Sagrada Reset – 20

Urachi strikes the first blow, and as soon as Kei commits to preserving the abilities in Sakurada, all the abilities in Sakurada go bye-bye in an instant. After some momentary disorientation from the memories clashing in his head, Kei finds himself in a new world.

But from the moment this world “begins”, Kei doesn’t seem comfortable in it. How can he, when he has all his memories from the previous one? And how can he live life here knowing there’s a chance he can reverse Urachi’s handiwork and bring abilities back? If he can make it so Haruki’s last text to him isn’t an unnecessary apology?

In this world, Souma Sumire attends his high school and is an ordinary girl who likes him. But she notices something’s ‘off’ about him and through some discussions about the fallacy of memory, the five-minute hypothesis and being happy with the simple, unflashy life one has been given, Souma can help but feel rejected.

But it’s not just her: it’s this entire world. Kei can’t stay; not as long as he has those memories. And due to his ability, his memories will never go away.

In this world, Kei was born in Sakurada, while in reality he was born elsewhere and only moved to Sakurada in the sixth grade. In this world, his parents are dead and he is adopted. But he remembers the apartment he grew up in, and also remembers the taste of his mother’s curry. So he pays a visit to that hometown.

What I didn’t expect was that he would meet his mother, and the sister he never knew he had, whose name, Megumi, shares the same kanji has his name, Kei: both represent deep love, as their mother says to them; since names are what others use to call you.

Of course, Kei’s mother has no idea Kei is her son, so when he brings up something horrible he did to his parents and doesn’t think he has the right to seek forgiveness, she firmly corrects him. She may not know who his parents are, but they surely love him, even if they can’t forgive him, so he should apologize.

Of course, he can’t. Leaving his family was the price of remaining in Sakurada.

Little did I know (and possible little did Kei know himself) that his visit with his mother and sister would be crucial in his plans to undo what Urachi has done. When he visits Haruki, she’s back to her robotic, emotionless self of two years ago, and does not remember or trust him.

What she does do is humor Kei quite a bit, coming along on a bus ride, conceding a text was sent from her phone, proving they are acquaintances, than helping him hold a Polaroid of the cherry tree they’re standing in front of.

That photo, which was in Haruki’s hidden diary, turns out to be Kei’s key to getting back in the fight, as it transports him and Haruki to the time the photo was taken, back when she had the reset ability. All her memories rush back, but they’re a jumble, and she struggles to stand from the stress.

For whatever reason, she still can’t quite remember him, and when he tells her she should Reset, she tells him she can’t, because it “doesn’t feel like the right time.” That time comes almost immediately, however, thanks, again, to Kei’s experiences earlier in the day.

He thinks about the home and family he can never go back to, and the true meaning of his name, and dearly wishes for one last chance to undo some of the things he’s done. He didn’t cry over his past experiences on this day, but he does cry here, and Haruki remembers that that is her cue to Reset: when she sees someone crying. So she Resets.

And what do you know, Sumire Souma is also crying, by the water, in that very moment, upset that even after everything that happened, she’s not the one.

Back on the evening of October 22nd, Kei and Haruki are outside her house, and he can’t help but steal a big hug, so happy he is that his Haruki is ‘back.’ She can tell a lot has happened, and is worried about him. Kei tells her what’s going to happen the night after tomorrow unless they do something…they, not just him.

Haruki asks if abilities are really necessary, and Kei says no…the town would be fine without them, but he likes them, so he’ll do everything he can to protect them. With her help, he’ll attain the MacGuffin.

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Sagrada Reset – 19

This week, in the “Boy, Girl and —” arc finale, Souma Sumire comes to Kei’s place, makes chicken curry, telling him about how Urachi grew up while she cooks. Urachi is basically Kei’s opposite: he wants all abilities to be wiped out, because he believes they’ll hurt, rather than help, the weak in the world (though we’re just talking about one small town here).

