Magia Record – 14 (S02 E01) – Don’t Let Go

We begin this second season of the Madoka spinof in media res with what else, a battle against a weird and unsettling witch. This one has a general spider form, only her legs are human limbs and her web in the sky is made up of clotheslines stocked with sailor fuku shirts. The combatants are a trio of familiar faces: Kaname Madoka, Homura Akemi, and eventually, my avatar, Miki Sayaka, who saves the other two from getting wasted.

Of course, this isn’t the timeline or story we know from the original series; this is an alternate timeline, one of countless Akemi has traveled through in a so-far-vain effort to save Madoka. This episode is the equivalent of the original episode where the girls learned The Truth from the famously blunt and unsympathetic Kyuubey, who will only ever insist that magical girls are getting a fair deal. The Mami Sayaka saw is no longer the Mami they knew.

Sayaka, classically one of the moodiest of the girls, goes home and sits on her bed, depressed, while Akemi prepares to take a train to Kamihara City, where magical girls—and thus Madoka—can purportedly be saved. Before she can depart, the spider laundry witch returns. Madoka, sensing Akemi went off on her own, soon joins the battle, and through telepathy urges Sayaka to join her, with Madoka saying “she wont be coming back”.

Sayaka can’t exactly keep sitting at home when Madoka says this, so she once again arrives just in time to save Madoka, who along with Akemi had been just barely holding serve against the quick and crafty witch. Now that Madoka knows the witch was once a magical girl like them, all she can do is apologize before firing her pink laser arrows.

With the battle stalled, Akemi calls a timeout with her escutcheon, and because she’s touching Sayaka, she can move along with her even though time is stopped. They collect Madoka, touch her so she can move, and then the three magical girls operate as a single entity bound by their arms, with Sayaka in the middle providing transportation around the frozen witch as Madoka looses arrows from all sides.

When time starts back up, the hundreds of arrows find their target, and Sayaka delivers an excellent coup-de-grace with her sword, leading to that ever-so-satisfying sound of the witch’s domain fading away and reality returning. Sayaka, Madoka, and Akemi won the day, but there are no promises for tomorrow, especially in Kamihara, where the witches are much stronger.

While I went into the first season of Magia Record with a healthy dollop of tempered expectations and was ultimately frustrated with how few questions it answered (and how many new magical girls it introduced), I also made clear the original masterpiece bought more than enough goodwill for me to not dismiss the second season out of hand.

I was rewarded for my loyalty to the franchise with a stunning barn-burner, but as with the OG magical girl trio this episode focused on, there are no guarantees for the future. Will we even see these three next week, or will we shift back to Iroha, Yachiyo & Co.? I don’t know, but I also know I want to find out.

Armed with the knowledge there will also be a third and final season in December means there is ample time to set up and execute a satisfying, coherent conclusion. Like Sayaka and Madoka held on to Akemi in the timeless zone, I’ll hold on to hope this is building to something. And if it isn’t, at least it looks and sounds like no other anime currently airing.

Great Pretender – 23 (Fin) – How the Sausage is Made

In its penultimate episode Great Pretender pulled the wool over our eyes as well as those of con artists’ hapless targets. The finale opens with Liu, Chen, Suzaku, Ishigami, and a couple henchmen adjusting to their new reality: stranded on a deserted island with water and emergency rations.

There’s an absurd surrealism to seeing Liu, typically perched in his gaudy Shanghai tower, sitting on the beach looking defeated, or Suzaku lighting up a smoke in her ruined red throne, no longer surrounded by her lacquered and gilded office. They were well and truly conned like they’ve never been conned before.

The question is, how? After that quick check-in, we rewind back to the morning of the job. Before waking up, Makoto dreams of the time she gave her mom a wizard figurine, and she hoped it meant she’d see Seiji soon. Abby visits Makoto unannounced, urging him to hurry up and forgive himself, noting she was saved by doing the same.

From there, we follow Makoto as he clandestinely puts a sleeping drug in coffee he serves to Suzaku and Ishigami, while Laurent drugs the champagne he serves to Liu and Chen. This way, the targets are asleep while they are transported to the island where they’ll eventually be marooned.

We learn that while only Eddie Cassano is involved in this game as a favor to Laurent (they’re apparently on good terms now), the similarly reformed James Coleman and Sam Ibrahim also tagged along. Another character from a previous arc who plays a role is Shougo, who provides the air transport to the island.

On that island, Oz has led the construction down to the minute detail of a replica of Suzaku’s Tokyo HQ office. He had Makoto order the real thing re-painted recently so that the smell of fresh paint could be explained, while Suzaku herself is too woozy from her “nap” that she shrugs off the presence of cat sculptures Cynthia included because she thought they were cute, but weren’t in the real office.

The gun battle from which Liu, Chen, Suzaki and Ishigami escape was really just the “police” and Cassano’s “henchmen” firing their guns into the air, making enough noise to cover their escape down the elevator. As for Makoto’s “slashing?” The sword was real, but Oz only cut deep enough to break the blood bag inside Makoto’s jacket.

Fast-forward to the immediate aftermath of the successful completion of the job, the con artists party on what turns out to be Cassano’s boat. Makoto feels good about getting one over on Laurent (as well as following Abby’s advice to forgive himself), while Laurent tosses Dorothy’s ring into the ocean, satisfied she was properly avenged.

