Hai to Gensou no Grimgar – 08

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Hai to Gensou no Grimgar is a little counter-intuitive. You’d think that its penchant for building slow, careful, gradual atmosphere meant it would need all twelve (or more) episodes to properly tell its story. And yet, despite taking things slow and easy and letting its characters breathe and exist in the world it created, this eighth episode could have been the finale, with four episodes to spare.

This was the culmination of nearly everything the seven episodes had cultivated, including my emotional investment. It achieved a tremendous amount without abandoning or compromising the style it’s stuck with all along. In fact, in the end it actually doubled down on the long quiet, contemplative, emotion-rich scene of rest.

I don’t think I’ve ever encountered a show so patient and diligent and deliberate that at the same time was able to move so fleetly and efficiently. It kind of had its cake and ate it too.

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Things start simply: a pre-game huddle in which Mary–the priest who let her party die who joined the party that let their priest die–adds her hand to the pile and promises to protect everyone. Then everyone gets into position, waits for the right time, and the most ambitious and dangerous battle yet fought commences.

The breathless, bloody action is set to upbeat (rather than desperate) music, reflecting everyone’s positive attitude and determination entering the fight. No longer is there any doubt that they will have each other’s backs. The goblins are initially surprised by their ambush, but quickly regroup and exhibit that they’re just as capable of learning about their enemy and adapting to their tactics.

At times, things get a little dicey, but just when you think one party member is in trouble, another one bails them out. When Yume and Moguzo get wounded, Mary quickly heals them, and it’s not a waste of magic because without numbers, they can’t afford the pace of the battle to wane due to injuries.

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After infiltrating the goblin stronghold and clearing the lower levels of all enemies, they reach the top, where the leader is sitting, apparently bleeding out and close to death. It’s here, so close to victory, where the party lets its guard down, just as it did when they took down their very first goblin but didn’t cut deep enough. Despite being indoors, they neglected the fact the roof was open, and a goblin snipers puts an arrow in Mary’s back.

Dear God, not again raced through my head as I held my breath, and as the others tended to Mary, Haruhiro (who Mary is now calling “Haru”, like me, or “Hal”, depending on your translator!), goes after the sniper, who happens to have his old dagger. After a vicious struggle, he uses that dagger to deliver the killing blow, Yume slides down the roof to meet him, and the battle is over.

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I was a little worried for a second that Mary died, but part of me assumed this time she had enough magic to heal herself, and so she did. After that battle, Haru and the others acquire their badges and finally become volunteer soliders. Their first stop after this achievement is the grave of their former leader, Manato, not just to show him that they did it, but to give him his own badge as well.

During this extended scene, which I liked very much, Haru thinks a lot about what to say. He notes how he and the others didn’t actually know Manato that long; how he didn’t get to see all the sides of him, how he may have well hid many of his flaws in that time. Haru wished he could have gotten to know Manato better, as did the others, but they can take solace in the fact they were still able to become a good party without him, channeling the pain of his loss to motivate their steady improvement.

As Haru talks about how far they’ve come Ranta says something nasty out of turn and gets admonished by Yume, Shihoru cries, and Mary keeps a respectful distance, though grows closer and closer as the scene continues. It also begins to snow, covering the scenery in white, indicating this is the end of one chapter and the beginning of a fresh new one.

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After the ceremony, Haru walks Mary home (I was wrong last week about her moving in with the party right away). They lament that magic can heal wounds, but not mend clothes or hearts or erase the pain of loss. As they enter the town, he admits he knows about three friends she lost, but she’s okay with him knowing, just as he’s okay with her having a name for him–Haru–that only she uses.

Their last exchange here is infused with a fair share of romantic undertones, but more than anything its just nice to see how far these two have come since Mary first arrived on the scene. Haru has become a good leader of a good party, and Mary has found new friends and a new purpose.

I imagine the party is in store for a time of rest after gaining their badges. I also wonder if the show will ever address everyone’s past lives or the mechanism that brought them to Grimgar; not that any of that is necessary. This was Hai’s best episode, considering the careful work needed to make this such a powerful, cathartic arc conclusion.

I don’t see how it will be topped with only four left (unless a second season is forthcoming), butthat’s okay; the show could have ended right here and I would have been content. This show has already far exceeded my expectations going in; everything that’s to follow is a bonus I’ll graciously accept.

