The Rising of the Shield Hero – 12 – The True Battle Of The Wave

Glass dismisses three of the four heroes as nothing but “servants”, and her appraisal isn’t off-base, as their best meteor attacks fail to put a scratch on her, and all three go down with one strike, no doubt wounding their egos as well as their bodies.

That leaves Naofumi, Raphtalia, and Filo to deal with her, and while she’s somewhat impressed by his stout defense (as befits the Shield Hero), nothing offensive he can throw at her is any more effective than his beaten fellow heroes.

She breaks out of the Shield Prison immediately. Filo’s kicks are fast but still can’t touch her. Poor Raph’s swordsmanship isn’t even “worth mentioning.” She even calmly basks in the enveloping flames of Naofumi’s Rage Shield like it’s a sauna; “too cold” to burn her. This Glass lady is tough, and if the first Wave seemed to easy, it’s clear the difficulty level has risen exponentially.

That brings us to Naofumi’s final trump card, the Iron Maiden, so effective against the soul eater. Turns out it’s just as useless on Glass as Shield Prison. Glass’ withering criticism of her opponents’ attacks almost grows tiresome—we get it, Naofumi can’t beat you at his present level—but just as she’s ready to take him out, a countdown starts on his HUD, which indicates the Wave “period” is about to end.

Rather than give Glass the last word, Naofumi has Raph cast Fast Light, and the two of them jump on Filo who gets them the hell out of there. She doesn’t chase, and her attacks aren’t effective at long range, so she calls it a draw, this time. But when the next Wave arrives, she promises to kill them unless they grow stronger. Much stronger.

The second Wave disperses, and Naofumi is quickly summoned back to King Melromarc’s court for some backhanded thanks and demand that he explain how he gained so much power—more than “befits a Shield Hero.” Naofumi, no longer having any more shit from this royal family, tells the king he’ll talk…if he bows down and grovels.

This act of disrespect leads the king to call in his guards, but Naofumi is quite right when he says he can take them all out and walk out the front door without any difficulty, and the guards waver. When the king says he’ll punish Naofumi’s “slaves” in his stead, that really rankles him, and he promises him if anything happens to his underlings on account of more dirty tricks, the king will “wish he had never been born,” then stalks out unopposed, like a boss.

Princess Melty later hears of the “hostile” exchange between her daddy and Naofumi, and tells her father that their country will be put at risk until they reconcile. Her older sister Malty intervenes and tries to make a stink of matters, but Melty shuts her down almost immediately, and with good reason: she’s the one who was trusted with the title of crown princess.

Naofumi shakes off his unpleasant experience at the palace and gets re-outfitted by Elhart, who fills the wagon back up and throws in some gifts for good measure: a new sword for Raphtalia, along with a bladeless mana sword, a shield scanner thingy for Naofumi, and gloves that will increase Filo’s strength.

Naofumi is looking forward to being nowhere near the royal city, royal family, or the other hero jerks. Unfortunately, the peace doesn’t last long, as Melty and her retinue track his party down and urges him to return and make peace with her father. Naofumi is as stubborn as the king, and his strong passes ignite Melty’s secret weapon: the Entitled Person’s Tantrum.

But as she protests his obstinance, Naofumi senses something’s UP—set-up to be precise. Of what kind, he soon finds out: one of the knights who escorted Melty rushes at her, sword drawn, and Naofumi draws her back and shields her…with his shield.

Obviously, these knights are in Malty’s pocket (I doubt the king is awful enough to off his own heir). Honestly, it kinda just makes her look foolish and pathetic—why try to assassinate her sister in front of the Shield Hero, who could easily protect her? In any case, if Melty doesn’t re-join the party next week (or whenever the next episode airs), I’ll be shocked.

The Rising of the Shield Hero – 11 – This Wasn’t In The Game…Because This Isn’t One

With his wagon bursting with medicines, spare weapons, and other supplies, Naofumi and his suddenly larger party teleport to the site of the second Wave, teleporting us from the safe, familiar capital to another chaotic and brutal magenta-skied war zone.

