Eizouken ni wa Te wo Dasu na! – 02 – Tilting at the Greatest Windmills

Midori, Sayaka and Tsubame head to the faculty lounge, which is whimsically located inside a giant empty swimming pool, to make their case for an animation club. When one teacher says there’s already an anime club and that they should focus on live action, the group decides to simply say they’re starting a film club, and let the fruits of their labor redeem the white lie later. The spacey, heavily-bearded Fujimoto-sensei volunteers to be their adviser.

Their digs are essentially a two-level ramshackle storeroom built of cheap corrugated steel filled with holes that let the elements in. The place is filthy, but full of potential, at least when armed with the powerful imaginations of Midori and Tsubame, who conjure various furniture, luxuries, and equipment for creating anime.

Midori gets a bit carried away when proposing they add hinges to the roof to make it a hatch from which they can launch personal helicopters. While messing around the rusty railing gives way and she takes a one-story spill. The always-enterprising Sayaka captures the accident on camera and swiftly posts it online for sale in hopes of raising club funds.

Fujimoto later tells them the school will pay for repairs to the building, and to keep the video for themselves lest it go public and cause trouble for the school. Sayaka also makes a verbose federal case for the tightwad teacher to get him to allow them to do as they please. The trio then explores the storeroom’s underbelly and find a windmill connected to a generator. The storeroom is full of animation production equipment in decent shape.

Totally geeking out on their wheelhouse stuff, Midori and Tsubame explain the details of how one makes a series of drawings then films them to present the illusion of motion. They find a crude animation of the windmill and complete and improve upon it, adding visual flair, transforming their environment into a wondrous fantasy spectacle.

There are no accidents as a result of this flight (or rather cruise) of fancy, but that evening Sayaka gets a deposit of cash for her footage, and both Tsubame and Midori (and her family) catch footage of her fall on TV. Such a development threatens to torpedo their Eizouken dreams in their infancy, before they’re able to create a frame of finished work.

Obviously, their efforts aren’t about to be permanently shut down after just two episodes, but it will be interesting to see how they navigate the stormy waters of what I’ll inelegantly call Dealing With People Who Want To Hold Them Back. One thing’s for certain: independent those outside factors, they have the talent and means to do what they want. Now all they need is the freedom to do it.

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.

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.

To Aru Kagaku no Railgun S – 15

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Touma races to the site of the next experiment, but his phone has frozen, so he’s late, and Accelerator is already pummeling MISAKA 10032. He intervenes, catching MISAKA when Accelerator sends her flying, and proceeds to get beaten up dodging Accerlator’s attacks. Touma eventually gets close enough to use his Imagine Breaker, which he then uses to punch Accelerator repeatedly, until Accelerator sets off a dust explosion, disabling Touma. Accelerator then powers up, and is able to manipulate the wind and air, creating a ball of plasma over the city. Misaka uses 10032 to contact the Sisters network, who dissipate the plasma through the city’s wind turbines. Accelerator then turns on Misaka and MISAKA, and is about to kill them when Touma stirs once more…

We didn’t think this episode would be able to match the emotional powerhouse of last week, but it ended up doing just that with an unconventional but grand battle between Touma and Accelerator. Touma plans to prove the scientists wrong and make them give up the project that’s killing the Sisters, which is a laudable goal worth fighting towards, but he only seems to make Accelerator angrier, crazier, and more powerful, until he’s seconds away from burning all of Academy City away just to test his newly-awakened power to control…well space? You have to hand it to Railgun; they don’t mess around with their uber-villains.

Our only concern with last week was that a strapping young lad would save the damsel(s) in distress, but thankfully, that wasn’t what went down here. Sure, Touma is helping Misaka and her “sisters” because he likes them, and beause he has an ingrained duty to use whatever power he has to protect the weak. But when Accelerator explodes a mill’s worth of flour, and Touma seems out for the count, Misaka comes in at a crucial moment. If she doesn’t, he’s dead. We wouldn’t rule out Touma’s stunned state to be an opportunity for Misaka to sacrifice herself, but Accelerator’s little display should be ample proof that doing so would be utterly futile. Accelerator can’t simply be taken down a peg, he needs to be defeated, and not just for the Sisters, but for the sake of all of humanity.

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Rating: 9 (Superior)

Stray Observations:

  • A lot of the epic, cinematic quality of this episode is due to the fantastic soundtrack, which doesn’t hold back when it needs to be big and bold.
  • That first punch in the face (complete with familiar “imagine breaker” sound) was so satisfying to watch.
  • Accelerator is very quickly turning into an unreasonably powerful esper. By the end of the episode we’re wondering how in the hell anybody or anything is going to stop (or at least calm) him now that he can make plasmanados. But that’s okay: show us, Railgun!
  • Touma made a very poignant point: the sisters aren’t suicidal at all: they in fact are, as he says, “doing everything they possibly can to live.” The problem is, Accelerator is way, way stronger, and what they can “possibly” do is limited by their programming.