Then Souma takes a shower, because, as Kei presumes, she knows she’s going to cry. She tells Kei that Souma Sumire died so that when she was ultimately brought back by Kei’s efforts, she wouldn’t really be Souma Sumire anymore, which allowed her to pass Sakuin’s lie detection.

This “artifact”, as she calls herself, still intends to hinder Urachi, and so did everything possible to give Kei a chance to thwart his plans—except tell him everything before she set her plan into motion.

The fault for this lies in the Souma of two years ago who no longer exists, and though “Souma II” admits she and her are pretty much the same, it was that first Souma who acted “foolishly”, letting Kei get stolen away by Haruki, then forcing all of the “hard parts” onto her replacement. She can’t forgive her, but like her, Kei’s happiness comes first.

Kei expresses his gratitude to both Past Souma and Souma II, and as they eat the curry, he notes how the flavor is “oddly nostalgic.” Souma used her ability to draw from his mother’s know-how, but just as she’s not 100% the Souma Sumire she used to be, something made with “a mother’s love” cannot be 100% replicated.

Kei commits to beating Urachi, which he intends to do by claiming all of the abilities in Sakurada, as the MacGuffin promised to do. The miracles they’ll create will be happy, not a danger or nuisance as Urachi so strongly believes.

Kei made sure to warn Haruki that Oka Eri may pay her a visit, and to let him know if she takes her Reset ability (again). Sure enough, Urachi arrives with Oka, and instead of having Oka take her Reset right there, he uses his own ability on her, “rewinding” her to two-plus-years ago, before she met Asai Kei (and when she had really long hair.)

He leaves the sleeping Haruki with Oka, telling her to take her Reset once she wakes up in the hospital.

Oka Eri wants to beat Senpai, but a part of her still admires, looks up to, and loves Kei, and so when she heard his voice message in her head, telling her he’s been “backed into a corner”, and asks if when the time comes she won’t take Haruki’s reset…it puts Oka in a moral bind.

Just as Souma got around Urachi’s lie detector through rather desperate measures, I wouldn’t be surprised if Kei has to make similar sacrifices in order to succeed in his mission.

The stakes couldn’t be higher: his relationship to Haruki and the abilities of the town hang in the balance, and Urachi, preparing to wake up his “petrified” mother after 20 years, is playing for keeps.

Glasslip – 10

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Last week started out with everyone separated; isolated in their own worlds, but Sachi’s gambit began the work of repairing the bonds that had been strained. She confesses not just to Hiro, but Touka as well. It’s very cute, and the good vibes carry over into this week, as Hina certainly notices a more cheerful Touka as she shows off the dress Yana gave her.

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Like Sachi, Yana-chan also fixed things her way, with the intricate texts of the running route. Yuki returns this week, and this will be the first time they meet since realizing there might be something there between them. Their long-awaited reunion is strategically deferred for dramatic effect, as Yuki traces her steps a bit and even hides when she runs by.

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Instead of interrupt her run, he decides to meet her at home with towel and water bottle in hand, just as she’s met him countless times before. It’s a beautifully understated reconciliation, but true to these two’s personalities, very little is said aside from salutations. He welcomes her back, she welcomes him back…and they mean it. They missed each other.

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Kakeru misses Touka, who’s stayed away ever since her disturbing mind-trip. With all the making up going on (including that Hiro and Sachi), Kakeru and Touka, the central romantic pair, begin the episode far apart. Touka decides to end the Kakeru embargo, but he’s out hiking. His mom invites her to tea in Kakeru’s tent, and his dad joins them too.

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In addition to showing her how he turned up so weird, Touka’s tea time with his folks also rekindles her desire to learn more about him, especially now that she knows how nomadic a life he’s led due to his mom’s profession. She also learns how his childhood was marked by bouts of “sudden, unexpected loneliness” as well-established circles of friends he entered into late got into “festival mode” and forgot about him.

