Bokutachi no Remake – 10 – No Stopping the Train

As I mentioned last week, it’s a bit incredulous to say Kyouya hit “rock bottom”. He has a beautiful wife and daughter, a comfortable home, and a good job where he’s relied upon. At some point he’ll need to stop thinking about the past, and alternate future in which people important to him were more important in the world, and start thinking about the people important to him here and now; his family.

Thankfully, this episode addresses that disconnect between how bad things Kyouya perceives things have gone for the others and how good things actually are if he takes a step back. His old life of failure and loneliness is no match for this life; it’s just a matter of what had to happen to the others to make this world. For instance, Aki no longer draws, but now she’s good at cooking, and she takes pride in this.

Meanwhile, his steady hand at the helm has earned his Team B the reputation as a team that can get things done, though they are still dealing with a dearth of illustration work from Minori. When he and Morishita pay her a visit, she’s not expecting them, as she’s changed into black maid cosplay as  “change of pace” only for it not to work.

Minori isn’t slacking, she’s blocked, which is a harder thing to tackle. Kyouya’s suggestion for her to look at more of Shinoaki’s art doesn’t look like it will work, either. Worse, that’s the least of the problems for what is looking like a make-or-break game for Attraction Point, a social media game that is to be released in synch with the company going public.

As a result of the delays piling up due to unreasonable but unmovable deadlines, Team A is working on fumes without sleep; never a good formula for work devoid of errors. An uncharacteristically flailing Eiko is just barely keeping things together, but in a rare lunch with Kyouya admits both her team and the company is “making every possible mistake”.

When Kyouya says she isn’t the Eiko he remembers back at school, and that there’s always a way to figure things out, she tells him he’s the only one who thinks like that anymore. She seems resigned to some kind of failure on some front that will have huge fallout.

Attraction Point has talented teams working on games, but those in charge never gave those teams a fighter’s chance of succeeding, and are only compounding their original mistakes with new bad decisions. Eiko and Kyouya’s boss is constantly yelling at Eiko in front of the overworked and under-rested staff, creating a toxic environment.

Kyouya tries to suggest that the only option is to delay the game, as the consequences of launching a lemon could be catastrophic for the company’s reputation. But the boss digs in: timing is everything, and the release date is set in stone. He believes it will be more harmful to miss that date than release a buggy mess.

And maybe that boss might’ve been right if a freak occurrence of a famous voice actor got a favorable “SSR”. I won’t pretend to fully grasp the technical intricacies of social media games, as I don’t play them, but suffice it to say people started to think the company was playing favorites, and the company bungled their response by blaming bad-faith users, making the PR situation worse.

Bad PR is one thing, but the game is bad too, thanks to the untested internal engine Eiko’s team was forced to use. Delays, apologies abound, while revenue and corporate reputation sinks. The boss and Eiko go at it in front of the teams desperately going at 110%, but the problems and errors keep outpacing them. Kyouya is about to step in and help Eiko, but then remembers what happened when he meddled with Tsurayuki, and stops himself from meddling again.

He got it in his head that “nothing can be done” about any of this, and if he tried, he’d only make things worse. But as fortune would have it, he just so happens to open up a brand-new video clip in which Kogure Nanako, AKA N@NA, announces that she’s not giving up on singing after all. She tells her online audience about someone at school who told her to sing, and credits him with setting her on this path to begin with.

She also faults him for being so supportive and involved that when it came time for her to stand alone, she slacked off, and her art suffered. Even so, she declares that she doesn’t want to be the one who “invalidates” everything he did for her, so she’s going to keep singing. Her memory of what Kyouya did for her was the trigger that puled her out of her creative rut.

Watching this “small salvation” in his “world of failures”, Kyouya too decides to rise up from his desk, slamming it hard for everyone’s attention and stopping the boss’s incessant chewing-out of Eiko, and decides that there actually is something to be done about this horrible broken game situation, and they’re going to figure it out together, damn it!

Again I must take slight issue with Kyouya’s so-called “world of failures” as, being husband to Aki and father to Maki are quite the opposite of failures! But I will grant that this world was seemingly grinding Kyouya’s natural tendency to Do What’s Right and Help His Friends Out When They Need it until his refrain became There’s Nothing that Can Be Done.

I’m glad he managed to pull himself out of that tailspin of apathy, but there’s still no guarantee his meddling will help Eiko; she and the company could be doomed either way. But for Kyouya, not trying to fix the mess they’re in would be even worse. Until all possible avenues have been exhausted, he’s going to keep searching for something to be done.

Rating: 4/5 Stars

Bokutachi no Remake – 09 – The Price of Success

Kyouya has no idea why he’s now in 2018 any more than he knew why he jumped back from 2016 to 2006, but one thing’s certain: it’s not a dream. Aki is his loving wife, Maki is his darling daughter, and he has a job as a troubleshooter for a decent mid-tier game company. He may not want to admit it, but he was successful in remaking his life. He should be happy, and he would be…if only he never found out how he achieved his success.

