Shoujo Shuumatsu Ryokou – 12 (Fin)

Aboard the derelict sub, the girls find a clean boat, chocolate…and a kind of patchwork history of everybody and everything that came before them, thanks to the camera auto-syncing with the monitors on the bridge. In addition to all the pictures they took, and those Hanakawa took before them, the camera is a veritable cornucopia of visual (and audiovisual) information.

The content ranges from simple images of life and death, to the reports of a school robotic research club, to news reports of a worsening geopolitical situation that leads to large-scale war and genocide. On the whole, though, Chito and Yuuri feel less lonely, now that they were able to watch how others lived.

Suddenly processing more information than they ever had before proves exhausting for the girls, who fall asleep under the consoles and dream of their escape from their town.

When Chito wakes, she’s too late to do anything about Yuuri getting swallowed up by a giant version of Cut. Chito suspects Cut might’ve been some kind of lure used by the bigger ones, but Cut’s body language suggests that’s not the case.

Chito runs through the submarine, desperate to find her one and only companion, and eventually emerges from the conning tower to find the Big Cut isn’t interested in eating living humans, and spits Yuuri out. It then transforms to reveal it’s a kind of semi-sentient mushroom.

The mushroom has a mix of good and bad news…though I guess it’s mostly bad for humanity. They are systematically ridding the earth of toxins leftover from the human population after it destroyed itself with war. Yuuri and Chito are the last two humans left, by the mushrooms’ reckoning.

All machinery will shut down around them, and after they’ve passed away, the world will enter a period of rest and inactivity, as the mushrooms hibernate. With that all said, mushrooms emerge from the nuclear missile tubes of the sub and they all ascend into the sky, likely to start “cleaning” the higher levels.

There’s not much for Chito and Yuuri to do but continue on their tour, with the goal of reaching the highest level. Even with their companion/pet Cut gone off with its brethren, Chito and Yuuri aren’t lonely, nor do they care if the world ends, because they have one another.

As with so much relating to this show, it’s simultaneously a deeply bittersweet ending, conveying the lesson to not be troubled by things life you can’t control (like the ending of the world) and take comfort in those you can—like who you choose to spend your days with.

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Shoujo Shuumatsu Ryokou – 11

In “CULTURE”, as Yuu feeds the “cut” bullets of increasing size, the girls roll into an armory, but Chito is far less interested in the tanks than a book lying on the ground. Titled “War and Human Civilization”, it’s written in English, which means even Chito can’t read it, calling them “letters from an old, far-off place.”

Considering the state of civilization in this show, that would seem to be something of an understatement. We build taller and taller buildings; Saudi Arabia is building one that will be 1km tall when finished. But we’re a long way from stacking cities on top of other cities like so many pizza boxes.

The book and its language, like the elaborate giant whirligig, are elements of human culture that should be preserved and understood if lessons are going to be learned by future generations.

It’s all well and good to feed an animal bullets, but to possess a book about how and why that animal can eat bullets—or detect where radio waves are originating—is even better.

Lessons of being mortally injured by falling objects or stray bullets led to the development of helmets, and in “DESTRUCTION” Chito gets and object lesson on why they still wear them even though there’s no one else around: their environment can be extremely hazardous at the drop of a hat…or bolt.

That bolt is the vanguard of a hail of shards of metal and machinery, as a gargantuan robot that could be a flesh-less warrior from the Seven Days of Fire plummets into a heap. The girls explore, and the cut shapes its body into a key of sorts to activate the robot. Yuu activates the first lever she sees, and a cruise missile is launched and detonates a few thousand feet away.

She presses another button, and the robot emits a laser beam that causes even greater destruction and widespread fires just off in the distance. Yuu starts laughing uncontrollably, saying it’s “fun”, but Chito gives her a closed-fist punch, telling her that nothing about this is funny. Yuu apologizes.

If they didn’t before, a first-hand demonstration of the destructive capabilities of civilization helps the girls to understand a little better why so much of the world is abandoned and in tatters. And yet there’s stuff all over the city and its environs that is still on, long after humans disappeared.

