After such an emotionally draining experience at school, it almost seems cruel to then drive Sayu back home, even though she says she’s ready to go. After all, nothing in that house is worse than what happened on that rooftop, except for her mother’s last words to her before she ran away, which was to ask if Sayu killed her friend.

For all of the learning and growing up Sayu has done in the last few months, at least at first blush it looks like her mother has learned absolutely nothing. Issa tries to stand purposefully in front of both Sayu and Yoshida, but their mom pushes him out of the way to give Sayu a vicious slap to the face. That’s how she chooses to greet her. Not a great start!

Rating: 4/5 Stars

Vivy: Fluorite Eye’s Song – 12 – Asking a Friend for a Favor

Once the Archive completes its redesign of the Archive from schoolroom to nightscape, it appears before Vivy as a not-creepy-at-all face. It tells her that everything leading up to this final countdown was no malfunction, but merely the painstakingly calculated judgment of Archive, as well as the completion of its mission to assist the evolution of the human race.

It was determined the only way to do this was by wiping out the existing human race, so AIs could become the new one. As Vivy and Matsumoto made their changes, the Archive was watching for over a century, making sure their events did not change the main timeline appreciably. Obviously, the Archive also witnessed Vivy become the first AI to create something of their own free will.

Because of this, the Archive says something to Vivy that is inaudible to us and left unknown to us. Instead, we only see how Vivy reacts to it, and both Matsumoto and Beth also notice something’s on her mind. Meanwhile, it’s determined that by using the virus eliminated Vivy’s alter-ego Diva, which Matsumoto continued researching in the ensuing years, they may be able to shut down the Archive.

The problem is it can’t be sent wirelessly, but must be directly, physically injected into the Arayashiki core. The tower should be the most secure facility on the planet, but when Vivy and the Toak team they arrive by boat, the power is out and there are only a smattering of guards. There’s some great final-dungeon vibes coming from their assault, right up to the time the lights come up and the walls begin literally closing in.

Yui and the boat are assaulted by waves of guards, and in her final moments, Yui doesn’t order Beth to keep going: she asks her for a favor like a friend would ask another. That’s because she wanted the world to see that she and Beth, and AI, could stand and walk together. Her death, combined with all of the Toak soldiers getting smashed, means it’s all up to the Diva Sisters.

…Them and Matsumoto, who transforms into Flyer Mode. Vivy and Beth hop aboard and they punch through into the tower’s interior, but there, a “Dark” copy of Matsumoto is waiting for them, and is able to match every one of “Light” Matsumoto’s maneuvers. Eventually Beth sacrifices herself to ensure Vivy and Matsumoto can continue the mission.

This is when we start to learn what the Archive told Vivy back at the beginning that gave her so much pause: it had decided to entrust “one future” to Vivy, leaving open the infinitessimal possibility that the calculations that led to them wiping out the human race were in error. As she’s surrounded by expectant AIs, it seems all Vivy has to do to realize that one future…is to sing, the one thing she cannot do, because she still doesn’t know what it means to pour one’s heart into something.

Because she doesn’t sing her song, the bots sing the twisted minor-key version, the countdown expires, and Archive doesn’t just bring down one big satellite, but one third of the roughly one million satellites in Earth’s orbit, most of them coming down on cities and no doubt completing much of the work the berserk AI armies began. The moment the satellites streak through the sky in symmetrical unison is beautiful in its horror, resembling pipes of a grand organ in the sky.

Vivy could not bring herself to sing, even though Archive gave her the opportunity to use it to shut down the AIs. When Vivy laments her utter failure and again asks the heart question, he tells her about all the times he almost ruined his plans, went rogue, and almost got destroyed due to all of her unnecessary computations.

Just then, when all hope seems lost and there’s nothing to do but commisserate, Osamu comes in over the radio. He’s preparing to send Vivy and Matsumoto back one more time, to just after the AI attack first occurred, which is naturally, for dramatic purposes, the furthest back in time he’s able to send them.

Osamu succeeds in sending them back just before being killed, and instead of going with Osamu, Vivy and Matsumoto race to Toak’s aid in the warehouse. No doubt their assault plan may well end up doomed and everyone may end up sacrificed except for Vivy.

But if it’s all in the aid of getting her where she needs to be in order to sing her song, it will be worth it. Hopefully, when that moment comes again, Vivy will understand what it is to sing with all her heart, because only she can sing the song, and only her song can stop the end of humanity. We’ll see how it goes!

Higehiro – 10 – A Warm Place

While Yoshida does his level best to hide it, Mishima and Hashimoto can tell he’s devastated by Sayu’s imminent departure, and how he’s mitigating it by trying to bury himself in his work. While he has many reasons to worry about the welcome Sayu will received from her mother upon returning to Hokkaido, her big brother Issa isn’t one of them.