Despite being suddenly thrust into a new life and job, the details of which he can only guess, Kyouya comports himself well, serving as a troubleshooter and talent whisperer on behalf of Eiko, who is also still in the business. The talent in question is Minori Ayaka, an illustrator with 200k followers, but who has seemed to lost her motivation and passion for drawing. When Kyouya praises a piece of her work that strongly resembles Shinoaki’s style, Ayaka seems to build a new head of steam for her work.

A good day at work, and the realization he’s fortunate to have such a cute wife and daughter, is soured when Kyouya brings up Comiket and asks if Aki will submit anything. The truth is, she hasn’t drawn in years…and the reason is the same as Ayaka: there was “nothing she wanted to draw anymore.” That’s now two members of the Platinum Generation from his original timeline who are now completely out of the creative world.

While having lunch with Eiko, Kyouya realizes she’s much the same, only even she seems to have suffered due to his success: she’s working at a smaller company in a lower-ranking position than his original timeline. He also learns that Nanako’s last song online has less than 2,000 views and she’s decided to retire from singing, stating she “doesn’t know what she’s singing for.” I half-expected Tsurayuki to show up as a doctor on Google, but all Kyouya finds is some blog entries.

Learning that by directing HaruSora with the Platinum Generaion, he inadvertently ruined their futures as creatives by sapping their creativity and passion for a greater commercial good, Kyouya is understandably beside himself. He gets completely boiled, lands in a literal pile of garbage, than stumbles home where his wife and young daughter have to console his tears. Knowing what lives Aki, Nanako, Tsurayuki, and Eiko would have lived without his interference, he can’t accept the lives they live now.

And yet, IMO, that’s exactly what he should do. BnR has not shed one single diode of light on the precise supernatural mechanism that shot Kyouya back ten years or forward eleven. Kyouya did what he thought was best, and while he did get a bit caught up in wanting to make something with the creatives who would end up celebrities in his present, he had absolutely no idea the damage he’d do.

Add on top of that the fact that everyone in this timeline has most likely moved on, and all he does by bringing it up is reopen old and long-healed wounds. While it’s sad that Nanako is quitting singing, she’ll be fine. Tsurayuki, who comes from money, will be fine. Aki, who has Kyouya and Maki, will be fine. In exchange, Kyouya got a second chance with his past, did something admirable with it, and now has a loving family and solid career. Maybe he needs to be fine too.

TONIKAWA: Over the Moon For You – 13 – Love In the Time of LINE

It’s been over eight months since the last TONIKAWA but this extra OVA episode doesn’t skip a beat, delivering all of the notes that made the first twelve episodes so endearing and comforting, especially at the end of one of the worst years of many peoples’ lives. Things are going a bit better now, so it’s especially nice to check in on these two sweet young lovebirds in that context.

Tsukasa’s smartphone finally arrives, which means she’s finally arrived in the 21st century (though she still contemplates how much one could accomplish with a smartphone in the Sengoku era, one more hint that she’s either lived a very long time or carries the memories of past lives).

Something as simple as adding contacts is made much more profound as only one person in their address books can occupy the “spouse” category. But no sooner does she gain a smartphone (and LINE app) than she loses Nasa…if only for the day, as he’s summoned to his old work for a last-minute project.

Tsukasa goes in to work at the bathhouse, only to get bored and start wavering over whether to send Nasa a text or sticker. Aya doesn’t help matters by saying she’s sure he’ll message Tsukasa, since when he doesn’t do so all day, it only adds to her loneliness and anxiety.

While sitting out on the back patio after dark, she tries and fails to hold back tears despite knowing how ridiculous it is to be crying. But is it so ridiculous? Tsukasa and Nasa have been together—and close—for most of their married lives, and love each other dearly. So it’s no surprise that they both feel lonely.

That intensity of their love also makes it that much more satisfying and relieving when we finally hear that little alert sound and Nasa confirms he couldn’t use his phone while working. He misses her every bit as much as she misses him; smartphones or no, their hearts remain tightly connected.

When Nasa shambles home at four in the morning, he fully expects Tsukasa to be asleep, but she’s wide awake, having not been able to sleep “for some reason”. His futon is out, so they lie down together, and Tsukasa, still out of sorts from being without her darling for so long, takes the initiative for the first time by giving him a passionate goodnight kiss.

Nasa is wide awake at this point, contemplating how his wife suddenly seems more aggressive, only for Tsukasa to visit his futon and insist that he hold her tight. Now, I’m not saying they go on to make full-on love for the first time in that early morn, nor am I saying they don’t, but this is definitely the most hot and heavy we’ve seen them.

Even in the morning, with the couple’s faces beet red and smoking it’s not clear exactly how far the two went a few hours prior, but it is clear from Kaname that they “had fun” in the early morn. She’d love the details (as someone with a “sexy radish” as her LINE picture), but also knows these two well and how easily they’re embarrassed whenever they contemplate the prerogatives of their status as husband and wife.