In the epilogue, Oz visits his wife’s grave, and we learn she knew what happened to him all along, but never told Makoto. Oz dedicates himself to finding homes for all of the rescued refugees, though Cynthia takes one of the older ones under her wing, giving him the choice of what to do with his life.

Abby reaches the top of a rock in Nevada’s Red Rock Canyon and sends a bird-flipping selfie to Makoto; I really liked how their relationship progressed, how they remain in touch even though they’ve parted ways as con artists. Laurent, meanwhile, is still in the game, and picks the newly inaugurated U.S. President as his next target. Four Seasons, anyone?

Finally, in a feel-good surprise ending, it’s revealed Dorothy is still alive after all, having apparently washed up in Taiwan with amnesia (she could be faking it, but then why did she never reunite with Laurent?). One of her adoptive parents presents her with a ring he found in the stomach of a fish—her old good luck ring, which Laurent tossed into the sea.

And that about does it. What a ride this was! Every arc of Great Pretender had its strong points and a distinct atmosphere owing to their varying settings and types of cons. It’s a show that seemingly got better and better, and this longer final arc brought everything together quite nicely, with its usual stylish cheekiness. I’d highly recommend GP, especially as a gateway show for entering the world of anime.

Great Pretender – 22 – PRETENCEPTION

The preparations for the 100-billion-yen swindle are complete; all that’s left is to execute. Everyone on the team who isn’t Laurent or Makoto are wise to assume that one of them—if not both of them—are going to pull something unexpected that could throw the whole job in to chaos. Laurent has his vendetta against Liu, while Makoto may have found a new mom in Suzaku.

The thing we the audience need to watch out for is what twists the episode is going to throw our way, and the clues that precede those twists. Those don’t just include Chekhov’s Poison Ring and Chair Sword, but the very tight framing as everyone travels to the meeting…or the fact the hallway smells like fresh paint.

As these things tend to go, the meeting, while initially extremely tense, goes quite well. Suzaku doesn’t shake Liu’s hand, her survivalist instincts sensing the ring, while Liu seems to sense the concealed sword. Unfortunately, those instincts don’t serve either of them when they both realize something must have been lost in translation, because they’ve both brought 100 billion with them…

That’s when the fake SWAT unit bursts in—Laurent and Makoto’s co-conspirators in disguise—and confiscate both the check and the briefcase of cash (or stock certificates, it would seem). Suzaku and Liu are at the mercy of their interpreters who have suddenly clammed up. Suzaku smells something rotten: the timing of the police arriving is too perfect.

It would seem our crew have the baddies right where they want them, but then Laurent seemingly takes his revenge by sticking Liu with the poison ring. Liu panics, but notably does not die; either he was simply freaked out about being pricked or it contained some other drug that made him wig out.

When “Officer” Kudou tries to arrest Suzaku, Makoto whips out the sword and stops him, and orders the check and briefcase returned to the desk. Then an entirely new group of guys with automatic weapons (real ones, in their case) bust in, led by none other than American gangster Eddie Cassano.

Makoto apparently made a side deal with Cassano, with the sole purpose of finally getting one over on Laurent. He rants about everyone working together to avenge Dorothy while his mom rots in her grave, then points the sword at his dad and starts to stab him with it. Laurent tries to stop him, urging Edamame to stop “screwing up.”

Then something else unexpected happens, that shouldn’t have been unexpected: after Laurent disarms Makoto with a kick, Oz grabs the sword out of mid-air and slashes his son across the chest, creating a fountain of blood that makes Suzaku freak out. Did she just witness the demise of her beloved new surrogate son? Hard to tell; we’ve already been taught by the show not to accept any “death” at face value.

And all this is before things get truly weird. After Makoto is slashed, Cassano’s men open fire. Ishigami gets Suzaku the heck out of there, while Chen grabs Liu (who is okay after all). They wait in the hall for an elevator that never comes, and there’s curiously no cell reception. Then the sounds of the shootout abruptly end, and they carefully peek back inside the meeting room.

There, Suzaku spots a lever located where the windows were, and when she pulls it, the entire room begins to descend like one big elevator. Once it reaches the bottom, two large metal doors open on their own to reveal…the sea. The entire multi-story building was just an artifice, and soon crumbles into a pile of debris. The camera pulls back to reveal Suzaku and Liu’s crews are stranded on a small remote island.

W, T, and—I can’t stress this enough—F? This is the weirdest, wackiest development yet. Was Makoto’s ranting just an act, and his death faked via a fake sword and blood pack in his suit? Where did he, and Laurent, and Cassano, and Cynhia, and Abby, and everyone else who was in that room go? And why bring back Eddie at all?

Those are only a couple of the several dozen questions I have; I’m just glad the particulars of the job-within-the-job weren’t explained before it was pulled off. I’m sure the final episode will at least partially explain what the hell just happened and how, but one thing I’m confident of is that the job was a success for our con artists.

Great Pretender – 21 – Language Barrier

After learning how his last princess-trafficking job went south and cost Laurent the love of his life, we return to Cynthia’s island, probably not long after Makoto returned to Japan. There, Laurent informs Kim, Cynthia and Abby of the next job—perhaps their most dangerous yet—and introduces them to Oz the Wizard.

