Assassins Pride – 05 – Just a Step in Front

Keira Espada tells her underclassman Salacha Shicksal that she’d rather an inter-family fued like the Angels’ not interfere with the Luna Lumiere Selection Tournament, but there’s nothing she, Melida or Elise can do about it. White Night’s ongoing investigation into Melida’s ability and Othello’s insistance on Elise’s superiority means there’s no way the tournament won’t be affected. Indeed, it already has.

That’s thanks both to Othello’s rigging of the cadet selection and the fact that Black Madia is not only on the loose in the school, but assuming the form of a student, meaning she is everywhere and nowhere. Still, the host school’s headmaster would apparently prefer both a tainted final result and the mortal danger of a lurking assassin rather than cancelling or even postponing the tournament. She puts tradition and propriety before truth and the safety of her students. Shame on her!

Anyway, the show indeed goes on, by which point Melida has been encouraged and galvanized by both her tutor Kufa and her teammates Nerva and Shenfa, who buck the trend of believing Melida will never measure up to Elise. When the two finally meet for the fateful duel, Elise finally expresses that she didn’t want to win against her “big sister” because she didn’t want everyone’s assumptions—including her own—that Melida was weaker than her to be true. She wanted to continue being second-best.

Deeming that to be impossible to keep up the charade any longer, all Elli can do now is prove that which everyone assumes and which she always feared: that Melida can’t beat her. Only…Melida hasn’t been sitting idle all these weeks with Kufa. She’s learned quite a few new tricks that optimize her mana, and Elli has been too busy with her own preparations to keep up with her big sister’s training.

Turns out Melida not only believes she can beat Elli, but she goes and does it. With everyone watching, Elli doesn’t take the fall, she loses fair and square to a disarming attack, and Melida makes it clear she’s determined to stay a step ahead of her little sister…if only just a step.

While the sisters’ fight didn’t last long, it did pack a punch, and I appreciated that Ishikawa Yui got some spirited dialogue to sink her teeth into, almost channeling her best-known role, Mikasa Ackerman, in the process (both Mikasa and Elli both being cool, powerful, yet reserved beauties).

As they fight, Kufa is on the lookout for the disguised Black Madia, and thinks he’s found her when he encounters her all alone with something suspicious in her bag. Turns out he’s mistaken: it’s not Black Madia at all, but a student from the other school who spoke with Melida last week: Mule la Mor. Her mana-absorbing Diabolos class is too high a class for Madia.

Soon after Melida and Elise’s big catharsis, Madia steps in to try to finish the job Kufa won’t on behalf of White Night, who disguised herself as Nerva to get as close as possible to her target. The glass palace’s giant sentries initially stops her, but she destroys their weapons. Turns out that’s an unforced error, as it allows other non-cadets to enter and save the day: specifically Kufa, with Rosetti backing him up.

Kufa slashes away all of the Clown-class’s illusions until she’s stripped down to a revealing outfit that makes her self-conscious. At this point she completely loses her nerve and becomes submissive to Kufa, almost acting like she likes him, which may be the case. In any case, Kufa suggests a compromise: she can return to their boss with his “supplementary report”, thus not returning empty-handed in shame. In exchange, she’ll withdraw without further trouble.

After the credits, however, Madia is right back at the school, this time entering the front door as an instructor. Her transition from fearsome adversary to potential ally and supporter of Melida is awfully quick, but I’ll allow it. As for the tournament, Keira Espada wins, and Mule la Mor shows Salacha Shicksal a “mana analyzer” containing all the mana info of every girl who fought in the palace—including Melida’s—for Salacha’s brother. As the OP hinted, looks like we’ll likely see more of Mule and Salacha.

Koi wa Ameagari no You ni – 03

Quite disappointed the words she worked so hard to say to Kondou didn’t give her the response she wanted, Akira becomes so preoccupied by Kondou and her feelings for him she seems to float above everything else with little interest.

She reconsiders asking her classmates for advice, and we kinda see them through her eyes. She knows how they’d respond if she mentions someone she likes, and especially if she tells them his age. So she doesn’t bother. When two track kohais lure her back to the track to watch and offer tips, it feels like a gross imposition, and an insensitive one at that.

Upon watching one set a new personal record, she regrets having been lured. When she goes, the girls consider going to her restaurant, she snaps: “DON’T!” That place is her world. Hers…and the manager’s.

As if mimicking Akira’s darkened mood, the heavens open up and a steady rain falls. Akira has no umbrella or coat, so she get soaked. She doesn’t care; she’s too lost in thought.

This rain reminds her of the day she injured her ankle, having felt something but simply taped it up and practiced in the rain anyway. We see everything from the injury, the doctor visit, and the isolation she felt upon being knocked out of action…and it’s frikkin’ heartbreaking!