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Gakkou Gurashi! – 11

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After multiple events at the end of last week’s episode piled upon each other like so many zombies, spelling imminent doom for the School Life Club, this week starts off with a continuation of that despair, with no shortage of intense terrified close-ups of Rii-san and Miki. But Yuki’s expression is different. It’s not existential fear…it’s an awakening, which comes in the form of a sudden flash as she sees her former choker-wearing classmate as she truly is.

That awakening continues gradually and painfully throughout the episode, as more and more, it becomes clear Yuki is the only club member who can save everyone. Her emotional scars are re-opened and reckoned with, and the same voice in her head that’s taken the form of Megu-nee for so long steps into high gear, putting Yuki not only in a position to stay alive, but help the others, starting with Miki. Now that she finally sees again the danger she and her friends are in, she doesn’t crumple into a ball; she picks up a shovel.

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Nostalgia, despair and hope go hand in hand (…in hand) this week. Rii-san remembers promising to “do what must be done” if Kurumi were to get infected, and as she’s being slowly driven mad by Kurumi’s increasingly horrifying moans and screams, with a knife in her lap, Rii-san starts to contemplate fulfilling that promise. Meanwhile, the zombies are everywhere, including the roof, where a lightning storm ignites the zombies, who then ignite the crops and Megu-nee’s grave marker.

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With all this grimness, Yuki’s strength in this time of ultimate crisis, and her desire to have more fun times with the club in the future, inspires Miki to action, after she was briefly paralyzed by her grief over Taroumaru. She then use’s Kei’s discman to try to sooth/distract the zombies at another barricade as she heads to the basement to find medicine. As that gorgeous music first we heard in episode 4 plays, we return to the day the club drove out in Megu-nee’s car and ended up saving Miki.

On the drive home, Kurumi and Rii-san (the only two still awake) talk about whether the zombies are still “aware”, and Kurumi hopes they aren’t, after all the terrible things she’s done to them. She says she had no choice—it was them or her—and she’s right. But that doesn’t make what she’s done, or not knowing the true nature of the zombies, any easier a pill to swallow.

Back in the present, Rii-san prepares to stab Kurumi to death…but just can’t do it, thus avoiding the possibility of Miki getting the antidote, only to return to find Kurumi is dead. If Rii-san isn’t already FUBAR, she certainly would be under that scenario.

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But Miki is still a long, long way from getting that antidote to Kurumi. It’s by no means a sure thing. She encounters Megu-nee down there, gets cornered by her and pays her respects, cognizant of the possibility the teacher’s stayed down there all this time in order to prevent hurting her still-living students. Despite that apparent awareness Kurumi mused about (and hoped wasn’t true), Megu-nee is still, ya know…a zombie, and grabs Miki’s ankle, forcing Miki to take her out.

Just then, as if there was a chip in Megu-nee tied to the school (though probably a coincidence what with the roof generators going haywire), an alarm sounds and red lights come on, and a P.A. system announces emergency power has been activated for the shelter (which probably means batteries, which aren’t going to last). All that noise attracts hordes of zombies to Miki’s location, and she ends up trapped in a room, unable to act, just like when she was at the mall.

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Thus Yuki becomes the only one who can save everyone. She does so by finally opening her eyes to “the hard stuff” she left to the others for so long, even before she went into her dissociative state, because she deemed herself clumsy and weak. But she’s able to use a vision of Megu-nee to get to the place she needs to be, have one last conversation with her through a door before opening it, and seeing, finally, that Megu-nee is no longer around, that she’s gone, and now it’s up to her.

It’s not easy, nor is it painless, but it’s what has to be done, or, Yuki knows, the School Live Club is finished. Her smile and her silly optimism sustained the club for so long, but now she has to do more, by breaking out of the protective shell she created in her mind, facing the reality of her situation, grabbing a bat, and getting to work. Everyone is counting on her.

No matter what happens, everyone will be scarred by this day they’re having. But can Yuki stand strong and act; protect and guide as Megu-nee did; be the new guardian angel, so that she and the others can live a little longer? I hope so.