Naturally, no one elects to back out, and we watch what unfolds after Cynthia, Abby, and Oz are shot off Suzaku’s boat. All three were wearing bulletproof vests with squibs, and were retrieved from the sea by Kim apparently a diving expert even in her old age.

Why not simply tell Makoto about the whole plan? Easy; because he’s Makoto. They all know him from their previous jobs. The less he knows, the less chance of him accidentally messing up the job. And even then, he can be unpredictable.

Laurent heads to Shanghai to reunite with his old boss, Liu. Liu is happy his old Mahjongg opponent is back, while Chen believes the fortune teller was spot-on about an interpreter falling into their lap after the loss of Oz. Oz, meanwhile, visits Makoto, alive and well, and tries to explain that he abandoned him and his mom for their own safety. Makoto isn’t convinced.

While alone in his hotel room, Laurent is fiddling with Dorothy’s good luck ring when he’s suddenly visited by her ghost. This is the one job in which Laurent has the most personal stakes. Its success determines whether Dorothy is properly avenged. It’s akin to Worf & Co. trying to get Jadzia Dax into Sto-vo-Kor.

Makoto plays his role well, and as was the case with his father, the role he’s playing and the person truly he is have started to blur. Makoto seems to harbor legitimate affection for Suzaku, and as a son who lost her mother connecting with a mother who lost her son, there’s good reason for that.

The logic and legitimacy of their bond makes the con that much more convincing, but ultimately the entire job leans on the inability of Suzaku and Ishigami to understand Chinese, and the inability of Liu and Chen to understand Japanese.

In their remote video meeting, Makoto and Laurent are the interpreters, and they invent a fictional dialogue their bosses can only assume is an accurate interpretation of their adversaries’ words. As such, both bosses believe the other is about to pay them ¥100 billion in cash.

This is right on the edge of what either side can afford (especially Suzaku’s side), and if Laurent’s crew ends up handling that ¥200 billion, it won’t just be their biggest score ever and a worthy victory for Dorothy’s memory, but ruin both Suzaku and Liu’s organizations.

What definitely seems to not be part of Laurent’s plan is the fact that both Liu and Suzaku intend to murder each other when they meet in person. Ishigami had a sword concealed in Suzaku’s chair, while Chen has a ring that can inject poison into whomever’s hand is shaken.

Laurent probably included the potential for treachery on both sides in his calculations, considering both Suzaku and Liu have no qualms about selling kids (As Sloan once said to Dr. Bashir: “These are not nice people we’re dealing with here.”). If everyone plays their roles as expected, the job will succeed where it failed last time.

But will Makoto play the proper role? At the onsen in Japan where the rest of the crew is lying low, Abby worries he’ll go off-script as he has in the past—only this time it might cost him his life. One key question is whether Makoto is merely pretending to care about Suzaku or has come to truly care about her? She did gift him an adorable kitty tie (continuing this arc’s synergy with the end credits), after all.

Unlike his father, Suzaku is there for him, and has always been upfront about who she is. Meanwhile, Oz once told his son to “always be lawful”, “contribute to the world”, and “be a respectable person” while doing none of those things. We also see him making a mysterious phone call from his moonlit apartment. So we’ll see!

Isekai Quartet 2 – 05 – GIVE ME CHOCO…DEATH!!!

As Valentine’s Day arrives (or to paraphrase Tanya, “the triumph of capitalism over religion”), the concept of giving chocolate to the one you like spreads across the school. Albedo plans to infuse her chocolate with her love, and meets a kindred spirit in Betelgeuse Romanee-Conti.

Initially presented as the Home-Ec teacher, Betel is later booted out as a trespasser. I loved how these two demented weirdos fed off one another’s crazy. This version of Betel is also far more tolerable than his Re:Zero self, mostly because he doesn’t torture Rem!

Capt. Weiss wants chocolate, so he asks Kazuma the proper way to ask, and Kazuma messes with him by instructing him to hold his hands out and yell “GIVE ME CHOCO!”. This results in Weiss getting AL HUMA’d by Rem, shielding Darkness from potential harm Darkness was actually excited about, as Darkness tends to be!

It’s a pleasant enough exploration of to whom all these disparate characters from fantasy worlds would go about giving chocolate. Kazuma is happy to receive chocolate from all three girls in his party (even if its obligatory), while Subaru is happier to get a modest chocolate from Emilia than a huge heart-shaped box from Rem.

Finally, Beatrice is popular with Tanya’s underlings, the battle maids his up a sweets shop, while Yunyun either distributes or receives perhaps the most chocolate. Finally, for all the love Ainz got, he’s unable to eat chocolate.

…DEATH!

TenSura – 12 – That’s a Lot of Bacon

Treyni the Dryad has come to confirm that an Orc Lord has risen. Not only that, his army of orcs are afflicted with “Starved”, a skill that allows them to gain the power and abilities of whoever they eat…including each other. This is an enemy that must be defeated with as few casualties as possible, lest they unwittingly refuel the army.

The Dryads know that no one of the groups of beings who dwell in the forest could take on the army, so they’ve reached out (through the potato chip-stealing Treyni) to the most powerful among them: Rimuru Tempest. Shion volunteers on her master’s behalf, but privately Rimuru is worried about losing. He’s never faced someone with an ability like his “Predator”, after all.