Mind you, all of that ends with her getting a free cup of joe from Kondou and BOOM, it’s gone from the rain to…After the Rain. Great title, that. When she arrives at the restaurant in the present, soaked head to toe, she meets Kondou there, having a smoke.

He beckons to her to get inside, but she isn’t there for a shift. She’s there to repeat her words, and phrase it so there’s no mistake: I like you. Then she leaves. Kondou, bless him, gets the message, and it causes him to space out at a green light. Was Akira’s confession just a dream; a mirage in the rain?

After it rattles around his aged cranium, Kondou determines that it is not a dream, but a prank Akira and the other young staff members are pulling on him, because there’s no way she’d seriously be into him. He’s SO SURE of that he curses himself for almost falling for the prank!

But as he’s an adult, he doesn’t make a big deal of it. Kids will be kids, and sometimes kids are awful, both to each other and to their elders. He shrugs it off, though not because he isn’t irritated. Those punks!

Akira’s behavior upon returning to work seems to back up his theory, at least for a time. But when her casual talk immediately turns to I’ve told you how I feel; what’s your response, all hope that this was something “shrug-off-able” disintegrates.

Kondou is very careful with how he proceeds. He offers Akira a ride home, since it’s still wet out and she’s still recovering from her ankle tweak. He’s direct about his response: he can’t give her a proper one, because he’s 45 and she’s 17.

Akira immediately disputes the relevance of their age gap, and when Kondou persists, she repeats her confession so loudly and strongly he puts the car in a skid. This isn’t something he can shoo away with what he thought was common sense and social conventions. She’s resolute!

Sensing both of them could use some air (and that continuing to operate a motor vehicle could be hazardous at the moment), the two go to a park. Kondou follows a respectable distance behind Akira, who surely wishes he’d walk beside her. They come to a tree where there’s shelter from the stray raindrops that linger.

He asks her why she likes him, of all people. We already know she has plenty of reasons, and isn’t just interested in him because he “saved” her when she was at her lowest—when the proverbial rain was at its harshest. She’s come to like him even more since getting to know him more. He’s hard-working, honest, kind, fair, and a good father.

And he makes her laugh; indeed, when he insists she reconsider, as he’s a 45-year-old boy with no hopes or dreams, that right there makes her smile and laugh in a way he’d never seen, because she’s hearing him talk in a way she’s never heard him talk before.

Akira doesn’t care that he’s 45, or that she’s 17, or how low an opinion he may have of himself, and she doesn’t list any of the reasons I mentioned above. Instead, she questions the very notion of liking someone requiring a reason at all. And she’s right; you can cherry-pick whatever reasons you happen to brainstorm when explaining why you like or love someone.

But the reality is perhaps closer to Akira’s particular philosophy at this time: that love is ultimately a mystery. You may never know for sure why you feel it for someone; but you can never let that lack of answers frustrate or discourage you.

Being pursued in this way is a strange feeling for Kondou, and a nostalgic one, since it’s been decades since he’s felt it. But he has felt it, so he knows what it’s like better than most. He remembers being Akira’s age, and for a second, we see him like that.

When Kondou jokingly challenges Akira to go on a date him, and find out just how short a time it would take until she finds it creepy, Akira takes it to mean We’re going on a date? We’re going on a date! Kondou dare not correct her, at least not then and there. So, at least for now, on a date they shall go.

Made in Abyss – 03

I’ll just come out and say it: three episodes in, and of all the anime we’ve watched this Summer at RABUJOI, Made in Abyss is the best. It effortlessly grounds a fantastical world (primed to become more wondrous still) with deeply human characterization, in particular the bottomless (no pun intended) curiosity and stubbornness of kids.

Riko’s friend of many years Nat is against her going down the Abyss. He stays against it for the entire episode, right up to the moment she actually descends. He doesn’t change his mind. He’s worried she won’t come back. He’s angry she won’t listen to him when he’s trying to keep her safe. And he’s scared of being alone after she leaves.

Nat’s objections aside, Riko still plans to go first thing tomorrow. And after his very first cave-raiding, Reg decides he’ll accompany her, now that he knows the curse doesn’t affect him (at least not as bad as humans). Riko needs to find her mom. Reg wants to find out what he is and why he was made, and what he was meant for.

Against these lures, Nat doesn’t have a chance, even after Siggy unfurls a gorgeous map of the Abyss and describes all of the exotic hazards and trials that await Riko and Reg (while the Abyss’ equally gorgeous xylophone leitmotif plays). Even though Sigy is merely describing the levels while pointing to illustrations on the map, the limitless grandeur and wonder of the Abyss comes through crystal clear.