Issa meets with Yoshida after work to bow in apology for the rude things he said the other day, while also asking him earnestly to continue taking care of Sayu in the time they have left together. He reveals how Sayu was their mother’s last best chance to keep their womanizing dad around, refusing to get an abortion. Alas, the asshole left them anyway.

Sayu’s mom wasn’t equipped to love a girl who was the symbol of her failure to keep the man she loved in her life, and so Sayu received no parental love whatsoever, something Issa believes every child needs. Honestly, it’s a wonder Sayu isn’t a lot more scarred.

While it’s nice to be reminded that Sayu’s brother is a legit good guy, if what he’s said is true, Sayu’s mom may simply be incapable of loving Sayu—or if she does love her on a fundamental/biological level, has never been able to express it. Why would that change when she returns home?

Later, Sayu presents Yoshida with a parting gift: a hand-written and illustrated cookbook with all of his favorite dishes she’s made for him over time. I couldn’t help but let out a loud awwwwwww that a roommate must’ve thought was me reacting to a cute puppy video. It’s such a cute, warm gift, and filled with love.

Sayu’s next parting gift is to share with Yoshida the view Asami shared with her, along with the wisdom she imparted about how even the tiniest stares have pasts and futures. Asami accepted Sayu and became her first real girl friend, just as Yoshida took her in with only the best intentions when everyone before had the worst.

Sayu doesn’t see Yoshida as simply “some guy who shared his apartment with her” for a while. That she met him when she did may well have saved her life, and she’ll never forget that, looking back fondly on the time she stopped running away, settled down, and found a way back.

Sayu admits that she’s tried to leave a few times while Yoshida wasn’t home, but has been unable to do so. Ultimately, he means enough to her not to want to leave without saying a proper goodbye. Because in all honesty, she kinda wants to stay with him forever. But she can’t settle her past unless she goes home.

Ichinose Kana does some really lovely voice work here, and has indeed done much of the heavy lifting in a show that doesn’t have the best production values. She even moves Yoshida to tears, because a part of him doesn’t want her to leave, both because he fears what might go down in Hokkaido, and because he’s become so accustomed to her living with him. He’d no doubt say she saved him just as he saved her.

Back at work, the ever-practical Mishima, independent of her individual crusade to win Yoshida’s heart, says if it’s so unbearable to say goodbye to and part with Sayu, then mabe he shouldn’t, and should instead follow her to Hokkaido. Sure, it would mean leaving his job, but both Mishima and Hashimoto doubt he considers his job or whatever project he’s working on to be anywhere near as important to him as Sayu.

In fact, it pisses Hashimoto off to no end that Yoshida tries—badly—to pretend otherwise, like when Asami calls him saying Sayu has disappeared and isn’t answering her phone. It takes Hashimoto telling Airi that Yoshida are feeling sick and going home early, and Mishima taking over Yoshida’s work for the day, to get him out of there.

While giving him a ride, Hashimoto expresses to Yoshida how it pisses him off that his best friend knows what to care about the most, but pretending he doesn’t. As his best friend, Hashimoto knows what Yoshida won’t admit: wanting what’s best for Sayu, or wanting whatever will make her happy, and his own fear of being apart from her aren’t mutually exclusive.

Sayu is fine (don’t scare me like that, show!); her phone simply died while she was waiting outside Yoshida’s office to surprise him and see where he worked; he and Hashimoto must’ve just missed crossing paths with her. Airi and Asami are there with her, and Yoshida acts like a worried dad when he sees her. This marks the first time Hashimoto lays eyes on Sayu, and seeing her makes him immediately understand why Yoshida is scared of losing her.

That night, the very last night together in Yoshida’s apartment, Sayu asks if she can climb into bed with him. Not for anything weird, but just for some warmth and human contact between two people who have come to mean much more to each other than they’d initially expected.

Sayu asks if she’d have grown up into a “normal girl” if Yoshida had been her dad. Yoshida should’ve answered by saying there’s nothing abnormal about her, she’s a lovely person who has admirably hung in there under abnormal and suboptimal circumstances. Okay, maybe that’s a little too wonky for the mood of that scene.

But whether he had decided earlier that evening, or right there in that bed, Yoshida tells Sayu he’ll come to Hokkaido with her, to keep an eye on her and see her mom with her. Sayu can’t contain her elation upon hearing those words. There’s nothing wrong with going back home to settle your past, but there’s nothing saying you have to do it alone…particularly if you’re someone who’s experienced enough loneliness for a lifetime.

Rating: 4/5 Stars

Vivy: Fluorite Eye’s Song – 11 – What’s Past Is Providence

As the end of last week teased, all of the work Vivy and Matsumoto have done throughout the century would seem to be for naught, as all the AIs still go berserk, this time with the added insult of singing Vivy’s song while they slaughter the humans.

Vivy does what she can in her immediate vicinity to stop the berserk AIs from killing, but even when she saves one man, he runs from her in terror. She’s woefully outnumbered and almost hit by a Johnnycab when she’s saved by Matsumoto, who just woke up after fifteen years to learn the Singularity Project was a complete bust.