In “THE PAST”, Using their new pet as a guide, Chito and Yuri traverse a forest of windmills in, and come across a nuclear submarine. Again the animal creates a key out of its body, granting them access. The submarine may be beached, but it’s in working order, to the girls’ amazement.

It’s nuclear reactor seems to still be generating power (though I worry about radiation), while the girls traverse another forest within the sub on foot: a forest of what look like ICBMs.

Battle Girl High School: Battle Girl Project – 01 (First Impressions)

Like GF Kari or Kantai Collection, this is a show about quantity over quality, specifically with regard to “battle girls.” No two girls are quite alike in hair color, voice, outfit, or weapon, and it’s a collect-them-all vibe to them.

There doesn’t seem to be any angle that might subvert the standard magical/battle girl genre; they’re just in a bit of a performance slump and their instructors have decided to put them through more training.

While the main trio of Miki, Haruka, and Subaru are introduced and a few other relationships and personalities are doled out, it’s frankly a bit of an overload for me.

The line between entertainment and advertisement feels so very thin here, and the “Irousu” enemy is generic to the point of afterthought. If it’s all the same, I’ll go ahead and skip this one, which while not shockingly bad, is bereft of anything new or interesting.

Noragami – 07

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Usually we like our anime series’ mythologies to be kept as simple and un-embellished as possible, but Noragami is a notable exception, where the more we (along with Hiyori) learn about the whys and wherefores of the divine world, the more rich and immersive the experience becomes. After bowing in respect to Yato last week, Bishamon’s right-hand (or to be precise right-ear) shinki Kazuma and Lord Tenjin expand our understanding of the situation quite a bit.

In short, Tenjin cannot take Yukine on as one of his regalia because that would make Yukine a “Nora”—shinki with many names akin to a stray cat. Such agents are apparently a necessary evil, as they essentially do dirty work gods don’t want to sully their own regalia with. Like Hiyori, we’d thought Nora was just Yato’s on-and-off shinki’s name, but it actually describes what she is: trouble. But even if Tenjin agreed to take Yukine in, there are other issues.

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Far more dangerous than Nora pestering Yato is Yukine continuing to think impure thoughts and commit misdeeds, forming the defilement covering Yato’s body that will ultimately kill him. The logical, pragmatic, and honorable Kazuma owes Yato a debt, so far from harming Hiyori when they cross paths, he lets her in on this truth, and how something must be done to prevent Yato’s demise. Kazuma believes killing Yukine is the best way, but when Hiyori saw the chemistry and teamwork of Bishamon’s regalia, she glimpsed another, less killy way.

Yato isn’t ready to give up on Yukine either, even after he attempts to steal the disaster charity donation box from the convenience store where Yato works the night shift. Before he and Hiyori find him for a phantom battle, Nora gives Yukine the “You’re Useless” talk that always proves so devastating to kids in his emotional state. But Yato chooses a dull, uncooperative Sekki to running back into Nora’s sinister clutches, and as Hiyori begs him, he looks poised to adjusting his behavior towards Yukine, treating him not like a tool or object, but as the person he is.

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Rating: 8 
(Great)

Stray Observations:

  • We could say this about every Noragami, but this was a beautiful episode, especially the diverse use of lighting: Bishamon’s ethereal bath; the fluorescents of the convenience store; the robust sunsets; the pale city lights; the stark shadow in Yukine’s room.
  • We liked the episode opening with Bishamon, who is far from an overbearing tyrant, and Kuzama, whose scolding advice she actually takes to heart.
  • After hearing her sweet voice in Kyousogiga, it’s more than a little unsettling to hear Kugimiya Rie spewing such awful, if poetic things. She definitely evokes a healthy fear.
  • It’s been a Kaji Yuki-heavy week. He plays an angsty Yukine here we’ve heard a lot of him as Hope Estheim in Lightning Returns: Final Fantasy XIII—the first (and hopefully not last) U.S. FF release with an available Japanese language track (and yes, that track makes the game infinitely more enjoyable; the English dubs are abysmal). On top of that, Kaji voices Shuu in Nisekoi and the Prince in the latest Space Dandy.