Because this is a check-in OVA, we also check in on Chitose and her maids Aurora and Charlotte, the latter of whom was at the bathhouse and overheard about Tsukasa’s potentially fun night. Charlotte, despite being an adult, has no idea what that “fun” entailed.

After doing a coffee spit take Chitose tells her it’s “far more intense” than the horseplay she and Char get up to. Chitose demonstrates her growth from last season as she doesn’t immediately head to Tsukasa’s house to investigate/put a stop to it. After all, Tsukasa is married; it’s perfectly normal for things to get intense.

After a parting scene of Char teasing Aurora, who actualy would like to hold hands in bed, the standard credits roll. While a couple of decent romances like Horimiya showed up in Tonikawa’s wake, that series grew more scattered and disinterested in its main couple down the stretch. It was nice to be reminded how good, steady, and consistent Tonikawa always was, and how deftly it portrayed young love—or in Tsukasa’s case, very very old young love! XD

Rating: 4/5 Stars

Wonder Egg Priority – 11 – Deviled

Rika helps enough Egg Girls to free Chiaki, only for her to pass through her hands and vanish right after resurrecting. Rika then meets Dot, who like Hyphen is beholden to Frill. She brutally murders Mannen and destroys Rika’s weapon, causing her to cower in abject horror.

One night (or rather when the underground Wonder Egg compound is in night mode) Ai stops by Acca and Ura-Acca’s house. She finds an office filled with clippings of teenage suicides, as well as what looks like a family portrait: the two Accas in the human form, a woman…and a child whose face is concealed by black marker.

Ura-Acca, who had been waiting for Ai, proceeds to tell her a long and sorrowful tale of hubris and tragedy—to help her better understand her and the other girls’ true roles in their not-so-little game of Wonder Egg.

Some years ago when they had human form, Acca and Ura-Acca shared a living space and cloistered research facility. Constantly under surveillance, they decided to create something all their own together, “just for fun”. That something was an artificial girl of 14 who named herself Frill.

In addition to having the traits that “a father would want his daughter to have”, she also had character flaws built into her heuristic programming, as “being uncontrollable is the essence of femininity.”

The Accas and Frill became a happy family of three, and moments often happened when they forgot she was an AI. At a tech symposium, the Accas met Hoshina Azusa, whom both befriended and eventually developed feelings. Azusa ended up choosing Acca over Ura-Acca. They married and she became pregnant with a girl.

If the Accas are Dr. Frankenstein, Frill soon became their “Monster”. She didn’t take Azusa’s interloping well, hinting that she hated her for basically stealing Acca away. She also wanted a friend, and wanted to make one herself; they ended up letting her make two: Dot and Hyphen. Then one night while Azusa was in the bath, Frill switched on a hair dryer and threw it into the tub, killing Azusa.

An unspeakably bereft Acca threw Frill down the steps beats, her, and locks her in a cellar. While she exhibited no remorse for the murder, she still pleaded not to be left in the dark. But while Azusa died, her infant daughter Himari survived, and ended up “saving” Acca and Ura-Acca from the utter depths of despair as a new family unit was forged.

One day, a now middle school-aged Himari has a strange conversation with “uncle” Ura-Acca, promising to marry him  when she was old enough; a consolation for her mother choosing Acca. That night, they found Himari dead in the tub. It looked like she’d slit her wrists, but there was no suicide note.

Remembering how she popped her lips the way Frill often did, Ura-Acca goes down to the cellar to find Frill is not only still active, but surrounded by surveillance technology and whatnot.

Ura-Acca accuses her of using Dot and Hyphen to kill Himari, Frill simply replies “I’m not a monster. I’m Frill,” and asks him if he wants to know how the girl who loved her “uncle” so much died. Enraged, Ura-Acca takes her away and seemingly destroys her by burning her in a fire.

Ura-Acca concludes by telling AI that the “temptation of death” will cause more girls to “die when they don’t have to” unless it’s stopped…all because of their “mistake.” Dot and Hyphen have apparently already closed Momoe’s heart with fear and caused Rika to build walls of hatred—they both appear on monitors in a set up not unlike Frill’s—but the Ura-Acca decided to at least tell Ai the truth about everything.

Nearly smashing a Wonder Egg on the ground in anger and frustration, Ai decides against it, but clearly isn’t happy with the information she’s received. Heck, we never even found out what, if anything, Sawaki-sensei told her about Koito’s death! That egg may contain the last girl Ai needs to protect to free Koito. But if Dot and Hyphen come for her, and murder her animal friend, what will Ai do then? What can she do?

This episode pulled back the curtain on the pair of mysterious mannequins who seemingly gave up their human bodies after enduring too much tragedy while within them. No one should have to suffer what they suffered. The thing is, everything happened was their fault—the brutal consequences of playing God and rejecting their creation—and involving Ai and the others only compounded their offense.

Between the hubris they exhibited in committing the monstrously irresponsible act of creating a life for fun—who became twisted by jealousy and slipped completely out of their control—and the fact that they then deceived and used four teenage girls as tools to try to fix their mistake, I still can’t summon much sympathy for them. I just hope there’s some way Ai, maybe with Neiru’s help, can save Momoe and Rika from their respective fresh hells.

