Attack on Titan – 46 – Playing to the Crowd

The Rob Reiss Big-Ass Titan is coming; there’s no getting around it. And it’s attracted to huge groups of people, so it’s avoiding villages and going straight for the densely populated Orvud District, which Erwin keeps UN-evacuated.

Using the citizens of bait may at first seem to run counter to their first mission to protect the people, but if Orvud is emptied the Titan will head to the main wall and possibly break all the way through to Mitras.

I assumed we’d get some kind of Battle of Helm’s Deep-style all-nighter siege, but dawn arrives far quicker than I expected, but both the wall defenses and the Scouts are as prepared as they’re going to be.

They’ve got a plan. Historia isn’t sitting on the sidelines to let her future subjects bear the brunt of the battle; she’s on the front lines, against Erwin’s urging. She muses that if she’s to be accepted as the new ruler, she must earnit with deeds, not simply lean on her name.

In a nice nod to the opening, which IMO is the best of any Titan season, Eren notices a trio of kids not unlike him, Mikasa and Armin back in episode one, on a similarly lovely day, before the Colossal Titan attacked.

Showing Eren looking behind his back and seeing who he must protect is a nice move, and the three kids are the first citizens who I actually want them to protect (a bunch of others are annoyed they have to carry out an evacuation drill).

As for Eren punching himself until the weak, ineffectual, useless brat within him is “gone for good”, that doesn’t work quite as well, but I like the fact that he’s inspired by Historia’s transformation into one of the strongest among them.

When the Rob Titan reaches the wall, no amount of artillery bombardment does much good, and he puts his hands on he top of the wall and stands up, revealing his face and half of his head has been sheared away.

The Scouts shoot more gunpowder into him, and Eren transforms into a Titan to personally deliver another load of powder directly into the very large and open head cavity, thus destroying the core from the inside.

This is where the wheel is broken and history doesn’t repeat itself; the three kids are scared, but their homes and families are spared the cruel, gruesome fates of Eren’s, Mikasa’s and Armin’s.

Even more significant, the fates conspire to make Historia, not Eren, the public savior of the day, as the assembled masses watch in awe as she delivers the killing blow to the Titan core high over the city, before landing in a wagon.

Little do they know she just had her first—and last—fight with her dad. And she won.

When she rises from her fall, she promptly tells all within earshot her name, Historia Reiss, and her position: their ruler. It’s yet another badass moment in perhaps the best character arc Titan has yet delivered. She achieved what she set out to achieve: gain credibility with the people and legitimize her claim to the throne though great heroic deeds.

Meanwhile, Kenny bleeds out against a tree not far from the destroyed Reiss caverns, his entire team destroyed in the fracas the night before. Levi arrives to confront and possibly arrest him, but takes a look at Kenny’s burns and wounds and declares him beyond healing. Kenny isn’t so sure, and presents a syringe of…something. Is that Titan serum? Whatever it is, Levi needs to be on guard.

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Barakamon – 03

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It’s not very often an episode comes around where I’m snickering or laughing almost the entire time, but this was one of those. It all starts with the stern, severe, hard-as-stone gaze of SAMURAI HARU, capturing the pride and maturity a youngin’ feels when she’s learned something new, the Kana on a chocolate bar and milk carton, in this case. Of course, when she’s corrected, the swagger vanishes and she’s back to being a little kid.

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That’s the first of a series of vignettes the episode starts out with, enticing my palette and leaving me wanting more, then getting something a little different that produces the same effect. It’s a tactic similar to that used by chef Thomas Keller to relieve well-off people of hundreds of dollars and many hours of their evenings…and it works.

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When Seishuu goes to the town general store, he learns a clever way to pick up fallen needles (YEAH BITCH! MAGNETS! OH!), and also gets a taste of the older villagers’ thick and all but indecipherable dialect, one that sometimes even leads to misunderstandings between each other. It’s also funny that one old lady thinks another is hard of hearing, when she really isn’t.

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The most sustained bit comes when Seishuu and Tamako end up going for the same bottle of ink; Seishuu lets the younger Tama have it (foreshadowing the episode’s eventual moral) for her manga manuscript, which Tama humbly asks him to take a look at. When he dare question the highly questionable content, Tama lets him have it in Full Mangaka Passion Mode.

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She’s extreme, but Seishuu can relate; they’re both artists, after all. That encounter segues to Tama lending him her favorite manga, then getting worried she accidentally lent him one of her incriminating BL mangas she secretly treasures (her whole story of how that came about is marvelous). She arrives at Seishuu’s house to clear up the misunderstandings he may be harboring, only to see him apparently locked in a passionate BL embrace with Hiroshi, which is another misunderstanding (Hiroshi merely caught him from falling).

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In the midst of all this island craziness, Seishuu had shipped off his latest and most expressive calligraphy for an exhibition, but is outraged and crestfallen to learn he only managed second place, losing to an eighteen year old whelp. When other whelps show up with their cheerful demeanor, he snaps at them, but again, Tama understands his passion, and she takes Miwa and leaves, leaving the cheering up to Haru, who keeps it simple: “Are you having fun right now?…If you’re not, let’s go have some!”

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She urges him to take a plastic bag and come with her and everyone else to the mochi-tossing ceremony to commemorate the building of a new boat. Seishuu is warned to stay away from the professionals (Yasuba and Panchi) but be aggressive. But again and again, he bounces off the crush of people, and is unable to snatch up a single mochi, despite being young above average in height, and keen.