Souei volunteers to be Rimuru’s envoy with the Lizardmen, whose numbers Rimuru will need to achieve victory. Impressed by Souei’s intense Kajin aura, and the fact he’s only a mere messenger for an even more powerful master, the Lizardman Chieftain agrees to an audience with Rimuru in seven days’ time.

Before those seven days are up, however, everything gets messed up, all thanks to our overly-preening Chieftain’s son, Gabiru. Gelmud plants an underling named Laplace to easily manipulate Gabiru into staging a coup against his father, who has agreed to maintain a defensive stance but has alienated his younger comrades by doing so.

Gabiru gives those youngsters what they want: the opportunity to fight their enemies head-on rather than continue hiding in the caves. But since Gabiru imprisons his father and sister before hearing them out, he doesn’t learn about the orc army’s Starved ability until the orcs begin to eat their own dead. Rimuru was surely right to worry!

Juuni Taisen – 02

Poor Boar is now a puppet of Rabbit’s along with Snake; he’s in the lead. Turns out Monkey (Shuryuu) interrupted her own attempt to form a pacifist alliance by smashing the floor. In doing so, she thwarted a preemptive strike she sensed from one of the others, though apparently she doesn’t suspect the sleepy Rat (Nezumi).

Having holed up in an underground parking garage, Dog (Dotsuku) is our primary POV character this week, and we hear more of his inner thoughts than the words of anyone else. Upon meeting Chicken (Niwatori), he believes he’s better off agreeing to her request to team up, as she possesses a valuable skill by which she can see through the eyes of all of the birds in the city; pretty handy.

Unfortunately for Dog, he’s too confident he can control Niwatori, to the point he’s drugging her with a supersoldier “poison” that powers her up and leads to her crushing his face. Whether Chicken was putting on a meek innocent act all along until then or really couldn’t control the strength Dog gave her, it looks like Dog is now out of the game, marking the second straight POV character who fell by spending too much time in their head and not enough time being very careful.

I don’t know if the same pattern will be followed next week or the week after that, but I got an odd, satisfying feeling of finality from both Boar and Dog’s stories this week; they went as far as they could go, even if they didn’t know they were at the end of their respective roads until it was too late to turn back. There’s a super-abridged version near the end of Horse seeking out Ox as a fellow “moderate”, only to be charged at by Ox like the train behind him.

The only alliance that seems reliable is the one between Rabbit, Snake and Boar, and you can’t really call it that since Snake and Boar no longer have free will, heartbeats, or jewels in their chests. Nevertheless, I liked the parting shot that combined bloody horror of an undead Boar with a Hitchcockian mass of birds surrounding her.

Considering the ominous calculation of this parting scene, I’d wager SuperChicken is primed to peck somebody.

Juuni Taisen – 01 (First Impressions)

“My, such a new building, completely abandoned.” A curious opening line, as the entire city surrounding the building is similarly abandoned. The building, and the city, have been prepared for the Holy Grail Zodiac War, and this lady, “The Boar”, is one of its twelve participants, all with an animal aesthetic matching a certain sign of the Chinese Zodiac.

My immediate thought was this is a Fate-style Battle Royale, with anthropomorphized Zodiac signs instead of historical figures. There’s a (mostly) civil opening ceremony (only one person is dead before the official start) with an “Observer” named Duodecuple. Rather than command seals, each warrior gets a black jewel they must swallow. Whoever collects all eleven jewels (presumably by cutting them out of people) will get one wish of their choice.

We’re even introduced to The Boar as her backstory cuts in and out of the present-day festivities, explaining how she, and not the little sister her abusive asshole father chose, is the Ino Family representative in the Juuni Taisen. Basically, she ordered her sister to kill more and more people in more gruesome ways until she finally went mad and killed herself. So we know this Boar lady is someone who won’t even let blood get in the way of achieving her goals. She’s also, well, pretty goddamn evil.

We only get the slightest bits and pieces from the other eleven members, (whose character designs range from boring and obvious to outrageously wacky) through Boar’s lens, though she clearly has it in for Monkey, who has a Class Rep aura about her, and asks if anyone will help her win so she can wish to bring everyone back. Ultimately only the narcoleptic and the singularly crazed, half-naked Rabbit-Boy (who already killed someone) join her.

Then the ground literally opens up around the twelve, resulting in a bit of chaos Boar thinks she’s prepared for, what with her dual automatic rifles with unlimited ammo. However, she didn’t consider that Bunny killed the guy so he could turn him into a zombie thrall, which is what he does because he’s a necroman”tist” (not “cer”).

All of a sudden, the one character we’ve spent any meaningful time with, and the only one whose thoughts we’ve heard, is on the edge of death at the very beginning. She pegged herself as one of the top 3 challengers in this battle, but…here we are.

Juuni Taisen is, in a word, serviceable. It looks very nice, with imaginative and often just-plain-weird design by the creator of Arakawa Under the Bridge and some very smooth and competent combat animation.

Cons include the Boar not being that likable a character and there being nothing about this premise that’s particularly original or exciting. But as it airs on Tuesday, which is, in my experience, usually a light day for anime, so…we’ll see.