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Charlotte – 07

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Charlotte doesn’t hold any doors open, nor does it waste any time or pull any punches: Yuu survives the injuries incurred by the debris, but Ayumi is gone. And it’s only in that moment and in the days to come that Yuu realizes how much he took her presence, and her cooking, for granted. He thought he was taking care of her, but it wasn’t a one-way street, and Ayumi’s death leaves a yawning chasm in Yuu’s heart, a stinging sense of loss and helplessness that pervades this powerful but heartbreaking episode.

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Having failed to protect or “repay” his sister, Yuu surenders and shuts down. He tries to fill the hole with cup ramen and television, and either ignores or lashes out at anyone who tries to wrest him from his self-imposed punishment, from Misa and Jou to even Yumi, whom he once worshiped. Liking and pursuing her must feel like a sad joke compared to the situation he’s in now.

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Then sketchy men in black show up, and Yuu starts to think (perhaps not wrongly) the government is about to capture him. So he gets away, where he thinks the soaked kid can’t find him, and his “home” grows even smaller as he squats in an anime cafe eating pizza and mochi balls while continuing to escape from life by playing violent video games that he probably used to not care about in the least.

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When some roughs are using that video game too long Yuu takes the bait and starts playing games with them. One gang after another, no matter how strong or numerous or feared, falls before his body-swapping ability. He creates chaos among the group, and it’s in that chaos in which he’s able to work most effectively to defeat them. He’s using his skills not to help people, but to entertain himself.

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He learns “real life”, with real bodies and real blood, is more fun than the games. The hole he’s filled becomes infected and festers. He’s becoming a villain before our eyes, and the path he’s walking looks more and more like a one-way street. When he finds some drugs on one of his victims, he’s about to take things to the next level when Nao kicks them out of his hand, appearing out of nowhere. Where is Nao in all of this, I asked myself throughout Yuu’s self-destruction kick. Was she so guilty about how she handled the Ayumi case, or so upset about what became of Yuu, that she couldn’t face him?

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No, she was right there, by his side…the whole time. Last week’s cliffhanger kept open the possibility that supernatural powers would have some role to play in the story’s resolution, but magic couldn’t save Ayumi from her own power, nor could it save Yuu from drowning in grief and despair. But with her power, Nao could stay by his side, invisible only to him, with no time limit, and wait for him to get better. When it’s clear he won’t, she makes herself visible to him, in order to make him get better.

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And why? Not just because she feels partially responsible for Ayumi’s death, but because Yuu is, at the end of the day, someone she cares about, and if she can help it, she’s not going to let him destroy himself. So she makes a deal with him: if he has one bite of the food she makes for him, he’ll never see or hear form her again. At Joujirou’s house, she painstakingly recreates the same super-sweet omelette rice Ayumi always made for him. And he can’t have just one bite. He eats every bite, and agrees to come home.

It’s not words or actions that pull him out of deep waters of despair that are all to easy to slide into following the shock of a loss. It’s food; it’s a smell and a taste, and all of the better times and happy memories tied to them. It’s a reminder that he is still alive, and there are better ways to live, and better ways to fill the holes in your heart.

Brilliant portrait of a broken Yuu, and a equally brilliant scheme to save him by Nao. I’m still drying my eyes from the heavy emotions this episode so eloquently expressed.

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Charlotte – 06

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Ah, now that’s more like it. Just when I was hankering for Charlotte to mix up its ability user-of-the-week formula that was growing repetitive, it does just that in its midpoint episode. Things are different this week, as the ability user has a potentially extremely dangerous ability (called “Collapse” by Kumagami), and may not be a stranger, but Yuu’s own adorable little sister Ayumi, who had just suspiciously taken ill last week.

Yet with all the weight of these new adjustments to the formula, the show still finds apropraite moments of comedy, like the best way to exclude Joujirou from their trip to see Ayumi. Yuu is about to swap bodies with him so he can make him jump out the window, but Nao beats him to it by simply dropkicking him out the window. It isn’t the first time Yuu and Nao are of one mind on an issue, and it won’t be the last.

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A little more random peripheral comedy is found on their trip to the store prior to visiting Ayumi, in which Yuu’s practical purchases are augmented by Nao’s procurement of stewed mushrooms (apparently an excellent topping for porridge…Zane?) and most amusingly, a $20 tin of cookies Yuu has never seen removed from its dusty shelf, let alone purchased.