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The ceremony is a simplified analog to his current situation with calligraphy: striving to be the best is futile: there will always be someone better. Pressing against those waves of reality is a waste of effort. It’s better to, as Yasuba says, say “Go on ahead” to the one who barges past. Yield to what must be yielded to and wait for the next opportunities, which will come with patience. Never stop fighting, but avoid unwinnable struggles.

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This was probably the best Barakamon to date, besting out the first episode (Don’t despair, first episode! Second Place is good too!). But I wouldn’t be surprised if a future episode comes along to best it. But for now, this is it, and it was glorious and hilarious from start to finish. From Samurai Haru and Psycho Poodle to Tama’s fujoshi ravings, it looked like the artists had as much fun drawing and voicing this one as I had watching it.

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Stay Observations:

  • “Kids grow up so fast.” LOL. Loved Giant Haru stomping off to the horizon.
  • The screaming noise Tama’s manga made when he slipped it out of the envelope was a nice touch.
  • “Society demands story elements it has never seen before,” proclaims Tama. Could she be talking about the show she’s in?
  • The BL manga that changed Tama’s life? Overtime Work Lovers: “Huh? You’re still here?!” That title is GOLD.
  • Tama uses Hideo Nomo’s “Tornado” delivery to throw the manga against a wall.
  • Seishuu and Hiroshi’s “embrace” literally blows Tama away…Akira style.
  • More village etiquette: Panchi knows she’s a heel during mochi-pickings, so she leaves home-cooked apology meals at the homes of those she wronged.
  • In the omake, Haru is appropriately mortified by how the schoolmaster (who looks and sounds like a gangster) uses crayfish as bait.

Barakamon – 02

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Averting mediocrity has been a recurring theme of Barakamon, and this week it applies not only to Seishuu’s efforts to re-capture the spur-of-the-moment lightning in a bottle style he awakened in a fit of passion, but also to the village chief’s son Hiroshi, who received all “3’s” in his school marks and has a tendency to half-ass things.

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First, Seishuu. Those efforts of his are running him ragged; causing him stress and insomnia, and not helped by the summer heat and the fact he can’t cook. Then, when trying to focus, his tranquil environment is invaded not just by Naru (who is less the focus this week and more of an enabler/go-between to the schoolgirls we saw sneaking out of his place last week, Miwa and Tamako.

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The girls only compound the disruption to Seishuu’s concentration Naru is usually responsible for, moving back in to their “base” and bothering him at every turn. They do inspire/drive him into rendering another bold, passionate piece in a moment of frustration. I particularly enjoyed their reaction to his creative lashing-out: they all think it’s amazing…but have no idea why.

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Seishuu’s poor living habits do eventually catch up to him. When Hiroshi is delivering him food his mom made (and guilt-tripped hi into delivering with an extremely dramatic monologue for a minor character), Seishuu literally collapses into his arms upon opening the front door. Yet despite his belief Seishuu’s a burden on his mom, Hiroshi is himself inspired by Seishuu’s intense, almost life-threatening effort.

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Hiroshi doesn’t believe he has any talents that will net him anything higher than a three, but through Seishuu he realizes that the will to work hard can be a talent in and of itself, and he pledges to work harder. Unfortunately, Seishuu takes a turn for the worse and must be admitted to hospital, which proves to be a fresh and versatile new setting for comedy.

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Even weak, in bed, and hooked up to an I.V., Naru, Miwa and Tamako don’t let up, continuing on their respective lines of interaction bordering on cruel antagonism. But intent is important, and the fact is, these people are visiting Seishuu with the best of intentions. Thanks to the hospital’s resident ghost, Seishuu grasps the truth: the girls are there because they like him and are worried about him.

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He can’t put everything he has into writing: he has to save some energy for figuring out how to endure the many forceful personalities in his life…and for sustaining that life with food, water, and sleep on occasion. Not that any of this will be easy, mind you, but at least he can count on Hiroshi’s mom continuing to feed him, saving him from cutting his hands to shreds in failed attempts at cooking!

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Barakamon – 01

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When an esteemed curator tears into Handa Seishuu’s conformist calligraphy, calling it “a copybook clone”, “award bait”, and “completely lethargic”, Seishuu thinks the old man is full of shit and slugs him in the face. His dad exiles him to a remote island village, where a nosy little girl, knowing nothing about the incident, says almost the exact same things about his writing. The world seems to be telling him something.

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Some people just can’t take harsh criticism. I know I can’t sometimes, particularly where art is concerned. Seishuu is the same. He’s sticking stubbornly to the fundamentals, and the rest of the world is wrong, not him. The weight of that fabricated world of his is slowly crushing him. He needs to get out from under it and gain some fresh perspective. That’s what Barakamon (“Cheerful Child”) is all about: getting over yourself, lightening the hell up, and having fun.

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Seishuu’s bad attitude and stubborn ways are no match for the fundamental kindness, decency, and joviality of adorable lil’ Naru and the rest of the townsfolk. They’re not there to judge him on why he’s there or what he’s done; he’s a new neighbor, a rarity in the town, so they help him move in. That outpouring of hospitality doesn’t just soften Seishuu’s hard edges, but snaps him out of a creative funk he’d been denying he was in up until now.

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Repeating the cold open, but this time with context, we watch Seishuu take to the paper like a lion to a gazelle; and his giant, wild character “” (“FUN”) is far more passionate and expressive than anything he’d written up to that point. More to the point, he had a lot of fun writing it (almost too much fun, as he creeps out the mayor). After scaling a literal wall with Naru to get a better look at the island’s spectacular sunset, he’s started to scale what the curator called the “wall of mediocrity.”

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I’ll end with one the many great lines in this episode, delivered by Seishuu’s friend Takao:

“You don’t get any sympathy after punching an old man with a cane.”