Noragami – 06

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Yato’s quick return to greatness is further impeded by two obstacles that rear their heads this week: the beautiful walking armory Bishamon (Sawashiro Miyuki doing her standard Tough Chick routine), and the increasing difficulties Yato is having with Yukine. You can hardly blame Yukine, who isn’t even sure he should be on Yato’s side, considering Yato’s Dark Past, which includes killing one of Bishamon’s regalia.

As Yukine continues to think impure thoughts and steal that skateboard he had his eyes on, he’s doing damage to Yato in the form of a growing “blight” on his neck, and we imagine would kill Yato for Bishamon if it gets out of control. For now, dealing with problems on all sides, Yato goes into survival mode, telling Yukine to shut up and shape up, and thanks to Sekki’s power, is able to avoid most of Bishamon’s whips, bullets, and…lions.

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Hiyori is as conflicted as Yukine at the moment about whether she can trust Yato, but she has no choice; she’s stuck between shores and needs his help if she’s to avoid full phantom-hood. So she remembers his advice to seek the help of Kofuku and Daikoku, and after some brief wrangling and some cool “Yatolocation” Hiyori and the cavalry arrive just in time to save Yato. Even Nora pops her head in to deliver an assist.

Even so, this rescue was provisional: Kofuku did it because Hiyori begged her for help, but Bishamon will be back and will be just as eager to kill Yato, and the compatibility problems with Yukine continue, to the point Nora pesters Yato to use her instead. Yato hasn’t once apologized for his past, and even said he killed Bishamon’s regalia because he wanted to. But something tells us he’d rather not have to rely on Nora too much. Almost as if Yukine is his fresh start.

7_very_goodRating: 7 (Very Good)

Noragami – 05

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Hiyori has taken a liking to Yukine, and doesn’t want Yato corrupting him, so she invites Yukine to stay at her gigantic house, where her maid and parents can’t see him, which is just fine for her. She’s also undeterred by the prospect of someone who is (or at least was) an adolescent boy living and at one point sharing a bed with her. To Hiyori, he’s a little brother that needs better shelter than the musty old shrines where Yato crashes. More importantly, he needs love and kindness, something she has in spades.

But considering Yato is the one who receives the stings whenever Yukine experiences temptation—be it for Hiyori’s boob or a five-finger discount skateboard—Hiyori has things backwards: it’s technically Yukine who is corrupting Yato, in terms of physical harm, at least. And while Hiyori may have a highly mobile soul, she remains a naïf when it comes to the extent of the god-regalia (or god-shinki) dynamic. Yato makes it clear that regalia are the conduit through which gods are able to fathom human morality, something gods aren’t subject to. It’s also a way of documenting the amount of sin a regalia commits, which goes into the calculation of their eventual divine punishment, something Yato warns comes to all, including Yukine.

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While we liked the scenes in which Hiyori was treating Yukine as her adoptive brother, and we know she’s sincere in her desire to care and protect him, the reality is she isn’t powerful enough to do so. In the darkness, trouble will always come looking for Yukine, and when he wanders off on his own, his own compassion almost leads to him being snatched up by a phantom. He meets the lost soul of a young girl killed by a hit-and-run (by the leading cause of death for young girls in animeland…anime drivers are monsters!), and witnesses her becoming possessed by a phantom. It’s a heartbreaking twist, but ends up serving as a powerful wake-up call to Yukine and Hiyori alike.

Neither of them are strong enough to stop the phantom, and it’s too late to save the girl, so when Yato arrives, the only course is to kill her, freeing her from everlasting hell. Even in sword form Yukine protests and wavers, but Yato uses him to rend the phantom anyway. Once the darkness takes someone, it doesn’t give them back. Under these circumstances, Hiyori is still being way too reckless with her body, while Yukine now appreciates that his best chance at surviving a dangerous world is by continuing to work with and learn from Yato. Meanwhile, a beautiful lion-riding, pistol-wielding god has taken notice of Yato’s activities and new regalia. That should be an interesting meeting!

7_very_goodRating: 7 (Very Good)