The rapid transition and immediate dive into the battle is effective, and now that they have more numbers, Naofumi’s team can more quickly and effectively evacuate and defend the village closest to the Wave. Naofumi, Raph and Filo handle the tougher baddies while the others handle the small fry.

Once the village is cleared out, the underlings stay behind with the ex-adventurer Granny who Naofumi once saved, enabling the core trio to join the other three heroes, two of which are already locked in a heated battle aboard a flying pirate ship with a kraken attached to its keel. And immediately, there’s a problem: nobody’s working together.

When Naofumi arrives, Kawasumi is on the ground, while Motoyasu and Amaki are bickering over whether to defeat the Skull Captain or Kraken bosses. Naofumi attempts to bring order to the chaotic situation, and determines that the bosses themselves aren’t the proper targets; their shadows are.

Once Raph and Amaki have stabbed those shadows, numerous soul eaters emerge and combine to form one big nasty one that’s immune to the Shield, Bow and Sword Heroes’ fire-based attacks. Naofumi orders Filo to use wind and speed magic to attack the boss, but between her and Raph, there simply isn’t enough damage being done.

They’ll be there all day and there’s no telling how much destruction will occur in that time, so Naofumi reluctantly whips out his Rage Shield, knowing full well how hard it is to control. Raphtalia offers her moral support, and Naofumi ends up back in that “in-between space,” where this time he’s confronted by the enraged soul of the zombie dragon he defeated.

Once he has his Dragon Zombie Shield, Naofumi begins to press his attack on the soul eater, all while the other heroes and their parties are standing around twiddling their thumbs. Raphtalia reprimands them, basically shaming them into finally finally assisting Naofumi—and in a support role, no less.

With help from Raphtalia, Naofumi doesn’t allow himself to be consumed by the dragon’s hatred, and regains his composure, rebuking Malty’s comparison of him to nothing but a wild beast. He summons Iron Maiden, a titanic prison of spikes that closes in on the boss and crushes it.

The other heroes can only look on in awe at Naofumi’s power, as they don’t have anything like what he just demonstrated. Motoyasu backs down from his sore loserdom when Filo transforms into the cute little girl he loves so much, but the Waves are curiously not going away.

Turns out that mega-soul eater wasn’t the final boss for this particular Wave. Instead, it’s another maiden—a raven-haired on with two fans who introduces herself as Glass. She was watching the four heroes and only deems Naofumi to be worthy of going against her.

This was not only a return to the high-stakes, high-intensity atmosphere of a Wave (accompanied all the excellent Kevin Penkin music), but some decent development in the relationship betweeen the heroes. For the first time, they’re all fighting in the same place, and it’s clear they’ll need each other to defeat some of the tougher foes the Waves throw their way.

Darling in the FranXX – 09

Poor Goro. The girl he’s coming to understand that he has feelings for has only ever had eyes for Hiro, whom Goro also likes and values as a person. Yet Goro is better at reading Ichigo’s often wildly shifting moods, and since becoming partners his affection for her has only increased.

Meanwhile, he must stand back and watch Ichigo stand back and watch Hiro get along so well with Zero Two. Ichigo and Goro are the “losers” in this love triangle, as neither has the attention of the person they want. But only Goro has a constant reminder of that staring him in the face: the hair clip Ichigo wears is identical to one he was going to give her; Hiro simply gave her one first.

Since he’s very new to all these feelings, now that he knows them he knows how long they’ve lasted, but he can’t resent or hate Hiro, even though Hiro is oblivious to Ichigo’s feelings. But the time for being silent about his feelings is over. Whether it’s uncomfortable for Hiro or not, Goro tells Hiro that he loves Ichigo just as Ichigo loves Hiro.

While it’s been established since they were youngins at the parasite “orphanage” that Goro and Ichigo are stronger as a duo, Goro’s one flaw as a Stamen is that he’ll always put Ichigo first and himself second, rather than treat the two of them as having equal value. In this regard, he loves Ichigo more than he loves himself, so when a Klaxosaur swallows up Delphinium, Goro hits the ejection button…for Ichigo alone.