Yuu enters before Nao and Yusa, and finds a group of Ayumi’s classmates already there: the cornflower blue-haired and well-spoken class rep Nomura; the boy Ayumi rejected, Oikawa, and the gloomy, taciturn Konishi, who gives Yuu the evil eye on her way out. That look set off warning bells that she, not Ayumi, could be the Collapse user.

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While Ayumi’s nose predictably becomes a nose fountain even upon her first glance of a heavily-disguised Yusarin, far more heartening was her attitude towards Yuu and Nao. The two are constantly fervently denying her suspicions they’re dating, or her assertions they make a good couple, even as they proceed to work well as a couple. Methinks they doth protest too much, and out of the mouth of babes (well, middle schoolers) comes the truth that they really are gelling nicely.

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Yuu even heeds Nao’s suggestion Ayumi stay home an extra day even if she’s feeling better. But Ayumi is sick of being cooped up, and sneaks out of the condo complex and into school. There, she interacts with all the classmates who visited her, only now Oikawa is exerting more pressure for her to go out with him (What a creep!), forcing Nomura to swoop in and hold him back (Good for her!), and finally Konishi coming at her with a clicking utility knife (Yikes!)

Before she brandished that knife, I was still considering the possibility Konishi would use Collapse against Ayumi for stealing Oikawa from her. But once it appeared, it looked more likely that Collapse was Ayumi’s power after all, to use as a last-ditch defensive measure.

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Once Yuu and the others learn Ayumi is at school, they rush there with speed. I found it notable that Joujirou’s ability was not utilized, though perhaps they felt adding more chaos to an already chaotic situation wasn’t the best course. (Yuu and Joujirou were also delayed by pasta, of all things!)

The result of that choice is that they’re too late, and Ayumi’s ability involuntarily manifests before Konishi cuts her. Everything beneath her—concrete, steel, glass, everything—crumbles to bits. She’s saved from Konishi, but falls victim to her own ability by being apparently crushed beneath the debris it created.

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In a sudden state of panic and intensity we had yet to see in Yuu, he clambers to the debris pile that was once a corner of the middle school and starts desperately digging for his sister. In the process, an orange-haired girl who earlier flashed an ID to school security laments she too was too late (I gather she’s part of a team other than Nao’s charged with stopping ability users).

Then a concrete pillar falls on Yuu, and the scene cuts to black and the credits roll to a gorgeous, ethereal new ending theme that sounds like a lament, and an end to everything that’s come before. After those credits, we encounter Kumagami standing in the rain over debris stained with blood. This raises far more questions than it answers, to my considerable intrigue.

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Hibike! Euphonium – 11

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I’m not good. I just love it.

Those are the words Yuko remembered Kaori saying when she first told her senpai how good she was at trumpet. They’re words she tried to put out of her mind in the midst of her crusade to elevate Kaori to the soloist’s chair, but nothing she can do can change the fact that Reina is better than Kaori. Even she can’t deny it anymore.

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On the eve of the second chance she nabbed Kaori—by besmirching Taki-sensei and devaluing Reina—and Kaori’s inevitable defeat, Yuko starts to realize she’s made a mistake. As Natsuki tells her, Kaori is the one who’s going to feel the worst when she loses to Reina a second time. Asuka, always businesslike in matter of music, can’t and won’t humor Kaori.

Kumiko, just as obsessed with Reina as Yuko is with Kaori, happens to be on the right side of objectivity as well. She sees Shuu practicing hard by the water on a part Taki warned him to get right tomorrow, only increasing her desire to get better herself. But notably, she doesn’t approach him, and not just because she doesn’t want to disturb him.

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For all the trouble she’s stirred up, Yuko isn’t quite done this week, as she tries to persuade Reina to take a fall in the audition for Kaori’s sake, reciting to her all the arguments for why Kaori should get the part, and is even willing to throw herself under the bus, telling Reina she can accuse her of bullying her, and she won’t deny it.

Kaori puts up a metered front: none of Yuko’s arguments have anything to do with her, and refuses her begging. Channeling Asuka, another no-nonsense musician, Reina assures Yuko that Taki will choose the trumpeter who plays best, even though she knows Yuko knows that, and is why she’s exploring…other options.