Yuri Kuma Arashi – 09

The cutting-out of the dialogue (not to mention taking a week off!) was certainly irritating in a “Goddamn It I Wanna Know What Happens!” kind of way. But I was confident when Yurikuma  returned, much would be revealed, including the contents of the conversation that led to Kureha shooting Ginko off the roof, to the delight of Yuriika, who’d manipulated both Kureha and Lulu against Ginko.

What is revealed is not entirely surprising, which is to say it makes sense based on everything that’s come before…which is good! Kureha shoots Ginko, but doesn’t kill her. Ginko ends up in “the center of the sky that divides the worlds of the moon and forest,” in other words, limbo.

Her wounds are tended to by someone that appears to be the late Yurizono Mitsuko, but is really(/also) the manifestation of Desire, the surrender to which has governed the actions of many a girl and bear alike on this show.

With Desire’s help, we explore the particulars of grave crime Ginko committed, which as suspected was not the direct killing or eating of Sumika, but the act of doing nothing to stop it despite having the power to do so.

Ironically, Ginko had the perfect opportunity to stop Sumika’s demise when she found her hairpin on the ground. The last time Sumika lost that pin, it was Kureha who found it, which led to their friendship and eventually far more. For Ginko to have come so far to reunite with Kureha, only to find she had given her love to another while she was away, created a crack in Ginko’s heart, more than large enough for Desire to slip in. Her desire for Kureha at any cost kept her from warning Sumika, and led to her murder.

Getting shot was punishment not just for letting Sumika get eaten, but abandoning Lulu, whom Ginko knew loved her but abandoned her anyway, at a crucial moment. That allowed Yuriika to create a wedge between them. Lulu’s revelation that Ginko was an accomplice in Sumika’s death, along with a very guilty Ginko’s admission that she killed Sumika, period, caused Kureha to fire.

As Ginko heals, Desire isn’t quite done with her, nor she with Desire, who disrobes and “becomes one” with her. The red spark in Ginko’s eye suggests Kureha’s bullet (whether it’s a love bullet or not more on that later), has only heightened Ginko’s desire for her. Being deprived of that which one desires can twist a person, as we clearly see with “Bride-in-a-Box” Yuriika.

As Kureha’s class, now led by Chouko Oki, prepares to vote on whom they believe to be the bear residing among them, flouting social cues and eating them, we find that Kureha’s exclusion seems to have been commuted for the time being.

As Life Sexy creepily spies on two girls going at it in the nurse’s office, he states that the girls’ exclusion of what they deem to be “evils”—be they bears or girls—is a ritual that bands them together and gives them a sense of connection. Desire is not merely an individual vice, nor a collective vice; but also a potentially destructive yet effective means of forming communities and societies.

Recognized as a victim of the bears they believe she’s already been too friendly with, Kureha’s peers offer Kureha a chance to re-enter the fold, by voting Ginko the bear among them, which will undoubtedly lead to a concerted hunt. But now that she’s had time to cool off, Kureha isn’t so sure Ginko deserves to be “ruined.”

Despite Yuriika’s warning about the wearer of the pendant and Lulu’s snitching, Kureha knows it was Yurizono, not Ginko, who killed Sumika. Far from being ready to deliver a guilty verdict, she’s desperate to learn the whole truth. Up on that roof, flanked by Yuriika and Lulu, there was neither physical nor emotional room for elucidation. Heck, even Ginko didn’t give Kureha the chance to forgive her, preferring to take the bullet as punishment for her sins.

But Desire isn’t wrong when she says everyone in the world sins at some point in their life to achieve or gain something they desire. Everything is up for grabs; it takes desire to identify what you want and take it, which means others will go without. It’s what Reia did when she gave her love to Kureha instead of Yuriika. It’s what Kureha did when she gave her love to Sumika instead of Ginko. And it’s what Ginko did when she gave her love to Kureha instead of Lulu, and let Yurizono eat Sumika. (Whew…Still with us?)

Interestingly, the Judgemens, perched dramatically upon girders overlooking the city, observe everyone below them with a distinct neutrality and their own desire to see how things shake out. They approved Ginko and Lulu’s plans of action, but before them they also approved Yuriika’s. All, as they say, shall be as Kumaria wills it.

When Kureha rushes to the lily bed, lured by a call from Yuriika posing as Life Sexy (a nice inclusion of specific modern technology in an otherwise very elemental story), she can’t find Ginko, I got the distinct feeling that anything could happen, not knowing Kumaria’s particular will any more than the Judgemens.

Yuriika comes so very close to putting Kureha “in the box that is her,” but it would seem her own Desire betrayed her. Eating Reia didn’t fill the emptiness inside her, because at that point Reia had already given her love to Kureha.

So for years, Yuriika kept her true nature secret from everyone and waited as Kureha, the box that contained Reia’s love grew up. But in her hour of victory, Yuriika suddenly becomes incredibly reckess, and falls victim to her own food source: Kureha’s classmates, on Full Bear Alert ever since Kureha shot Ginko.

I have to say, to have so much go right for Yuriika by the end of previous episode, only to snatch it all away due to what amounts to overzealousness, actually ends up making Yuriika a tragic figure; as much an unfortunate victim of Desire as Ginko risks becoming.