Rating: 4/5 Stars

Otherside Picnic – 02 – Beware the Slenderwoman

This week’s Picnic starts with a wall slam, but that’s misleading: Toriko isn’t seeking to ask Sorao out, but to suggest they visit a researcher acquaintance. Toriko seeks answers about her newly-transparent hand and Sorao’s newly-deep blue eye, both marks of the Otherside that remain with them even in the normal world.

The researcher, the somewhat unkempt Kozakura, pays Toriko for another mirror cube, and Toriko splits the cash with Sorao 50/50, is astonished the two women survived “close contact of the fourth kind” with beings from the Otherside, but when asked about their marks she simply tells them she’s no medical doctor.

However, Sorao learns more about what seems to be self-evident about the Otherside: people who enter there (a group that doesn’t include Kozakura) can potentially become irrevicably addicted to it and the strange entities therein, and never return. Such was the fate of Toriko’s friend and mentor Satsuki.

Toriko asks Sorao to accompany her back to the Otherside, and while Sorao initially balks at the idea of further visits, she still meets up with Toriko the next day. Sorao seems both pushed towards Toriko’s companionship and the wonders of the Otherside, but when Toriko remarks that Satsuki is “more important than anyone else” to her, Sorao sulks.

There’s a sense of jealousy, yes, but also annoyance that Sorao even came upon Toriko, as she tells herself things were just fine when she had the Otherside “all to herself”. Toriko picks up on the sulking and confronts Sorao about it, but before they can get into it a man pulls a machine gun on them.

Turns out he doesn’t wish to harm them, but warn them not to move so freely and recklessly. Turns out there are invisible “glitches” all over the landscape of the Otherside (which he calls the “Zone”) that serve as dimensional traps, scorching whatever touches them into ash. Like Toriko, he’s looking for someone seemingly spirited away into the Otherside: his wife.

Toriko agrees to accompany this Mr. Abarato to search for their missing people, while Sorao hangs back, even more annoyed that now a third person has invaded her once solitary space. Of course, it should be clear to her by now that the Otherside never was “all to herself”, she just hadn’t yet come across other visitors.

The three follow very inhuman footsteps into a large, creepy building surrounded by thick, eerie fog. Inside, Sorao sees an abnormally tall, skinny woman dressed in white—the urban legend Lady Hasshaku, but Toriko and Abarato see their missing persons. When Abarato approaches the lady, she shows her face, lashes out, and he suddenly blinks out of existence.

When Sorao chases after Toriko to keep her from vanishing too, suddenly Toriko is grabbing her hand from behind; Lady Hasshaku used Sorao’s feelings against her to lure her in. Sorao figures out that while she can see the lady’s true form with her blue eye, their bullets won’t defeat her until Toriko’s translucent hand is in physical contact with that form.

It works, Hasshaku dissipates, and the pair are transported back to the real world through the same torii in the Chichibu mountains through which Abarato had first entered. The episode ends on a comic note, with the pair having insufficient funds for the bus home, but considering Abarato is seemingly gone forever, the tone seems a bit…flippant?

Now that Toriko and Sorao know about the glitches, I’m hoping they’ll exercise even more caution in future Otherside visits. It may well be that Toriko’s friend Satsuki suffered the same fate as Abarato, his wife, or the dead(?) guy we saw last week near the river.

This was decent if not overly inspiring “case-of-the-week” that introduces two new players (one on-screen, one missing), a concrete goal for Toriko (find Satsuki) which causes some discord with Sorao. While last week suggested she was glad to meet a friend, Sorao continues to oscillate between between wanting to be with Toriko (and only Toriko) and wanting to be left alone.

Golden Kamuy – 32 – Living Too Long

In which Yoichirou the Manslayer waits for death at the land’s end

We knew Hijitaka, Ushiyama, and Nagakura would get an episode at some point, so here we are, all the way back down in Kushiro, as they search for another tattooed Abashiri inmate, Doi Shinzo. A local Ainu identifies their only clue as the beak of a puffin, so the trio learn Doi can most likely be found in Nemuro, on Hokkaido’s Pacific coast.

Ushiyama wonders if he really needs to be careful with a Doi Shinzo who, by now, must be a spent old men, but Hijitaka warns that Doi once went by another name: Yoichirou the Manslayer, a prolific murderer in the Shogonate’s final days, and thus someone to indeed be careful about approaching.

When we transition to Nemuro, Yoichirou’s wild hair remains, but all of the color has gone, as if washed away by the sea’s salty air. He’s very slow, clumsy, doesn’t work much, and wears Ainu dress, angering some of the  younger fishery workers. Even so, when he tries to walk into the waves to drown, he’s saved by one of his more decent co-workers.

Hijitaka’s is far from the only group looking for Yoichirou; numerous teams of detectives and assassins representing the families of those he killed are hunting him, and converge at the fishery’s canteen. One such team beats Hijitaka there, and let’s just say they aren’t careful about approaching the old man.