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The day arrives, with the two would-be soloists excused from set-up duty in their rented hall to practice and get in the zone for their auditions. Tension mounts, and their respective cornerwomen pay them visits. Notably, Asuka doesn’t visit Kaori, as she probably finds this whole exercise distasteful. Haruka does wish her luck, and even asks why Kaori is so obsessed with Asuka.

Kaori’s answer is clear: she feels like Asuka can see right through her and knows what she’s thinking, so she wants nothing more than to surprise her. This second audition affords her just that chance, but having heard Reina’s playing, it’s practically certain she’ll come up a bit short.

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That brings us to Reina, sitting alone in the gorgeously lit lobby of the concert hall when Kumiko approaches her. Reina’s had time to think about all of the things Yuko said about Kaori, and all of the things that will happen to her if she destroys her. She asks Kumiko if she’ll be upset if she loses, and Kumiko tells her she would: she is better than Kaori.

When Reina counters that winning would make her a villain, Kumiko promises to be a villain with her. Reina draws so very close to Kumiko, asking if she’ll really stay with her, and Kumiko tells her she can kill her if she doesn’t, stating her resolve as a confession of love, echoing Reina’s own confession up on the mountaintop.

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Reassured with Kumiko beyond doubt, Reina assures her that she never had any intention of losing anyway. But it certainly didn’t hurt to hear the strongest words yet of affection and solidarity from her dear friend. All Kumiko did was speak from the heart, but she said exactly what Reina needed to hear to take the stage with the utmost confidence.

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The tension builds again when the two trumpeters take that stage before the rest of the band, dwarfed by the massive music hall that still isn’t as big as the venue for the competition. Taki sets the rules: Kaori will play, then Reina, and the students will vote with applause.

Kaori really seems to rise to the occasion and plays beautifully, but when it’s Reina’s turn, the difference between them is considerable, even for these relatively untrained ears. Reina is crisper, louder, and seems far more in command of the instrument. Her solo fills the entire hall and resonates. It should be plain to any of the band members assembled that she’s the better soloist. It’s stirring stuff to boot; not even having to rely on weird trippy visuals like Violin Girl.

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Yet when it comes time to applaud, only Yuko and Haruka clap for Kaori, while only Kumiko and Hazuki clap for Reina: a tie. Taki, ostensibly the tiebreaker, calls Kaori’s name, asking if she’ll be the soloist for the competition. After a few moment’s introspection, Kaori herself refuses, saying it should be Reina.

Really, how could she not? As both Kumiko and I have remarked, Kaori is a good person. She’s taken things as far as she can, and knows when she’s been beaten. Even if a hysterical Yuko still can’t quite accept it, she must, as Kaori does. As for Taki-sensei, it wouldn’t surprise me in the slightest if he knew this was exactly how the audition would go down.

While no one other than Kumiko and later Hazuki volunteered to clap for Reina, nor did they clap for Kaori after hearing how good Reina is, choosing to abstain. I’m sure both Reina and Taki would have preferred not being accused of being the recipient and doler-outer of favoritism, but in the end merit and talent triumphed over sentiment and pity.

If Kitauji’s going to have a chance at the Nationals, this is how it has to be.

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Hibike! Euphonium – 10

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Not that it wasn’t going to anyway, Hibike! got on my good side early this week by elaborating on that dark flashback Kumiko keeps thinking of. Turns out she beat one of her senpais in auditions, and the senpai chewed her out, saying she’d be in the competition if only Kumiko…didn’t exist.

That’s a harsh thing for someone like Kumiko to hear, and it’s clearly stayed with her, because when Natsuki asks to talk, she’s worried she’s going to get it again.

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It’s not that Kumiko doesn’t believe she deserves her spot, it’s that she can’t help but feel in the way of a senpai. She deals with her objective supriority by recoiling almost apologeticaly before the one she beat. Fortunately, Natsuki is, as Kumiko aptly puts it, “a nice person.”

That is, she doesn’t hold it against Kumiko for winning the seat. On the contrary, she’s only been playing a year and didn’t expect to win, and knew she wouldn’t be able to hide either fact from Taki-sensei. So while she’s her senpai in age, Kumiko is her senpai in Euph experience, by six years!

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While I believe Natsuki when she says she didn’t have high hopes, Kaori is another story entirely. She really wanted the solo part in her final year, and while it’s clear she hasn’t made her peace with the fact she didn’t get it, she’s willing to accept the decision out of respect both for Taki-sensei, Reina, and the system.