That tragedy is driven home in Yuriika’s final moments, as she apologizes to her beloved Reia, and confesses that she stole and locked away the ending to her book, which contains the rightful future for Kureha and Ginko. As Yuriika passes away, Reia assures her they’ll be friends forever…even if that friendship only goes so far.

Interestingly, while Reia is portrayed as an almost angelic if not Virgin Mary-esque figure throughout Yuriika’s end; the very Kumaria who determines the future of others, one could also interpret Reia as a mere hallucination, as it’s actually Kureha she’s talking to. Thus, Kureha is able to find the rest of her mother’s story, but like last week, Yurikuma only reveals so much in one episode.

The “impossible future” Kureha has uncovered, and the consequences of Ginko absorbing Desire, will have to wait until at least next week.

Yuri Kuma Arashi – 08

Is it just me, or are we getting our money’s worth? I can’t remember the last time Yuri Kuma Arashi wasted a spare moment; probably because it essentially hasn’t. Eight episodes in, and while things are hardly ideal for Ginko, Kureha, and Lulu, most of the big mysteries have been revealed. That’s the efficiency of a one-cour, 12-episode run: pleasantly brisk storytelling that engages and excites without feeling rushed.

One mystery that wasn’t was whether Yuriika was a bear baddie; what remained to be known was just how bad of a baddie, and why; the latter of which would determine her quality as a baddie. In her flashback, it’s revealed she was an abandoned orphan bear cub picked up by a man in high heels he likes to click (like Dorothy), who regards the school as his “box.”

Box, hive, whatever you want to call it, it’s where Yuriika had instilled in her the idea that only unsullied things kept in boxes had value. Somewhere down the road, her father lost interest in her and tried to leave, so Yuriika killed him.

Abandoned a second time in her life, a very beautiful Yuriika fell in love with Reia, who didn’t care whether Yuriika was a bear and urged her not to keep everything locked inside, for that’s pretty much the same as not having those things at all. But whereas Yuriika’s love for Reia went beyond friendship, even past their school years, Reia grew up and had a baby. To Yuriika, Kureha becomes a squirming, cooing symbol of Reia’s betrayal.

That’s the third time Yuriika is abandoned, and it’s the last straw, as she decides to give up on love, and return to being a box. It is Yuriika who eats Reia, trying to fill the box that is her by force. She ate her just moments after Reia gave a departing Ginko her pendant, in hopes she and Kureha will one day reunite. And getting back to the idea that putting something in a box forever is the same as not having that thing, eating Reia only left Yuriika empty, still starving and yearning.

Enter Kureha, herself a box containing Reia’s love. Yuriika considers that love rightfully hers, stolen by Kureha, and proceeds to formulate an intricate and devastating life-long con on her; a scheme that makes Kaoru’s bullying seem like child’s play, which it was. Kureha is her titular “bride in a box;” hers to do with what she pleases at her own pace.

Only Ginko and Lulu can interrupt those plans, but she has Kureha believing Ginko is her mother’s killer, restoring the blind rage with which Kureha dispatched Yurizono. Lulu takes this opportunity to suggest she and Ginko run back to the other side of the wall; that Kureha is a lost cause; that Ginko at least has Lulu, and she her. Ginko isn’t ready to throw in the towel. She’s so determined to win Kureha back, she abandons Lulu in an important moment, ignoring her pleas not to leave her.

The court orchestrates a confrontation on the school rooftop, and it’s interesting how they’re perceived as ageless, having delivered a very similar verdict to Yuriika years ago that they delivered to Ginko and Lulu, only with different stipulations. Yuriika gave up on love, Lulu on kisses, but Ginko gave up on neither.

Things don’t go as smoothly as Yuriika hopes, as even though Kureha is in Full Bear-Ruining Mode thanks to the incorrect information on her mother’s killer, Kureha hesitates to shoot Ginko, because Ginko isn’t backing down. It’s dawned on Ginko that perhaps the only way to get a kiss from Kureha is through a bullet…a LOVE Bullet…which explains that part of the title.

Ginko awaits that bullet as the only way Kureha’s love for her, lost when they parted ways, will reawaken, which is obviously the absolute last thing Yuriika wants in her moment of triumph over the one who stole Reia’s love from her. It’s as if someone is opening all the boxes and dumping the contents on the dirty ground, sullying them all. But there’s also a distinct pathos to Yuriika on that roof, egging Kureha on; whether those boxes are full or not, she’s empty, and this is all she has left, and no matter the outcome, it won’t fulfill her either. She’s as tragic a figure as everyone else on that roof.

But then, suddenly, Yuriika gets a surprise assist—from Lulu. Obviously hurt from Ginko flat-out abandoning her, she hurts her right back by relaying to Kureha the what she learned from the anonymous note (which was written by Yuriika, making Lulu her trump card), which is the particulars of Ginko’s “grave crime”, which we had thought to this point was doing nothing as Yurizono ate Sumika.

The sound of the rain drowns out everyone’s voices (a little heavy-handed, but effective), but we do hear Lulu say that Ginko “is Sumika’s…” and it’s clear from Kureha’s reaction (re-training her gun on Ginko, her rage renewed, and firing) that Lulu’s next word was something like “killer.” That could be another of Yuriika’s lies, but like so many of she’s told Kureha, this lie got her the desired effect.