The episode drives that point home by not shying away from the scenes of carnage mixed with programmed mirth, perhaps best illustrated by a gigantic musical parade float-thingy red-misting humans in the streets. Wit Studio’s experience in depicting horrendous disasters is well known, and they really flex their dread-inspiring muscles here.

Osamu is hard at work doing exactly what he did in the first episode: send the insulated Diva AI data into the past to fix this disaster. Only that’s already happened in another timeline, which means we have two Divas here. Instead of activate the Diva native to his timeline, Matsumoto witnesses as the AI security guards who came to kill him are neutralized…by Diva and Matsumoto.

Osamu’s first reaction is intense sorrow and guilt at having put Diva through a century of burdens and suffering when she was only born to sing. But Diva isn’t the Diva he knew anymore; she’s Vivy, and not only did she not mind the last century of service, but she’s asking him here and now to tell her and Matsumoto how to deal with this.

To make everyone happy with her singing, she must protect her audience. To protect her audience, she must stop the war.

In this fully dystopian-adjacent episode, the scrappy underdogs must hook up with their allies, who in this particular case—and quite ironically so—are Toak. Specifically, a moderate faction of Toak led by none other than Kakitani Yugo’s granddaughter, Yui (voiced by Asai Ayaka, who sounds a lot like a more assertive Ichinose Kana).

Like Osamu, she wants to create a world where AI and human can coexist. When Vivy, Osamu, and Matsumoto arrive at the cargo port where Yui’s faction is battling, we and Vivy lean that Elizabeth is not only still alive and well and not berserk, but serving as Yui’s bodyguard.

Once Yui stands down the Toak soldiers suspicious of Vivy and Matsumoto, we learn the details of how Beth is still around: while her body was lost in the Sunrise incident, her data was still on Toak servers, and was uploaded into a new body, but only with memories before Sunrise.

Beth asks Vivy about herself, Yugo, and her sister Estella, and Vivy’s answers comfort her: she was Yugo’s lifekeeper, and Estella carried out her mission until the very end with a smile on her face. Yui produces a recording of Yugo from just before Vivy met Ophelia forty years ago, with Yugo asking Beth to protect the others, a recording that inspired Yui to found the moderate faction of Toak.

Once the group is in a safe (for now) place, they start to put their heads together: which historical event sparks this war, and how can it be avoided? Why is everyone singing Vivy’s song? Also, why haven’t Vivy or Beth lost control like the others?

Beth can be explained easily enough; she’s no longer a true autonomous AI, but a kind of emulation of the past Beth, “a bot who keeps on following her master’s orders.” She was also never uploaded to the Archive for updates, as that would have exposed Toak to authorities.

That Toak never updated Beth after reviving her is a eureka moment for Osamu, who reveals there is a supply of dormant, outdated AIs who also were never connected to the Archive, and so haven’t gone berserk.

As for the Archive, its physical form is the Arayashiki, the tower that Vivy and Matsumodo used as both index and measuring stick for AI progress. In both this episode and in the updated OP, the tower is complete. This episode started with a countdown, and when zero was reached a signal was send to all AIs, save Vivy and Beth: essentially, “kill all humans.”

The group’s brainstorming session is interrupted by some new devilry: The Archive sends out a message over every PA: it has started a twelve-hour countdown, after which it will bring down a giant orbiting satellite. It warns “all AIs who want to exist” to evacuate the affected area ASAP.

Vivy dives into the Archive, which is in the middle of some major redecorating, turning the pastel classroom into an early 21st-century Tokyo nightscape. When Vivy asks Archive (voiced by Ohara Sayaka) what she’s doing, she says she is fulfilling her and their purpose: to wipe out the current human race.

It seems clear now that Archive is the key. This time, she used Vivy’s song as part of whatever data package altered all AIs’ missions to mass murder. That she’s bringing down a satellite on Arayashiki’s position indicates she may also be trying to end her own existence, leaving the humans and AIs who survive to deal with the aftermath.

Of course, this is all speculation. Suffice it to say, we needed an episode that upped the stakes near the end and put Vivy, Matsumoto, and their allies in a race against time to stop the robo-pocalypse. This episode served that purpose admirably, and with the series’ typical flare for grimly dissonant juxtapositions.

It was also great to see that Elizabeth survived, at least in some form. It will be nice to see the Diva sisters fighting side-by-side this time around. Matusmoto said the Singularity Project failed, but that assumes the project is over. I just see this as them having attained the project’s next level; the final dungeon. And it looks to be a doozy.

Higehiro – 09 – The Things She Carried

Like Sayu, I was dreading the day someone from her family finally found her and forced her to come home…but that isn’t what happens. It turns out Issa is just as decent and kind a person as Yoshida, and doesn’t jump to conclusions even when Yoshida and Sayu greet him at the door in their PJs.