But then rumors spread of Taki and Reina knowing each other, introducing suspicions of favoritism. Yuko relays these rumors second-hand to Kaori, and while I know she’s just trying to be a loyal and caring friend, she only made things worse in terms of Kaori getting over things, because things may not be on the straight and narrow.

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What’s disappointing is how indelicately Yuko brings the issue before Taki-sensei, in front of everyone. He doesn’t deny knowing Reina, but insists he showed no favoritism. When Yuko presses, Reina can no longer hold her tongue. Both she and Taki make things worse by refusing to to anything about it.

Reina storms out, followed closely by Kumiko, but rather than find Reina depressed or crying, Reina is simply frikkin’ PISSED OFF, unable to stand Yuko’s presence any longer. She gathers Kumiko in a big warm hug, seeking assurance that she’s right about being the best trumpeter for the soloist part. Kumiko gives it to her, not just because they’re friends, but because she believes it herself.

And because these two are so close and open now, Reina also informs Kumiko that she attended this school because she knew Taki would be directing the band. She probably knew rumors would surface, but they’d come from what amounts to sore losers, and she’d simply barrel through them and press forward. (Does this confirmation of her love for Taki mean Reina and Kumiko don’t have a yuri future? I guess we’ll see.)

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But that’s going to be tricky. As good as Reina is, the controversy has had a profound effect on band cohesion, with people taking sides all over again, and talking about everything behind Taki’s back. The bassists send Kumiko to try to get Asuka’s opinion on the matter, but off the record (and in confidence) Asuka admits she doesn’t care either way; insinuating she’s focused on her own path. Kumiko can’t tell if she’s putting up a facade; neither can we. Asuka remains wonderfully enigmatic.

Less enigmatic but still wonderful is Haruka, who can’t rely on Kaori again (since Kaori is mired in the middle of this) nor the ever-neutral Asuka. She knows that she, the president, needs to get the band back on track. So before Taki arrives, she addresses them, and gets a show of hands for those with problems with the auditions.

She gets a number of hands, but can’t do anything with them as Taki-sensei enters, having just gotten a brief talk with the faculty adviser, who also happened to know his father. She knows that he can’t help but be honest and only care about music when it’s good enough. But in this situation, he has to be more than a greatness detector: he has to regain his band’s trust, even if it means screwing over those who already won.

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To this end, he too breaks the silence about the controversy, and offers a second audition to anyone who wants one, only this time it will be held in the concert hall he rented, in front of the whole band. The first to raise her hand is Kaori, which we know has nothing to do with her thinking she’s better than Reina or believing Taki played favorites. I don’t think she believes either.

This is, as her friend said, about accepting herself, something she won’t be able to do if she doesn’t take this opportunity. Reina’s disappointment is clear and justified, but knowing her, she’ll take this as a fresh challenge on her path to become truly special. Even if she doesn’t care what others think of her, she can’t get to the nationals without the rest of the band.

I don’t think she’ll ever win the love Yuko and others have for Kaori, and it’s possible she’ll beat Kaori so badly they’ll still be against her. But who knows, perhaps this time, out in the open, she can convince them beyond doubt she deserves the solo part. It isn’t something she should have to do, but she has to all the same.

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Sidonia no Kishi 2 – 09

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So, here we are, and it’s apparent that Nagate isn’t going to read into Yure’s bizarre assignment for him at all, both because he’s primarily worried about getting his head blown off, but also because he’s got nothing but dust bunnies floating around inside that uncommonly hard skull. Or, to be more charitable, he simply doesn’t possess the means to express how he feels.

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His obliviousness doesn’t keep Izana from being charmed by the “code” he’s using to take her on a date (especially when he inspects Chekhov’s Bed), and Yuhata and Tsumugi are also convinced that they’re up to no good, and manage to locate a vantage point to spy on them.

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That point turns out to be a gorgeous (and expensive) zero-gravity onsen with an omnidirectional view of the stars outside. When Izana, bless her, takes off her jacket and asks for Nagate to join her in the bath, she’s also asking him to drop the pretense, not knowing there is none; this really is a mission for the dolt.