At the same time, Ginko wanted Kureha to shoot her, and she did. But I doubt Kureha killed her. She may have even missed. But whatever happened when that shot was fired, Kureha, Ginko, and Lulu have never been further apart, through a combination of their own choices and Yuriika’s conniving. With three quarters of the show complete, it’s tempting to believe these girls have reached their nadir, but one shouldn’t underestimate Ikuni’s capacity for plumbing new depths.

Yuri Kuma Arashi – 07

Ginko’s selfless act has earned her and Lulu Kureha’s permission to crash at her house, but that’s still a very long way from Kureha acknowledging her true love for Ginko. Progress is slow on this front, especially with Ginko suffering from a bad fever most of the episode.

Meanwhile, Kaoru, who has done everything she’s done in hopes of being protected from becoming invisible, didn’t prevent Kureha and Ginko from coming together, and so she didn’t complete the intended “breaking” of Kureha. For that, she is deemed no longer of any use and disposed of by the mastermind. Since we catch a glimpse of the drawers in her office when she attacks Kaoru in bear form, it’s pretty clear at this point Yuriika is that mastermind.

Kureha spends a lot of time staring at the feverish Ginko, contemplating why Ginko would protect Sumiko’s letter, and why Ginko says she loves her when they’ve practically just met. Kureha daydreams about her and Ginko getting a lot closer, but they only serve to frustrate her more: if there was such a person she loved so dearly, how or why did she forget?

That’s something I’d like to know too. Kureha’s been through a lot of traumatic stuff, but what could possibly create such a huge gap in her memory?

Kureha goes to Yuriika seeking info on the “forest girl”, and unlike Kaoru (who’s in one of those drawers…yikes!), Yuriika continues to don the mask of someone Kureha can trust and confide in, while continuing to manipulate her. She says whoever has her mother’s star pendant is the enemy, and Kureha vows to kill whoever it is. But that vow doesn’t seem any more confident than her daydream with Ginko.

This week, as she lies in Kureha’s attic with a fever that won’t break, we get her backstory; how she was an orphan left on the steps of a church, and raised along with dozens of other bears (most of whom derided her as “Lone Wolfsbane” by that church to believe that “only One needs you and gives you approval”: Lady Kumalia.

This church made holy warriors of its orphans, who fought human girls on those snow-covered battlefields, and all the while, Ginko was fighting for the approval of Lady Kumalia. When she fell in battle, she was abandoned by her surviving peers, because they’re bears, and nature is inherently harsh.

Ginko was resigned to that death until a young Kureha showed up and offered her hand, her love, her approval. Chewed up and spit out by the system that raised her, Ginko held true to the basic ideas instilled in her when those ideas aligned with the events in her life.

From that day onward, as far as Ginko was concerned, Kureha was, and is, Lady Kumalia, her savior. When her fever finally breaks in the present, and Kureha is once again watching over her, that’s what she calls her. This surprises Kureha, as only someone familiar with her mother’s story would know such details.

The deal is all but sealed when Kureha finds Lulu making the same honey ginger milk, which is “the flavor of Ginko’s love”; the very same flavor as Kureha and her mysterious friend’s love back in the day, and then Kureha finds Ginko singing her mother’s love song on the porch in a hauntingly beautiful scene. The switch is finally flipped; Ginko was, and is, that girl Kureha loved.

But not so fast! Ginko still bears the sin of having witnessed Sumika’s death and done nothing, and Yuriika is still very much invested in continuing to screw around with Kureha’s life. To that end, she is most likely the one who slips a letter through the back door that Lulu receives and reads, finally learning of Ginko’s sin.

Lulu, who has been devoted to helping bring Ginko and Kureha together, now holds in her hands the bomb that could blow all of that up. It’s a secret I see Lulu keeping out of loyalty to Ginko, but one way or another Kureha will learn that truth. Yuriika’s actions suggest wants Kureha for herself, as she had Reia before.

She’s already dealt with Sumika; now Ginko is in her crosshairs, and she’s not above trying to turn both Lulu and Kureha against her.

Yuri Kuma Arashi – 06

This rich, immersive episode took many a skip back and forth through time, and was a little disorienting at times, but it slowly, steadily built something revelatory from all the myriad pieces scattered about the past five weeks, all centering around the letter Sumiko wrote to Kureha, to have her open on her birthday. We learn why she wrote it, what its contents mean for the future of the characters who are still alive, and just how wide Koaru’s web of deception extends.

Sumiko never forgot a single detail of the day she met Kureha at the opening ceremony, or the night they protected the flowerbed from a literal storm, and the night they spent together afterwards, reading Kureha’s mother’s unfinished story of the moon girl and forest girl, which is a dead ringer for the Kureha/Ginko arc.

Sumiko treasures those memories. They’re good memories, happy and loving, and to her, it was enough. With the invisible storm imminent, Sumiko does what she feels she has to and sacrifices herself to it, placing her faith in Harishima Kaoru that Kureha will be spared. It’s the ultimate expression of the love Sumiko is so fond of saying she’ll never back down on.

Sumiko won’t let the storm destroy Kureha, even if it means she’ll be the one destroyed. Nor does she let Kureha in on her plan, because she knows Kureha will try to stop her. Her only accomplice in this plan is Kaoru, who assures Sumiko she will be Kureha’s new friend…and seems to be in quite the hurry to get that letter.