The moment they threaten Yoichirou’s life with steel, his present scenery is replaced by that of the past, and his fighting spirit awakens with a vengeance, stealing the weapon and using it to chop into his attackers’ feet. “Get in line”, he says to his would-be assassins, his cloudy eyes wide open. Then Hijitaka marks his arrival by shooting one of those assassins, and declares he’s at the head of that line.

Ushiyama bum-rushes the other assassins, while Yoichirou, who in his dementia imagines himself young again and back in a past with a blood-red sky, runs off, cutting down anyone in his way. Hijitaka, whom Yoichirou recognizes as the “man in charge” back then, gives chase. Yoichirou bows before what he sees as his sensei who betrayed him, but it’s only a deer.

The chase ends at the edge of the sea, where Yoichirou stops running. Hijitak says his piece about still having work to do, securing independence for Hokkaido to stem the tide of Russian incursion. Yoichirou, however, curses having “lived too long”; so long he had to contemplate walking into the sea before his mind became too addled to do so.

The two have a one-slash duel, with Hijitaka cutting Yoichirou down. As he sits down, dying, Hijitaka returns the puffin beak to him, which was a gift from Yoichirou’s Ainu wife she he wouldn’t forget Nemuro. He didn’t, as he broke out of Abashiri to be with her during her last days. Her face is the last thing he sees before passing away.

“Ainu”, he was once told, “means ‘human’.” After living as a tool—a killing machine for the imperial loyalists—he came to Nemuro to live as a human again, and was able to do so. His past caught up with him, but too late for it to matter. But at least in Hijitaka’s view his death had meaning, as the tattoos on his skin can be used to find the gold that will fund their New Hokkaido.

Golden Kamuy delivers yet another one of the character studies it is so damn good at, whether they relate to a main character or a one-off inmate like Yoichirou. I genuinely teared up at his last moments, when he finally reunited with his love, and his statement on Ainu way of life as better than what he’d had before also resonated.

The episode closes the book rather abruptly on Hijitaka and Yoichirou’s confrontation to send us all the way back up to Ako, where Ogata shoots a white whale for dinner, and Asirpa whips out the last of Sugimoto’s “poop” miso. The stew is so good, even Ogata can’t help but mutter “hinna, hinna”, surprising Asirpa. Kiroranke confirms to Shiraishi that their operation won’t just be to break Sofia out, but to release all 250 inmates of the prison, creating enough chaos to ease Sofia’s escape.

They’ll do so with explosives stored in the newer lighthouse mentioned by the old couple last week. This could be wishful thinking on my part, but perhaps while Kiroranke & Co. are in the midst of liberating Ako Prison, Sugimoto’s team will finally catch up with them. All I know is, as good as this third season has been, if it doesn’t end with an Asirpa-Sugimoto reunion, I’ll be vexed.

Elfen Lied – 10 – The Man Behind the Glass

Kouta and Yuka turn out to be fine; they left the bedroom before Lucy got up to leave. She and Nana prepare to fight, but Mayu comes between them more than once, and very nearly gets killed for trying to be the peacemaker. Mayu’s pleas remind Lucy of Kouta’s in the past, and she reverts to Nyu once more. Thanks to Mayu’s decency and diplomacy, Nana is welcomed to the dinner table.

From there we’re sent back to the past, when Kurama is first recruited out of college by his friend Professor Kazukawa. They managed to capture a young but murderous Diclonius and have commenced horrifically cruel experiments to test the strength of her Vectors. Kurama is initially not okay with this, but Kazukawa impresses on him how dangerous and unable to coexist with humans they are.

Kurama comes around when the Diclonius Three escapes and goes on a bloody rampage, and very nearly kills him before Kazukawa shoots her in the head with an armor-piercing round, killing her. After committing more than ten infanticides Kurama stops seeing them as simply humans with horns and starts seeing them as an enemy and a blight to be wiped out without mercy or humanity.

Poetic justice strikes when his own daughter is born with horns; he later realizes that Three infected him when she touched him with her Vectors. He aims to kill her like all the others, but his wife, not far removed from major surgery, fights for her daughter’s life with all the strength she has left. She ends up dying of blood loss in the nursery, but not before convincing Kurama to spare their child’s life.

Nana may not be Kurama’s daughter, but she was a proxy for the sliver of fatherly love he had left, which enabled him to free her. That hardly makes the horrible things done to Nana that resulted in her ending up a bloody naked mess (and having dreams about “naked crucifixion”) any less horrific. But on one side of him is Kazukawa, whose word is law, and on the other is the truth that Dicloniï seem to inevitably end up uncontrollable murder machines.

Needless to say, he should have never set foot in that god-forsaken facility. It’s sad that just before Shirakawa begins to unleash Kurama’s biological daughter, Number 35—the “most dangerous” Diclonius, sporting twenty-six visible Vectors—Nyu and Nana are happy as clams with Kouta, Yuka, and Mayu. (A bit of trivia: Akira was designated Number 28, so 35 is seven higher.)