That’s made clear when Izana gets a peek at his tablet, which has her grandma’s scribbling all over it; this was all a setup orchestrated by her, with no input or even awareness on Nagate’s part. Rather than charmed, she’s pissed, and throws a couple of cybernetic punches at her would-be partner in frustration.

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Where she’s wrong, though, is that Nagate “doesn’t care about her at all,” as no matter how much punishment she dishes out, he sticks close to her, determined to apologize, and make things right. It’s also an opportunity to tell her exactly how he feels about her.

But we don’t get to hear it, or see Izana’s reaction, or any other part of their evening. Like Shirou and Rin in UBW, Nagate and Izana are two kids who really like each other and are always at risk of being killed tomorrow. But while the UBW couple had a tasteful if sedate intimate experience that we at least got to see.

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Instead, Sidonia leaves everything to our imagination, cutting from the onsen to Yuhata and Tsumugi, watching from afar, unable to hear, like us. The next morning is a little more telling of what happened: the two enter the house, and while on the stairs momentarily forgot they sleep in separate rooms, because last night, they slept with each other.

That’s my take on it anyway, and it’s supported later on in how both of them act. Your mileage may vary on what went on, but I think the show’s point is to think what you want to think, at least until more information comes to light.

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All I knew was, after their little vacation, things were almost certainly going to turn perilous again, testing the bond they just took to the next level. The show doesn’t do this in the most subtle way, but in this case, unsubtlety is welcome.  When a disgruntled pilot defects at the sight of the new hayakaze armor, which looks to her like a kamikaze ram for the Gauna, Izana is called up to replace her on the recon mission to the dark side of Lem system’s ninth planet.

The kicker is that Yuhata makes this call to Izana. Yuhata, who stayed up all night worried and likely also upset about what was going on with Nagate and Izana. Is she Yuhata only acting in her official capacity as XO, and Izana truly the best person for the job, or did Yuhata put Izana on this mission as some kind of payback? I certainly hope it’s the former, but the latter can’t be ruled out.

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As for the mission, it’s one of those rare instances when Izana is out there while Nagate is on standby, and Nagate is a nervous, pacing wreck, more than ever if it’s true that they’re now lovers. He’s also concerned because Izana is attached to a device he heard the deserting pilot call a death trap, and we know that Kobayashi plays favorites wouldn’t hesitate sacrificing lesser pilots for a second if it meant furthering her goals.

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So like Nagate, my heart was also in my throat the minute Izana left the (relatively) safe confines of Sidonia…especially with three redshirts. The cloaked Gauna they find in the rings of Planet Nine is a nasty customer, and promptly takes out one redshirt.

Please make it home, Izana—the last and most important moment you have with Nagate can’t have occurred offscreen…unless, of course it is, and we only revisit it in Nagate’s memory or dreams. Then again, if Hiyama is right about Kobayashi putting Sidonia on the wrong course, even if Izana makes it back, everyone’s doomed anyway.

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Hibike! Euphonium – 09

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Kowai…

Last week was a beautiful and highly memorable episode oozing with romance, love, heart-swells and heartbreaks and confessions and rejections, and ASUKA DON’T GIVE A SHIT. She is the voice of the episode that brings us back down to earth from those indelible images of a sore-footed, one-piece-dressed Reina lugging a Euph up a mountain, or the perfect duet played high above the shimmering festival. Fun Time is over. Gotta practice!

While Asuka’s objection to “issues” getting in the way of her practice time is presented in a semi-comedic tone, it’s nice how her very objection and complete lack of patience on such a subject is also an indication of her issues, which remain internal so far.

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The distracted girl Asuka all but kicks out of the room is Midori, who still feels bad and possibly guilty about Hazuki getting rejected, believing she played a part in her failure. Her depressed mood is translating to noticeably poor play.

Hazuki keeps her frown upside-down, even though we know she feels bad too, she wants to be happy, and is taking the well-worn path of acting happy first. Her strategic (and very graceful) change of direction when Shuu enters the train is proof she wants to move on.

Kumiko, meanwhile, is still wrestling with the fact that people are telling her she likes Shuu, when she’s never given much thought about it, and can neither confirm or deny it. She can craft a defense against such allegations—”I didn’t want to lose a friend”; “we go way back.”—but they don’t tell the whole story of her true feelings, because that story hasn’t been written in a language in her head she can understand yet; it’s all out of focus.