But since we know Harishima Kaoru to be one who cannot be trusted from the start of this episode, it really comes down to how exactly she’s going to screw Sumiko and Kureha over, not if. I also appreciate the fact that Kaoru doesn’t play by her own rules of abiding by social norms, as it’s revealed she’s sleeping with a woman (probably Yuriika) which opens a whole other can of worms with regard to whether Kaoru herself is being used or deceived. It’s a dangerous game.

Ginko certainly learned that when she got caught in the trap. Oh yeah, about that cliffhanger: Lulu has a “Bear Flash” bomb that allows her them to escape, and then she treats Ginko’s wounds through the night. This is Lulu at her loving best: playing the only role she feels she deserves in keeping supporting Ginko and keeping Ginko’s dream alive.

When the Yuri Court Judges show up in town and call a ‘bearly’-healed Ginko, telling her to go the flowerbed “if her love is the real thing”, I got the feeling that they might just be more invested in Ginko’s quest than their aloof attitudes in court suggested.

The flowerbed is the site of a creepy nighttime birthday celebration just teeming with dread, even though Kureha doesn’t sense it until it’s too late and Kaoru shows her true colors. Sumiko trusted her to be Kureha’s friend, but Kaoru has no intention of befriending the “Evil” Kureha. Kaoru explains Sumiko’s letter as a break-up letter, which she hopes will destroy the love Kureha is clinging to that’s keeping her visible.

With that, Kaoru and her minions set the flowerbed ablaze, just to facilitate Kureha’s psychological ruin. Kaoru is pretty damn villainous here, but what’s even scarier is that she has the look and tone of a true believer, who believes “love” is nothing but a weakness, with the outwitted and defeated Sumiko and Kureha as proof.

At the same time, knowing Kaoru herself is a lesbian lends a certain degree of self-preservation to the sadism on display; by feeding these two lovers to the storm, she detracts attention from herself.

But Kaoru’s triumph is short-lived and incomplete, as Ginko arrives in time to save Sumiko’s letter from the flames. By diving in, she is demonstrating the same potentially fatal gesture as the Forest and Moon Girls in Kureha’s mom’s book having to break through the mirror, break through themselves to get to the one they love.

After reading the story, Kureha told Sumiko she’d break the mirror. Sumiko did break it, by sacrificing herself. And now Ginko has proven her love by risking incineration to protect the letter Kureha’s beloved Sumiko wrote to her. It was a “false start” of sorts when Kureha read it in front of Kaoru, suggesting Kaoru would be her new friend. Now she reads it before a bruised and singed Ginko, and it’s almost as if fate and Sumiko won out over Kaoru…at least for now.

But of course, that’s not the only layer to this Lady Baltimore Cake. We also learn what Ginko’s grave crime was, that even Lulu doesn’t know about. Sumiko outright dying wasn’t part of Kaoru’s original plan, you see; she and her unknown accomplice (again, probably Yuriika) merely used that occurrence to their advantage.

Yurizono was the one who killed and ate Sumiko…but it was Ginko who arranged for it to happen, so she could have Kureha all to herself. She killed for the sake of her love, but then risked her own life for that same love. The latter will certainly ingratiate her with Kureha (who was going to apologize for being so mean before anyway), but the former will haunt her. The full truth may be the best option; no point in proceeding if she’s convinced Kureha would never forgive her.

This was another brisk, gorgeous, rewarding Yurikuma that was at turns both glowing with warmth and crackling with menace. That the story has gotten more straightforward hasn’t taken away at all from the show’s inherent appeal. On the contrary, it’s only becoming stronger as symbols and specifics converge and complement each other.

Oigakkosan’s Take:

Zane and I only diverge on two points this week. First, I took Kureha’s mother’s unfinished story as an autobiographical tale of how she met Yuriika and second, that Ginko’s crime was witnessing-but-not-stopping Sumika’s murder, rather than outright planning it.

In the picture book’s case, I’d placed more emphasis on the Sky Goddess’ warning that to ‘break the glass for love risks death’ and less on the fact that the star pendant is said to belong to the moon-girl’s mother. In hindsight, Zane probably has the truth of it but I wouldn’t be surprised of Reia’s story blends her own experiences with what she witnessed or gleaned from her daughter’s own adventure.

In the case of Ginko’s crime, I don’t feel like we have enough context to assume either way. Sure, I agree she’s guilty of not stopping the murder/eating for her own selfish love but Ginko wasn’t around long enough or connected enough with Yurizono or Sumika to be able to put them in the same spot at the same time and seal the deed.

I’m not even sure Ginko knew Yurizono was a bear at that point, which would make the death-scenario impossible to have plotted.

Ultimately our differences are unimportant and I appreciate that Yuri Kuma can generate different reads in the first place. Water cooler arguments about twists and turns are part of what make a mystery show fun to follow. A big part, really.

Still, my favorite parts of this week were how much it made me suspicious of Yuriika without actually showing her. We see her office and a tall seductress who is probably her, but no face and she isn’t involved in any scene. (except to talk vaguely while looking at Reia’s photo) Maybe that conspicuous lack of presence was the hook?

Who knows and really I don’t even care what the answers are. The trip — and it is trippy — is the best part. YURI APPROVED!