I can’t imagine we’re headed for anything resembling a happy ending here, so I’ll take the happy, peaceful moments in this and future episodes where I can get them.

Cop Craft – 12 (Fin) – Forgivable Evils

What had the makings of some kind of grand conspiracy is ultimately boiled down to A Wizard Did It in the exceedingly tidy Cop Craft finale. Captured last week, Tilarna ends up in a penthouse with that wizard with her hands and feet both cuffed. It’s also one of the only instances I can recall where she’s not wearing her Semani cape, revealing an elegant midriff-bearing top.

She has to sit and listen to Zelada drone on about how he believes decadent Earth culture will eventually overwhelm destroy Semani culture: weapons, tools, sex…and that awful, awful rock music. Despite it seeming an awful lot like that ship has sailed, he’s working to make two societies to hate each other…or something. The nerve of someone in Carmen Sandiego pimp cosplay decrying decadence!

Meanwhile, the FBI agent rather ineptly attempts to extract Kei’s iPhone password so he can destroy the last photo of Marla and the assassin (Randall is killed off-camera). Kei, ever the smartass, starts to give it to him: “F-U-C-K-Y…” Hee-hee.

While the camera made sure to show us that Tilarna’s legs were cuffed, Kei’s legs are completely free, and his arms are cuffed to a flimsy folding chair that isn’t even bolted down. All it takes is for Mr. FBI to get too close, and Kei has him in a leg headlock. It demonstrates less how badass Kei is (and he is), and more how excruciatingly dumb Mr. FBI is.

Meanwhile, after ranting virtually all night, Zelada senses that Kei has gotten free and is killing his puppets. After all this time, and with little reason to keep Tilarna alive, Zelada nevertheless takes his sweet old time before finally deciding that yup, he should kill Tilarna. It’s like he’s waiting for Kei to arrive and save her, because that’s what the plot demands!

Even with arms and legs cuffed, Tilarna is also a badass, and manages to dodge Zelada’s attacks until Kei bails her out. Zelada’s invisibility is overcome by activating the sprinkler system (how ’bout that!), but the weakened Tilarna can’t handle the sword, so she and Kei switch weapons, with Tilarna pumping Z full of lead while Kei beheads him with her sword.

With that, our buddy cop odd couple waits for backup that will be late because the town is rife with violent protests. Kei leaves it up to Tilarna whether to give the photo of Marla to the police as evidence of her role in the assassinations, and after weighing the options, decides to do so.

Donald—er, Domingo Tourte wins the mayorship after Marla is arrested, but things eventually cool down as Tilarna thought they would, because for all its warts, San Teresa is still a good town filled with mostly good people. That’s why, as she writes to her father back home, she’s decided to stay put, serving as Kei’s partner in stylish crime-fighting.

And there you have it! A rushed ending, perhaps, which did itself no favors with the idiocy of its villains, but far from eye-gougingly terrible. I’d say Cop Craft would have benefited from another twelve or even six more episodes to give the conspiracy and photographer arcs a little more fleshing-out, but honestly the show probably would have found a way to squander them and be forced to end just as abruptly.

I will say that even if I wasn’t always in love with what Cop Craft did with the episodes it had or the world it built, it was still a neat world, with a solid core duo of likable characters, a smattering of cool supporters, and a fun soundtrack. It wasn’t flawless, but it wasn’t all bad either—much like the situation Tilarna and Kei find themselves in when the end credits roll.

Cop Craft – 11 – Better, Not Best

Kei and Tilarna meet Domingo Tourte, who kinda resembles Donald Trump, only slimmer and with a more conventional hairstyle. His adversarial relationship with the press, “tell-it-like-it-is” attitude, and anti-immigration policy are also pretty similar to the 45th President. While he’s not creepy with Tilarna, he is terribly condescending to both her and her people, to the point she’s fuming by the end of their brief interview.

She’s made even madder by the fact Kei played the peacekeeper by acting so deferential around the candidate. He knows he wouldn’t have gotten anything out of Tourte if he didn’t play nice, and instead learns something potentially valuable: Tourte says he’s a politician first and an Earthling second, the opposite position as Kei’s old chief.

That could mean he’s not involved in the assassinations—just an unwitting beneficiary. But they need more, much more, which is why Kei’s colleagues Cammy and Jamie hit the streets looking for info on Coal’s assassin while McBee looks up an old flame who may be connected to the only Earth company that can work with Veifaht steel.

For the first time in a while, it feels like a whole police detail is working a case rather than just Kei/Tilarna. It doesn’t hurt that Cammy and Jamie are are both very good at their jobs and very fun to watch (I loved Jamie describing her Wiki rabbit hole!), as it doesn’t take long for them to find a sex worker who had the assassin as a client.

As Kei and Tilarna drive past the messes made by both pro- and anti-Semanian protesters, it dawns on her how fortunate she is to be treated as an equal by her peers. Kei tries to cheer her up by telling her she’s not some exception sitting in the clouds above it all; just being the decent person she is has changed the hearts and minds of those she’s interacted with. Some of them hated Semanians before, but because they know and like her, their opinions have softened.