The parasites are ordered back to base to regroup, and Nana and Hachi make it clear that the priority moving forward is protecting the Plantation from the Klax, even if it means leaving Goro to die. He did, after all, dig his own grave by ejecting his Pistil; he cannot pilot Delph without her.

When Ichigo wakes up from ejection blackout, she’s furious with everyone; from her squad mates for turning tail to Goro for being so stupid and selfish. She wants to know why he did this, but it’s blindingly obvious to Miku. She gives Ichigo a piece of her mind, saying how Goro has always looked out for her and tempered the volatility in her persona that has always threatened to compromise her leadership (Zorome sheepishly slinks away during their exchange).

The parasites have their orders, which do not prioritize saving Goro, but Ichigo is allowed to contact Goro, who is slowly running out of power and air, stuck in a relatively harmless part of the Klaxosaur but unable to move Delphinium. Ichigo’s exchange is more of a scolding, for Goro never leaning on her a little and taking everything on himself.

When Zero Two mentions a way for a parasite to enter the area of the Klax where Goro is trapped, Goro’s punishment for his “selfishlessness” is for the very person he aimed to save—Ichigo—to go right back in there to save him. It’s a quick and thrilling sequence as Argentea gives a boost to Strelitzia—carrying Ichigo in her palm—and then tosses her down the gullet of the Klaxosaur.

As she passes through the hazardous layers of fuel, Goro reminices on how he first met, befriended, and fell for Ichigo—when she decided to stand and fight bullies beside him. They’ve always worked better together…ejecting her went against that.

While he regrets never having the opportunity to tell Ichigo how he really feels, he takes solace in the fact that he’ll at least take the Klax out with him by self-destructing Delphinium.

He comes oh-so-close to turning the dial when Ichigo bursts in to the rescue, flashing the same peace sign she did when they first teamed up years ago.

She takes her position, Delphinium wakes up, and they blast out of the Klax, leaving the remaining fuel behind to detonate and destroy the Klaxosaur in an epic explosion.

Delphinium lies inoperative and powerless, but the Klaxosaur is gone, and Ichigo and Goro are alive. While swimming to his rescue Ichigo lost the hair clip Hiro gave her, but Goro has always carried the clip he meant to give her, and finally gets to here.

Goro takes the opportunity to confess his love, but asks for nothing else in return. Ichigo’s flustered reaction is priceless, as is her thanking Goro for being her partner and willingness to let their hug last a little longer.

She could learn a thing or two from this moment, as Goro was able to say something he needed to say to the person he needed to say it to, and will no longer worry about living with regret for not doing so, or saying “I should’ve done that back then.”

Ichigo also has something to say to Ichigo, who thanks to Goro at least has a cursory knowledge of what that might be, even if he remains frustratingly dense about it. I’ll be pulling for Ichigo, as always. And please, Trigger: don’t kill her off immediately after she confesses. That would be lame.

Shingeki no Bahamut: Virgin Soul – 24 (Fin)

I’m not going to lie and say I was all that enamored by this finale. In fact, it was a bit of a chore to get through, ironically as soon as the titular Bahamut showed up. Now, all of a sudden, Charioce is a good guy like everyone else, and all is forgiven, at least until the more immediate threat of Bahamut is dealt with (and, as it happens, all is forgiven even after that).

Favaro is dead, and Bacchus’ wagon has crashed. Nina decides the only way to fight a dragon is with another dragon (hers truly) while the gods and demons get together and form a barrier to minimize damage to the capital—though Bahamut’s random breath blasts still causes plenty of apocalyptic destruction. I just wish it was more interesting a boss.

Dragon-Nina doesn’t go up against Bahamut head-to-head; that would be suicide. Instead, she flies to Dromos and lands (naked) on Charioce’s back, much to his chagrin. But that’s just tough: if he’s going to put his life on the line to destroy Bahamut, she will too. They interface with Dromos together and it takes the form of a dragon covered with magical circuitry.