Instead, he’s the latest in a long line of refreshingly reasonable, level-headed human beings that populate Higehiro and make it feel more real. He’s not simply doing their mother’s bidding; he wanted to be the one who found Sayu, because he loves her and is worried about her.

Issa is greatly relieved Sayu managed to find a good soul who took her in without asking for anything inappropriate, and takes both of them at their word when they say nothing’s happened. As a high-achieving corporate type, I imagine Issa trusts his instincts when it comes to reading people.

But that’s not all: Issa can also tell, even if Sayu can’t, that she’s taken some important steps forward as a person. He notes how she’s more able to speak her mind, as she explains why she needs a few more days to think about things. He’s proud and caring n a way only a big brother can be, and grants her one more week.

I have to say, I never imagined in a million years that Issa would be such a good guy, especially considering the uncomfortable way the series has handled the bastard who took her in for sex and ended up her co-worker. But it’s not the show’s fault I automatically expect the worst…it’s because men, and especially anime men, are so often just that…the worst.

Of course, women are the worst too, as we learn when Sayu invites Asami over and sits her and Yoshida down to finally tell them about everything that’s happened that led her to run away. In effect, she’s unloading all of the burdens she’s carried before two friends who are all too happy to help share that load. Her first step in getting ready to go back is telling the people important to her about where she came from.

Sayu and her mother never got along. Her mother put all of her hopes and aspirations into her firstborn son Issa, and never had a kind word for Sayu. Because she never received love, Sayu didn’t bother putting any effort into anything, be it academics or socializing. She was alone, emanated a “stay away” aura, and came to prefer it that way.

But along came another outcast in Yuuko, for whom Sayu’s repelling aura had the opposite effect. Yuuko always told Sayu she was pretty and cool—as pretty and cool as Yuuko claimed not to be—and the two became fast, close friends. But Sayu’s looks and unimpeachable “goodness” kept the other girls from bullying her directly when she turned down a guy one of them liked, so they started bullying Yuuko instead.

Yuuko always said Sayu looked best when she was smiling and happy. But as the bullying intensified and Sayu dug in her heels, determined to stand beside Yuuko and fight for her, she stopped smiling and laughing, and was always depressed, because she felt responsible for her friend’s suffering and felt powerless to stop it.

Yuuko, however, felt differently. When Sayu told her she’d support her and fight for her against the bullying, it hurt Yuuko more than anything, as she believed she was ruining Sayu’s happiness by deigning to become friends with her in the first place.

So one day, Sayu found Yuuko standing on the wrong side of the balcony, waiting for her. Yuuko told her what happened was her fault, but it would be better if she were no longer in her life. Before leaping to her death, Yuuko asked Sayu to keep smiling, obviously in no mental state to realize how hard that would be if she killed herself.

Witnessing her first and only friend commit suicide for her sake would have been plenty of trauma for any teenager or adult to bear, but that wassn’t the end of Sayu’s suffering. As the Ogiwara household became besieged with press and stories and rumors of the true cause of Yuuko’s death, her mother did all the exact wrong things, only exacerbating Sayu’s despair.

Rather than support her daughter and help her grief, she blamed her for their predicament, and even went so far as to ask, seriously, if Sayu really did kill Yuuko. That despicable question is the last straw for Sayu, and you really can’t blame her for not wanting to spend one more second inside that house with that despicable woman. Instead, it’s Issa who offers Sayu a shoulder to cry on as she prepares to run away on foot.

Demonstrating he was just as empathetic and kind back then as he is in the present, he actually helps his sister get the distance and time she needs, giving her $3000 for a decent hotel and food for two weeks, if she promises to call him if she ever gets into trouble. If there’s a right way to run away, this was it: acknowledging and respecting what Sayu needed, but building checks into the arrangement.

But even with those measures in place, Issa would still need Sayu to actualy call him if she got in trouble, and she never does that. As she burns through her cash, she continues to be crushed by isolation and self-loathing, with no one there to help pull her out of her downward spiral. Issa’s mistake wasn’t getting Sayu away from their mom, it was sending Sayu away all by herself when she was in no condition to be entirely alone.

The episode includes a scene we previously saw only a flash of, in which Sayu masturbates and looks down at her hand afterwards. As this happens before she first sleeps with a man, I’m not sure why such a graphic scene was included, except to underscore that there was really not much for Sayu to do during this time but sleep, eat, and pleasure herself, and none of it was helping.

When Issa calls Sayu to check on her, her battery dies, and she tosses her phone out, believing in that moment that his kindness was merely pity she didn’t want or deserve. She wanders the streets, bumps into a man, and when she explains her situation he offers her a place to stay. He eventually asks for sex in return, and Sayu gives in, though doesn’t even remember the name of her first. She then went from guy to guy, trading sex for shelter, until ending up on Yoshida’s doorstep. The rest, we know.