Speaking of hard, Marla Mozeleemay wastes no time picking up her late husband’s torch and running in his stead for the mayorship. In this way, Marla is the Hillary to the philandering Bill Clinton going up against Trump’s populism with concrete policies. Tilarna still suspects she was involved in Zoey’s murder, but isn’t about to vote for Tourte either.

That’s when Kei tells her politics isn’t about choosing “the best” candidate—there never really is one—but the “better” candidate, echoing the compromise many felt they made by “holding their noses” and voting for Hillary after she beat Bernie in the primaries.

But if Kei’s reporter acquaintance Randall is to be believed, Coal wasn’t the only one stepping out beyond the bonds of marriage. He has a photo of Marla engaging in a liaison with a burly man sports a bulldog tattoo on his elbow—just like the Marine who killed Coal, identified as Ethan Dole.

Kei and Tilarna’s supposedly private meeting with Randall in the park is interrupted by armed FBI agents led by Special Agent Roland Chan. It’s only after they’re arrested that Tilarna determines all the agents except Chan are “dead” and under the control of a wizard. Moments later they learn which one: Zelada is alive and well and apparently a key player in this sprawling conspiracy.

Cop Craft – 10 – Democracy in Action

On the way to an interview with Coal Mozeleemay, Kei is stopped by the reporter Kevin Randall, but insists he has no comment. In their meeting with Coal (definitely awkward due to his last encounter with Tilarna), he has no comment either, as his wife Marla handles all the questions, confirming to Tilarna that he’s no leader.

Turns out he’ll never have a chance to prove Tilarna wrong, as he’s shot during a speech. Kei pares down 92 potential suspects in the crowd down to three by eliminating anyone not acting like an assassin would, showing Tilarna that Kei’s pretty good at this detective stuff when all’s said and done.

Unfortunately for both of them, the black suit-wearing culprit won’t surrender or come with them without a lengthy chase, during which he demonstrates superhuman speed, agility, strength, and an uncanny ability to shrug off multiple gunshot wounds.

Again predicting he’d require more agility than a full-size car, Kei commandeers a tiny, quirky Messerschmitt KR200, which is naturally abused and badly damaged in the dust-up with the perp.

Kei and Tilarna have no choice but to put the guy down by whatever means, but before he dies, his appearance completely changes, revealing he wasn’t Semanian at all, but a human soldier using Semani magic. His gun was also disguised as a camera, made of ridiculously precise Vaifaht steel Tilarna claims even the best smiths back home couldn’t come close to creating.

So on one hand we have two dead candidates, and the only one left standing is in favor of kicking out all “aliens,” and on the other you have a highly-trained human soldier using immensely sophisticated magics in order to make it look like a Semanian killed his own.

Chief Zimmer instructs Kei and Tilarna to interview Tourte next; we’ll see if he knows anything about this apparent human-led conspiracy to make him the next mayor, which could well lead to the expulsion of all Semanians, many of whom might not go without a fight—either legal or physical.

Meanwhile all these murders of candidates have the public on edge, and well-organized anti-Semani demonstrations are already underway. Whether they popped up organically due to fear or something arranged by pro-Tourte partisans, we shall see, but in the meantime Kei urges Tilarna to keep her cool, even if what’s going on is both unjust and undemocratic.

Golden Kamuy – 08 – Gone Whalin’

Needless to say, Uchiyama catches up to Shiraishi. However, their “little chat” is interrupted, both by soldiers of the 7th shooting at Uchiyama, and the fact that Uchiyama’s diversionary role is just one piece with the rest of Hijikata’s plan to rob a bank; specifically, to recover a katana that has a special place in his heart.

Say what you will about Tsurumi’s general sanity; the man knows how to smell out the truth of things, and manages to be in the right position to put a bullet through Hijikata’s hat before the old samurai escapes on the horse Tsurumi borrowed. Having met face to face for the first time, both men like what they see and look forward to the second.

Shiraishi has many tools for escape; here, he used confusion and Uchiyama’s duty to Hijikata. However, he makes sure to stop by the brothel to secure an article of Uchiyama’s clothing so that Retar can help him track the guy. When Asirpa says they’re not bothering the wolves anymore, Shiraishi settles for Ryuu, now a member of the party, who helps catch a plump tanuki Shiraishi let get away.

 

Ryuu leads Shiraishi to Uchiyama, but also makes enough noise to get Shiraishi caught. Hijikata orders his bodyguard not to kill the escape artist; instead, he wants his aid in retrieving the skin of a prisoner; a prolific murderer named Henmi Kazuo.

Shiraishi agrees, is freed, and confers with Sugimoto and Asirpa. He tells them about Henmi, and how he may be hiding amongst the yanshuu, contract herring fishermen who work the coasts.

Asirpa’s uncle is whaling in that same area, so out of worry for his well-being—what with a guy who literally gets off on killing on the prowl—the three head to the beach, leaping joyfully into the sand when they arrive.