Nat finally goes to far trying to dissuade Riko by telling her the most likely possibility is that her mother died long ago, and there’s nothing for her down there. It’s a horribly mean thing to say, and Riko runs off, but Nat immediately regrets hurting his friend.

Sigy and Reg get it, and neither of them want Riko and Nat to part ways without making up. So when dawn breaks, Sigy enlists the help of none other than Nat to lead them to the rarely-used entrance to the netherworld in the slums where he grew up collecting rags before he was admitted to the orphanage. He says he’s sorry and Riko immediately forgives him.

The slums become denser, darker, and dingier, until they finally reach a rickety wooden platform extending over the Abyss. Below them is only inky blackness. It might as well be the end of the world. It is, quite simply, terrifying.

But it’s also tremendously exciting, with a momentous, THIS IS IT kind of vibe. After a thoroughly tearful farewell to Nat and Sigy, the 12-year-old Riko, possibly braver than I could ever be, grabs hold of Reg; he lowers them into the void, and they’re gone, just like that.

How long will that darker-than-darkness last? How accurate is that map? What wonders—or horrors—will await them down there? I won’t speculate—I’ll just keep watching.

Kamisama Hajimemashita 2 – 12 (Fin)

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Kami-Haji wastes no time piling on the adorableness in its final episode. Lil’ Nanami is button cute, just the kind of person you want to hold and squeeze and protect for all time. But we learn along with Tomoe that that cuteness is tempered by a steely resolve to look out for herself and be wary of men; advice given by her mother, who herself could not escape a life of bad luck with a crappy excuse for a man. We also learn that the women in her family only ever bear more women, all of them beautiful.

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Tomoe is positively transfixed by this educational foray into Nanami’s past, and even though Mizuki tries on numerous occasions to nudge him to put an end to it, Tomoe watches on, even as things go from bad (Nanami’s mother dying, as expected) to worse (Nanami living with her awful dad, who does nothing but goof off and burn their house down). The things that happen to Nanami are almost comically cruel, but for all the slapstick mixed in with the narrative, the episode never makes light of her plight.

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It also makes it clear these are the experiences that made Nanami the young woman she is today, and that something great and beautiful can come out of all that suffering and hardship. With that, Mizuki again confronts the lil’ Nanami to try to coax her back to the present, and again, she flees from Mizuki, who if we’re honest doesn’t have the most trustworthy aura about him.

Tomoe is different, though. Even though he’s a man, Nanami seems to trust him implicitly. Is it the connection she has with him in the present shining through here, or the connection between her family lineage and the god who granted them beauty at a heavy yet bearable and character-building cost?

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Tomoe isn’t just a fan of lil’ Nanami because she’s adorable. He also likes the fact that everything she desires is clear to him here in her flashback world, as things she concentrates more on appear with more detail and in greater focus. Seeing everything she wants to clearly, and having the power to grant it all, Tomoe’s devotion for her grows. Here, when asked if he truly loves her and is someone she can count on, he can answer directly: yes he does.

Heck, he even proposes marriage, and she accepts…but when the grown Nanami wakes up, she’s seemingly forgotten everything about her dream, which deflates Tomoe quite a bit, because he thought he’d actually made progress.

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He laments the fact that the happy-go-lucky yet delicate girl he was able to confess to so easily was lost in the twelve years since, especially when she’s able to single-handedly convince the zodiac sheep to allow the new year god to shear him. Then Nanami surprises Tomoe again and makes him rethink everything when the Year God furnishes her with a photo of her mother.

Now, that wouldn’t seem such an impactful gift, but considering her mother died when Nanami was very young and all photos of her were lost in the fire (a heartbreaking fact), it means multitudes for Nanami to finally see her face clearly. And in doing so, Tomoe sees that neither Lil’ Nanami nor her mother really vanished; they’re still within Nanami.

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Back at the Shrine, Nanami is back to work on her talismans, and Tomoe is back to work denigrating their poor quality, earning her defiant scowls. But when relaxing after a long day ushering in the new year for worshippers and the like, Nanami settles down for some tea and TV with her shrine family, whom she’s been with now for a year.

When she steps outside, the falling snow reminds her of what a shadowy figure once said to her in a half-forgotten memory of the past (which we know to have just happened at the Torii gates), in which Tomoe tells her younger self she won’t always be alone and wary, but be “the lady and mistress of a household more rowdy than she could wish for.”

And so it’s come to pass. She has a family, without having resorted to marriage she’d sworn off. And yet, when asked again, Nanami adds the qualified “probably” to that swearing-off, opening the door for Tomoe, if he wishes to walk through it.

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