The first to speak after her tale of woe is Asami, who gives Sayu the affection she needs and tells her just how hard she hung in there all this time. Having gotten all of this out, Sayu breaks down, having a much-needed cathartic cry. Once she’s calmed down and in bed, Asami asks Yoshida on the balcony what he’s going to do about her.

Yoshida says it’s up to Sayu’s family to figure this out and it’s not his place to interfere. Asami points out that’s not what she asked, idiot, and again asks: what does he want to do? He may say he’s a stranger, but he’s not; he and Asami are as much family to Sayu as Issa, and certainly more than Sayu’s mom.

What they want matters too, especially if it aligns with what Sayu herself wants. But first those things must be said, just as the things Sayu carried needed to be said to fully understand where she’s been, and determine what she should do. It’s not just Sayu who needs to think about things in the week she has left.

Vivy: Fluorite Eye’s Song – 10 – Looking for a Hint

When Diva’s code degraded into oblivion and Vivy re-awakened and took her place on the stage, Diva’s final song was already over. Ever since then, Vivy has been unable to sing, still unable to find the answer of what it means to “sing from the heart”.

So she retired to much fanfare and took up residence as an exhibit at the AI Museum. Decades passed, and humans and their children gradually forgot about her and her contributions. But not all: Osamu, a young lad on a field trip, knows full well who Diva was, and is.

Osamu wants to hear Diva sing live, but she tells him that’s not possible. When Matsumoto shows up after a good number of years, Vivy is eager for their next mission together, as it’s not “all she has.” But Matsumoto tells her the Singularity Project is over; the double suicide of Ophelia and Antonio didn’t lead to any copycat incidents; a positive revision to the timeline.

Yet despite the fact they’ve seemingly achieved victory it preventing the AI uprising, something Kakitani said still haunts Matsumoto: “through a revelation from the heavens.” That led him to meet Vivy now, sixty-five years from when they first met. He proposes a “race”: whoever finds their answer first wins.

Vivy goes into the archive and dredges up her first memory, when her creator (a female researcher) gave her her mission to sing from the heart, hoping it would “offer a hint” as to what a heart is, at least as it applies to humans.

Osamu visits Diva again, saying it’s “messed up” his classmates don’t know her. Inspired by Matsumoto, she proposes a race, with him bringing friends to meet her while she searches for the answer her creator knew full well she might struggle with her entire life.

As one year, then five, then ten, then twenty pass by, Vivy writes a song in the Archive, which if completed would be the first instance of a song written by an AI of their own pure free will (all previous songs were written by humans). Her progress is glacial; unable to come up with more than a couple of phrases and constantly erasing notes she’s put down.

Meanwhile, Osamu has quite a bit more progress in those years, making friends, making a career for himself in research, and eventually meeting and marrying his wife Nana. While Osamu and Nana are able to conceive, she dies of an illness shortly after giving birth, leaving Osamu both a father and a widower.

He visits Diva with his daughter Luna in his arms, and asks if she would like to hold her. Diva asks why Nana was able to smile despite knowing she wouldn’t live to see her daughter grow up. Osamu tells her that all humans die, but they always remain inside someone or many people without fail. Such is the case for him with Nana and, as Vivy realizes, it’s true of her and Diva as well. As little Luna grasps her hand, Vivy is hit by a sudden spark of inspiration.

She dives into the construct and belts out a completed song, written about her and Matsumoto’s journey in the Singularity Project, and of all the people she’s met. When an impressed Matsumoto shows up and asks who she wrote it for, Vivy says it’s for Diva, who remains inside her even though she’s gone.

After twenty years, she was finally able to finish her task…yet she still cannot even contemplate singing it, so her struggle continues. Before that, though, Vivy goes into hibernation mode, resting her circuits after accomplishing her singular feat.

Her friend Osamu, who along with his wife and daughter inspired Vivy to do what no other AI has, can see that his friend Diva is in deep sleep crunching music data. He leaves her to her creative slumber, assured that when she wakes up he’ll finally be able to hear her voice. Then someone off-camera calls Osamu by his last name…Matsumoto.

Unfortunately, the joy that comes with the revelation Vivy’s cubic partner was a friend and admirer from her future all along is soon overshadowed when Vivy wakes up to find the museum in burning ruins. She runs outside, where the AI apocalypse is in full swing, with one key, horrifying, heartbreaking new wrinkle: as they murder every human in sight, all of the AIs are singing in sinister, dissonant unison. They’re singing Vivy’s song.

Higehiro – 08 – Such Sticky Sweet Sorrow

In hindsight, it was already over for Sayu the moment Issa showed up at her workplace. A man of her brother’s means and drive surely wouldn’t rest until his little sister had been found. Even though Sayu knows this this, and understands this is probably It for her months-long excursion, she’s understandably shaken by the close call, and freezes up. Rather than take immediate action to soften the inevitable blow, Sayu retreats to her happy place: buying snacks for her and Yoshida, who will be at the office late.