The whaling sequence is another simply-yet-effectively realized scenes of Ainu culture, but when the whale takes a turn toward the herring fishing fleet, it drags the Ainu boats along, and Sugimoto, Asirpa, and her uncle must give up the chase to rescue a fisherman who falls overboard.

That fisherman turns out to be Himei Kazuo, whom we learn a lot about in a hurry through his inner monologue. While a relatively normal-looking, soft-spoken guy, his thoughts are anything but. He can smell the same “scent of a killer” wafting off his savior Sugimoto, and takes an immediate interest in him.

The more Himei learns about Sugimoto, the more his crotch starts to glow (subtle!) and the more badly he wants Sugimoto, whom he believes to be “jut like him”, to kill him. He knows that in order get Sugimoto to kill him, Himei will have to try to kill Sugimoto. But that’s a story for next week!

Until then, this was a solid introduction to yet another interesting and oddly likeable prisoner; a guy equal parts goofy and terrifying. Yet he’s not always a walking joke; his nigh unquenchable thirst for homicide stemming from a traumatic moment in his past when he heard his brother struggle in vain against a boar.

Meanwhile, this episode might’ve had the least Sugimoto and Asirpa yet (we don’t even see them until seven minutes in), but while I still like their quiet little story most of all, the show wasn’t hurt by their diminished screen time, as the dance between the 7th and Hijikata’s men commences.

Golden Kamuy – 07 – #NotExtinctYet

Sugimoto, Asirpa, and Shiraishi end up in a good old-fashioned standoff with Nihei and Tanigaki, ending with Tanigaki racing off with Asirpa so she won’t hear the screams of Sugimoto and Shiraishi’s deaths. But because Shiraishi is an escape artist, he and Sugimoto are able to slip out of their paltry binds and pursue Tanigaki.

Nihei underestimated Shiraishi, and Tanigaki underestimates his surroundings, tripping a deer trap that puts a wolfsbane-dipped arrow in his leg. He has no choice but to release Asirpa so she can cut the poisoned flesh out (gross), but when she’s done Nihei catches up with them and uses Asirpa as bait for Retar.

However, Retar was simply no match for Nihei, because Retar had backup, in the person (well, in the wolf) of his mate, who delivers the fatal bite to Nihei’s jugular. When Sugimoto and Shiraishi arrive, Nihei has basically bled out, while Retar rejoins his family, something Asirpa (not to mention nobody else) had any idea he had.

So, reports of the Ezo Wolf’s extinction were grossly exaggerated. Seeing Retar with his family brought tears to my eyes. I also felt for poor Ryuu, who lost his master, but thankfully Asirpa insists on taking Tanigaki to the village, lest the loyal-to-a-fault Ryuu stay with him until he dies then starve to death.

In the village, the young Ainu get another good look at a Japanese fellow with weird ears in Shiraishi, while he and Sugimoto tuck into some deer stew and something I’m going to call “salmonsicles”. When the village elder speaks of how the gold sullied the rivers that brought them fish, she mentions how Ainu from all over Hokkaido squirreled away a hoard of gold far larger than even the prisoners know about.

Tanigaki, wounded but conscious, basically corroborates the old woman, and adds the story of his commander, Lt. Tsurumi, who had to lead a forward advance that led to the deaths of half the 7th. The chief of staff committed suicide in disgrace and left the entire division in disgrace, unpaid and unawarded for their valor. From there, Tsurumi vowed to seize Hokkaido for the 7th and open a weapons factory so that their families could work and be provided for.

Tanigaki’s story paints Tsurumi in a more sympathetic light, but it doesn’t sway Sugimoto from his goal to find the gold and keep it away from Tsurumi and men like him.

Speaking of ‘men like him’, the group led by Hijikata goes into town, mostly so that Ushiyama, a raging hulk of a man, can sleep with some women lest he go even more berserk than he usually is. Then Shiraishi, in his infinite bad luck (why else would he be so good at escaping?), ends up face to face with the man-beast, and unwisely tries to run from him.

Ushiyama will have his “little chat” with Shiraishi, and he bowls through four people like they’re ninepins, shakes off being buried by rocks, tosses a horse-and-sleigh aside like they were nothing, and is generally an cartoonishly unstoppable monster of a man. Shiraishi finally finds some soldiers of the 7th—four of them—but what are a few bullets to Ushiyama? We’ll have to wait until next week to find out.

ShoBitch ShoDropped

ShoBitch was never great, or even good. It was merely okay, and watchable in a nothing-else-is-on kinda way.

But after an episode that was less watchable—due to the addition of a sheltered rich girl with views on courtship every bit as quirky as Akiho’s and her mom’s—I’ve decided to cut bait.

Unlike Aho Girl, this is a full-length show, and despite decent voice work from Yuuki Aoi, the repetitive humor and predictable MC reactions just aren’t enough to keep me interested or coming back.

To even out the author responsibilities to four apiece, I’ll be taking over 3-gatsu no Lion reviews. Expect little change, as both Preston and I love the show—not to mention she initially took over the first season from me in a similar balancing maneuver.

Carry on, all!