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The rift that had grown between Touka and Kakeru closes considerably, and like Hiro and Machi or Yuki and Yana, the two independently realize how fond they are of the other, and how much they miss each other. The one to finally reunite them is none other than Touka’s favorite schoolyard chicken, Jonathan, who leads Touka to outside the art room where Kakeru is waiting.

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While she cant be blamed for being very freaked out by her visions of snow, Touka has found her courage, and the desire to learn more about them and Kakeru overrides her fear. She also confides in Kakeru that they kissed in in that snowy vision, which leads to them kissing in real life. While old bonds had frayed among the circle, new, deeper bonds have been forged in these last two episodes. And maybe, hopefully sometime soon, more answers will come.

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Glasslip – 09

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This week starts out with everyone, either by choice or circumstance, isolated from the one they love. Yana from Yuki; Sachi from Hiro (and Hiro from Sachi); Kakeru from Touka. For a good chunk of the episode, everyone is alone, and they don’t seem too happy about it, whatever side of the relationships they happen to be on. Last week we tripped. This week we come down.

It’s the most extreme example yet of how all the events and emotions of the summer so far have conspired to pull the circle of friends apart. The episode had a monastic, cleansing feel to it, as if this was a time for solitude and reflection. During this time, many characters devise ways of reconnecting through various barriers or filters, meeting varying degrees of success.

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Well THIS is a setback…

First up is Kakeru, who is stuck at home listening to his mom play that same damn song we’ve heard a million times. Enough already, play something else! Not that his folks are any more human when they’re trying to talk with him about his future, making sure to get in a dig about how they both knew exactly what they were going to do at his age.

Kakeru can’t hear the fragments anymore. Apparently unable to contact her in any other way, he comes by Touka’s house, and they talk between glass. What a difference a day makes…when the girl you like has a traumatic vision of you being a bit too forward for her taste. Not that it’s Kakeru’s fault that she saw that, but it clearly shook her, and she refuses to return the art room with him. She’s not ready.

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Yuki escaped for track camp not just to get back into some kind of routine, but to get away from Touka, who he liked far too much for someone who didn’t like him back, and away from the awkwardness with Yana, as well. Yana treats his unannounced absence as a challenge, and runs his route everyday, sending him rather poetic texts about the weather and other observations.

At camp, Yuki is not necessarily improving, his knees hurt, and he’s still full of doubt. But as desperate and melancholy as these texts first seemed as Yana sent them, not expecting a reply and not getting one, Yuki breaks radio silence when Yana reports clear skies, while it’s dreary and raining where he is.

Yana isn’t even sure what she’s doing or why, and yet they make Yuki happy and relaxed. The juxtapositions during their beautiful phone conversation are very apropos: Yuki may be under the clouds, but Yana is a ray of sunshine peeking through via cell phone. Yuki says he’ll be home soon; possibly tomorrow. It would seem Yana got what she wanted…but what’s next for them?

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She’s a girl with a plan.

Then, finally, there’s Sachi. I tend to save Sachi for last in my reviews…and that’s because she’s the best. Kakeru tried to connect with Touka through glass; Yana with Yuki through texts, and Sachi tries to connect with Hiro through literature. Specifically, she recommends to him a book on the shelf in his family’s cafe, and his disappointment gives way to a bemused curiosity.

Sachi asks not just Hiro, but also Touka, to join her at a Kirinkan, where they wait until after closing time for a hauntingly beautiful crescent moon under earthshine. Like Hiro, I don’t quite get it at first, but then Touka says “the moon is pretty” in a way that sounds like a confession of love, according to Soseki Natsume, the author Sachi had Hiro read.

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Inviting them to this special place of hers, at this special time, when the moon was just so, having prepared Hiro literarily…Sachi’s was certainly the most impressively complex method of re-connecting with the ones she loved—lots of moving parts—but as Hiro puts it, “as long as there’s love”, her feelings were going to come through…and they did. They end up saying the very things she wanted to say to them. This is what happens when Sachi uses her extraordinary planning skills for good instead of evil.

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