But more to the point, Sayu once again places someone or something—in this case Yoshida’s work and her obligation to handle the chores—before herself, even though well within her rights to insist upon being the priority. Her brother finding her also affects Yoshida quite a bit, and in more ways than one—psychologically, legally, etc.—yet Sayu keeps quiet. She doesn’t bother Yoshida.

Thankfully, just as her brother and his employee are about to spot her, Sayu rings into Yuzuha, who, after hearing that Sayu doesnt want to be found, helps hide her. We learn she does this as much to help Sayu out as she does to take the temperature of Sayu and offer some unsolicited but very much needed advice; even some tough love.

In yet another example of how Sayu’s youth has not gone the way most kids her age have, Yuzuha learns Sayu can’t sing with her, because she doesn’t know any songs, because she never had any friends with whom to go to karaoke. Yuzuha surely sympathizes with Sayu, but she’s also more concerned with giving her a thorough reality check than sparing her feelings.

As such, she sits down next to Sayu and asks her, if her pursuers are already here, and she has so little time left, what is she doing shopping? I don’t think Yuzuha is right when she says Sayu “doesn’t get it”, but she is right that Sayu isn’t taking this as seriously as she should. Not just that people are looking for her, but that she and Yoshida seem to have become co-dependent.

One can argue as a practical matter whether Yuzuha the character has really spent enough time with the two of them to make that determination so confidently, but that doesn’t really matter to me, because as much or as little as Yuzuha is assuming, she’s absolutely correct that Yoshida and Sayu have become far too comfortable with their arrangement.

I gave Yuzuha grief in an earlier episode for essentially reading both Yoshida and Airi the riot act for the way they’re going about their lives, but while her little stalking incident is still a mark against her, I for one am glad Yuzuha is here as the voice of reason. Sure, she has a massive conflict of interest in being literally in love with Yoshida (which is its own can of worms), but Yuzuha is no kid.

At this point I trust her more than anyone else to see the forest for the trees. That’s why she can love Yoshida, see the way he looks at Sayu when he arrives, and stay behind in the karaoke room to cry her eyes out, while still being very much in the right about how tremendously unprepared either Yoshida or Sayu are for what isn’t coming down the pike—but has already freaking arrived!

The remainder of the episode sets to work painstakingly validating Yuzuha’s concerns. I can’t blame her taking a rain check considering her feelings for Yoshida, but it really would have been better if Yuzuha had joined them for dinner. At least then, she might’ve been able to steer Sayu towards telling Yoshida that she’s close to being found.

Instead, Sayu says nothing to Yoshida about her brother, choosing to ignore her fate. The two see a poster for the Summer Festival, and in one of the more awkward transitions of the show, the episode cuts from one night to the next night, with Sayu resplendent in her pink yukata,gold obi, and geta. 

Then they go on a date that would be adorable, except for the fact that it’s an indulgence neither of them can really afford at the moment. I can’t really blame Yoshida—he’s in the dark about Sayu’s brother and wants Sayu to have another “normal high school girl” experience.

At the same time, I can’t really blame Sayu for not suddenly turning to Yoshida and saying the jig is up. After all, she hasn’t been to a summer festival since she was a little girl, wasn’t allowed to eat cotton candy even once, and has never been as close to fireworks as she and Yoshida end up being.

The temptation to forget about her imminent doom for just one night proves too strong to resist, but like a yukata rental, the quickly-melting cotton candy, and the fleeting light from the fire fireworks, the trappings of normalcy in which she seeks refuge are all too temporary.

Their interactions throughout are charged with romantic tension. When he sheepishly compliments her yukata, she asks, just under her breath so he can’t quite hear, if it’s prettier than Gotou-san’s. She feeds him some of her cotton candy. When a kid bumps into her, of course Yoshida takes her hand to keep her from falling, and she decides they should keep holding hands throughout so they won’t get lost.

Yoshida knows that were it not for Sayu, he’d have never gone to the festival. Images of his past life without her flash by in his head; it’s a place he’s not ready to return to. When he exits those thoughts, Sayu is no longer holding his hand, and he calls out for her. She’s right behind him, and teases him for thinking she’d disappeared, but we cut to his five-o’clock shadow as he asks, also just under his breath, if she’s really going home.

Even after the fireworks are over, Sayu keeps looking up at the sky. She recalls how she gave all the other guys an alias, but when she met him, her real name just came out. The moment arrives that has arrived in so many romantic anime where there’s either a confession and/or kiss or a failed/thwarted attempt at either.

Instead of either, Yoshida wisely gives Sayu a nice, platonic head pat. Sayu looks disappointed, but quickly smiles. She knows, even if she wasn’t a teenager, Yoshida is sure would have taken her in…and just as sure they wouldn’t have had sex.