This show does a fine job emphasizing how different Kumiko, Midori, and Hazuki are, which is I think why Kumiko has accepted them as friends. They’re not all trying to be the same, like the rhetorical sheep Reina blasts; rather, they’re embracing their differences to gain new insight.

Midori is probably a little surprised when Kumiko says they should just act normally, since that’s where she believes Hazuki is trying to get. But she respects and goes along with that idea.

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Real nice slow-rain

Of course, things aren’t normal for anyone right now, and not due to any love triangles, but because there are only 55 seats and more than 55 tushes, which means even those who have played beside one another have suddenly become their rivals for those limited seats.

It’s something that weighs on Kaori, who gets more screen time this week. I love how Haruka reassures her the way Kaori reassured her during her crisis of confidence. Kaori wants to become better so she can keep the peace in the band and prevent another incident like last year. There’s also considerable pressure on her from her peers, particularly those junior to her who idolize her as the band’s madonna.

It’s interesting that our first good look at Reina since her big breakout episode is crossing paths with her fellow soloist, the clearly intimidated Kaori.

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I also love how in so many animes, we always hear horns practicing somewhere on the grounds, and Hibike! finally focuses in on those musicians. Kumiko looks particularly isolated—by choice—in her little corner of the schoolyard as she practices her piece. When she hears another Euph playing the piece very well, she runs over and is surprised to find it’s Natsuki, who earlier in the show was dozing during practice.

Seeing Natsuki there, giving it her all, Kumiko suddenly snaps out of her complacence: her seat on the band is not assured; no one’s is. And she’s not the only one working hard to become better, so she’d better get back to it!

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Those nerves won’t do her any good in the audition (it might have been better, if less dramatic, had she not heard Natsuki prior to her audition), but she can’t shake them. At least, not until Reina enters the storage room, ignores whatever Kumiko mutters to her, and takes hold of her cheeks, so her their faces and eyes are locked into each other.

I’m going to do my best, so you have to, as well.

She doesn’t let go of Kumiko’s cheeks as she parry’s her “buts” with a repeat of that mantra-like line. Suddenly, Kumiko calms down, then puts her hands on Reina’s cheeks and agrees. It’s great to see the camera cut to their feet as Kumiko’s weight pushes against Reina’s.

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Zero hour: Kumiko’s audition. The atmosphere is so deliciously tense. I loved how Taki’s impressed reaction to learning how long she’s played one instrument made her worry she set the bar even higher for herself.

I found my breathing patterns change as I listened to each note of the first bars she’s told to play. And she plays it well. Not perfectly, but not badly, either. Then Taki asks her to play a bar she hasn’t practiced as much.

It’s a bar we don’t get to hear (the show is as great at knowing when to withhold music as when to use it for dramatic effect), but I knew she played it well, too; because while she initially panics a little, she remember’s Reina’s words, and the feeling of her hands on her cheeks, and does what she has to do.

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That being said, the announcements of the parts was as nerve-wracking as the audition, especially the seemingly cruel way their advisor lists the names of those who got seats, then simply saying the total afterwards.

At the sound of those totals we always see someone suddenly burst into tears, one by one; it’s like a battle, and they were unlucky enough to get hit by enemy fire; only they’re all friends and, in a way, family. The discomfort of that scene, and the lack of visible celebrations from the winners out of respect for their comrades, is all perfectly pitched.

That goes for when Kumiko is announced right after Asuka, as the only two Euphs who got seats. Kumiko seems almost guilty she snatched the second seat from Natsuki, after watching her transformation from apathy to devotion. It even reminds her of when that girl in the past asked her “Do you think this is funny?” which now sounds like a rebuke to Kumiko’s own apathy about music at the time. But the true meaning of those words, and the identity of the person who said them, remain elusive.

Midori gets a seat as the contrabass, but Hazuki fails, but takes it rather well, at least on the outside. Reina makes it too, then surprises the entire band (except for herself and probably Kumiko) when it’s also decided she, and not her senpai Kaori, will play all the solos.

But whatever social fallout such a decision has on Reina, I’m certain she’ll keep moving forward…will want Kumiko to keep walking beside her.

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P.S. MAL remains noncommittal about the episode total of this show. I don’t wish this often, but I truly hope this gets the second cour it deserves. Anyone know for sure?