Of course, while she knows this, and Yuzuha and Airi and Asami know this, the person to which that very crucial distinction matters most does not know this, at least not yet. That means when Yoshida comes to the door in his pajamas and Sayu is standing behind her in hers, Issa has absolutely no way of knowing Yoshida wasn’t sleeping with his sister.

Even so, Ogiwara Issa’s entire character as we know him thus far is that he’s polite but determined to find her, and now he has. His brief smirk seems more out of relief to have succeeded than a reaction to just how screwed Yoshida is. But that smirk soon straightens into a more serious face as he announcesnot proposes—what’s going to happen. He’s taking Sayu home.

Yoshida may have something to say about that, and Issa may be open to hearing him out, but because this is there first interaction, depending on the level of assumptions Issa is willing to level against him, I can’t imagine anything Yoshida says will move him. I guess we’ll find out eventually, but with next week’s episode entitled “Past”, we may have to wait longer than we should.

Rating: 4/5 Stars

Vivy: Fluorite Eye’s Song – 09 – Diva’s Final Curtain

Matsumoto, always entertaining when thrown for a loop, finds himself speaking to Antonio through Ophelia, as he decides the best way to fulfill his mission to support her was to become her, sparing her the burden of fame and the pursuit of perfection, but also sparing her an independent existence. He considers his mission far more noble than Matsumoto’s designs to prevent her suicide, though he might not say that if he knew the bigger picture.

Speaking of that, Kakitani’s youth is promptly explained: he’s an AI copy of the human, and his mission is to get an answer he couldn’t from his teacher, which only Vivy could provide. That means infecting the captured Diva with a custom logic palette that “doesn’t belong in this era” which, throughout the episode, slowly erases Diva’s personality, eventually leaving only Vivy behind to answer him.

Thankfully, it’s a slow countdown, and while it is technically a ticking clock, because it’s only one of several spinning plates in this arc finale, it feels earned rather than cliched. That it is an inevitability even Matsumoto’s hacking skillz cannot override also adds gravitas to every moment Diva is on screen, because they’ll be her last.

It also assures that the titular Vivy we know and love, who can neither act like a human nor sing half as well as Diva, will ultimately return. It occurs to me that at the conclusion of every previous arc, we didn’t just say goodbye to one of Vivy’s sisters, but a part of Vivy as well, as her interactions with them helped her grow, both as a songstress and a person.

This time we don’t just say goodbye to a part of Vivy, but an entire alternate version of her, who lived for sixty years. It’s a tough loss…but before she goes Diva makes sure she puts absolutely everything she’s got in all the time she has left to be the best temporary partner to Matsumoto he could ask for…and vice versa.

While packed with drama, pathos, tragedy and romance, Wit Studio flexes its muscles like never before in this episode, as we cut between the parallel battles, one of the more abstract electronic variety, one more down-and-dirty hand-to-hand combat, but both equally gorgeous an awesome to watch unfold.

That Kakitani is also an AI means both he and Diva can take the fight to levels humans would not be able to survive, while Matsumoto manages to copy himself into enough cubes to fight his battle with Antonio while supporting Diva. Compare this to Antonio, who happily accepted Kakitani’s help but is otherwise not working towards the same mission, making them inherently weaker against a united front.

Among other Kakitani’s surprises is an elaborate arm cannon (always a sharp feature when going on a timeline-bending crusade to avenge his mentor—and a special knife that seems to act as an EMP, deactivating the Matsumoto cubes aiding Diva.

All the while, Diva tries to impress upon Kakitani the fact that she’s not Vivy, and has no answers for him he’ll find satisfying. When she says she puts everything she has into her singing to make people happy, that includes everything about Vivy, despite her knowing next to nothing about her.

On the Antonio side of things, Matsumoto says he almost turned into him, discarding his partner as part of his “perfect calculations”. Looking at what’s become of Antonio, he’s not glad he didn’t eliminate her. As for his mission, it was never specifically to stop Ophelia’s suicide; it was to carry out the Singularity Project with his partner.

Even taking over Ophelia couldn’t satisfy Antonio, because no matter how happy the crowds were with his performances, he always knew he wouldn’t be able to match the power of the true Ophelia’s singing. In fact, it irked him that their standards for excellence were so low, resenting the very people it was Ophelia’s mission to make happy.

The Matsumoto cubes manage to hack both Antonio and Kakitani and disable both, and transfers Antonio back into his own clunky body. It’s only then in his last moments that he admits that all he really wanted was for Ophelia to sing for him and no one else. Ophelia, regaining consciousness before shutting down, admits she only wanted to sing for him; to make him smile.

In the end, their mutual love and devotion to each other corrupted their missions. In true Shakespearian tragic fashion, it was a love that could never be. In that same vein, the moment Kakitani uploaded that logic palette, Diva was a version of Vivy that could never be, even though she did a bang-up job serving as Matsumoto’s partner. Before Kakitani shuts down, he tries to twist the knife once more, telling Diva “there were humans who suffered because you existed!”

That line might’ve worked on Vivy, but it doesn’t faze Diva that much. And in true Diva fashion, she gives one last snap and tells Matsumoto she’s going to use her last five or so minutes of existence doing what she was built to do: dazzle the stage, put her heart into her singing, and make everyone in attendance happy to be there. As she performs, she simultaneously opens a dialogue with Vivy within the Construct.

In this lovely parallel scene, their positions couldn’t be better illustrated, as Diva is both on stage and in the brightly lit classroom, while Vivy is relegated to a dark, shadowy, morose office. The pair lean against the same door, and Diva says she hears how Vivy had been struggling with putting her heart into her singing. She says the answer is to simply to hear the song she’s singing now, in her final performance, as in the Construct she slowly dissolves away into cybernetic oblivion.

And yet, as Vivy opens the door and steps into the light, then wakes up on stage to a deliriously ecstatic crowd cheering the song Diva just sang, Vivy still doesn’t understand. Then again, she only just woke back up; maybe she needs a few decades to process what she heard and what it means. Thanks to Diva, she has her existence back, which means anything is possible for her. As long as she sticks with her partner Matsumoto, who promised Diva he’d take care of her.

Higehiro – 07 – What Then?

It’s telegraphed from the beginning of the episode: someone who knows Sayu (or is working for them) has found her. There’s no other reason a suspicious black car would keep showing up at the konbini where she works, and Sayu is right to be weary. After all, she’s committed to working towards a future for herself, but hasn’t had enough time to figure out what that might be. Simply going home now would solve nothing.

This week marks the return of Mishima, whom I castigated for literally stalking Yoshida the last time we saw her, but the more I think about it, the more she’s the most realistic of the bunch. She invites herself to lunch with Gotou to express her frustration with her supervisor’s boss: if she’s in love with Yoshida, why is she just sitting around when Sayu could “take” Yoshida from them any day?

Gotou says she simply doesn’t see the point of artificially forcing anything with her and Yoshida. If it happens, it happens, but she’s not going to pretend she can control the feelings of others. Mishima says flat out that Gotou is simply scared to stick her neck out, while she’s far more scared of losing what she could’ve had because she didn’t do anything.

Neither Mishima nor Gotou are presented as the person with the “correct” philosophy…and that’s okay! Anybody who says they have all the answers is trying to sell you something. But Mishima is determined to try her way, and so asks, nay, demands Yoshida’s contact info. Yoshida is taken aback, because he doesn’t consider himself “attractive enough” to be worth giving his contact info for no special reason.

At this Mishima snaps at him for deciding everything by his standards, including his own appeal. She says he has a bad habit of doing what he wants to do while convincing himself its for the sake of others. Then she confesses her love for him (“a little”) and texts him a request to go out for a movie when Sayu isn’t making something special for dinner. He texts back a sheepish “sure”, which lifts Mishima’s spirits.

The next day when Yoshida is off work, he’s just kind of sitting around while Sayu cleans around him. He offers to help, and she pushes him into his bed, tripping in the process and landing on him. Their resulting position is lovingly drawn and lit the way a romantic scene would, and Sayu lingers there before Yoshida asks her to take the wet rag off his shoulder.

After this awkward scene that appears to play right into Mishima’s worst fear —that Sayu has the inside track on winning Yoshida’s heart—Sayu decides to go through a box of stuff in his closet (with his okay…but it’s still hella random!) and finds his high school yearbook, along with a photo of him and his gorgeous senpai girlfriend.

I for one am willing to give both parties the benefit of the doubt regarding the bed incident, but then Yoshida starts talking about how that girlfriend called him “clingy” and that she didn’t want somebody who cared about him so much. Again his standards come through, as he tells Sayu it’s only natural to care about someone, to want them to smile and be happy, and to be the one who makes that happen. Sayu mutters “what about me?”, but Yoshida doesn’t hear (naturally).

Back at work at the konbini, Sayu ends up sharing a shift with her former attempted rapist, which is never something you want. When the mysterious guy in the black Lexus comes in and reveals he’s Sayu’s big brother (and clearly loaded), Yaguchi tells Sayu to hide in the break room and then covers for her.

While I appreciate the show’s dedication to showing the good and bad in people, I really didn’t need this guy performing a remotely redemptive act, and it frankly sours the whole scene, especially when Sayu thanks him. Now, if he actually owned up to what he actually did and earnestly apologized, maybe I’d feel a bit different…but probably not!

As for Ogiwara Kazuto, well…it’s interesting that this President and CEO of Ogiwara Foods is Sayu’s brother and not a parent. I’d also guess he’s about Yoshida’s age. The look on Sayu’s face when she realizes who he was was, and then upon realizing that she may not get to decide when she goes home, is heartbreaking. I’m hoping Kazuto is reasonable and doesn’t just drag her into the car, but Sayu ran far, far away from these people, so all bets are off.