Nina and Charioce’s dragon shoots a beam; Bahamut shoots a beam; the beams meet, the first beam pushes Bahamut’s back and eventually blasts his head off, and badda-bing-badda-bang, the capital—and the world—is saved.

Just before Bahamut is blasted away, Nina (but not Charioce) finds herself in “the light of Bahamut”, where Amira is still hanging out. She gives Nina a big ol’ hug (both are naked, so Nina’s a bit bashful) and whispers something. When the day returns, the Dromos dragon has turned to stone and Charioce and Nina are passed out on the deck.

Fast-forward to the epilogue: Nina is still in the capital, helping with rebuilding; still living with Bacchus, Rita and Hamsa; Favaro announces he’s leaving again to resume his wandering life; Nina tells him about Amira, and he’s heartened; Rita has apparently resurrected Kaisar as a zombie.

Nina can apparently visit the palace whenever she wants to dance with Charioce, who is blind now but still king. As I said, all the horrible things he did are forgiven now because Bahamut was defeated…only Bahamut isn’t really dead, and he’ll be back, because he’s the name of the franchise.

But…I guess Nina’s willing to let bygones be bygones in terms of the atrocities Charioce committed against demons, gods, and whatever humans opposed him. She’s also lost her voice, apparently the price she had to pay (along with Char’s other eye) to use Dromos.

I do loathe running out of enthusiasm right before the finish line, but Bahamut really undermined much of this season with its inexplicable insistence that the audience go along with the notion that Charioce was a fellow who deserved redemption.

Nina’s love always felt as blind as the king ended up. She gave and gave and never got anything back for her love, except for the occasional decently-animated dance.

This season was at times fun, often gorgeous, occasionally sweet or funny or even moving. But in the end I just wasn’t buying what Virgin Soul was trying so hard to sell, and as a result I doubt I’d have any use for a third round.

Fate / Zero – 08

Maiya has orders to escort Iri away from the castle, but the orders aren’t so precise that Iri can’t countermand them when she senses Kotomine Kirei approaching. She doesn’t want that guy anywhere near her Kiritsugu, and Maiya feels the same way, so the decide they’ll do what they can to keep him away.

Neither of them are any match for Kirei’s considerable mage-executing skills, so all they can do take up as much of his time as they can. The bravery, grit, and selflessness the women exhibit without Saber by their side is something to behold. There’s no doubt Kirei is a fearsome, superior foe, but it doesn’t matter: he’s not getting to Kiritsugu, period.

Meanwhile, a bullet from Kirei’s pistol gets through Kayneth’s quicksilver defense, but he chalks it up to a fluke and a moment of poor focus to the disgust of fighting such an awful mage, and redoubles his defenses…which is exactly what Kiritsugu wants.

Saber and Lancer are having no luck, as there’s no end to Caster’s minions as long as he’s holding his noble phantasm, an old grimoire. Rather than keep hacking away, Saber clears a path with an Air Strike, through which Lancer dashes and slashes the book with Gae Dearg, and just like that Caster is defenseless and must withdraw.

Saber and Lancer’s ‘knightmance’ proceeds apace when Lancer senses his Master is in danger, Saber senses it’s because of her Master, and gives Lancer leave to tend to Kayneth, in accordance with the ideals of nobility and chivalry, while she rushes to help Iri and Maiya.

The next time Kiritsugu fires his pistol into Kayneth’s heightened magical defense, it scrambles the opponent’s magical circuits, causing him to cough up a good deal of blood and pass out. Kiritsugu remembers his mentor(?) explaining the bullets which contained his own ribs in powdered form; but he was only given 66 of them, and we see him use two on Kayneth.

And even that doesn’t kill Kayneth, only gravely wound him. Lancer arrives to rescue him and withdraw, and tells Kiritsugu that he’s only alive because of his Servant Saber’s devotion to the right-and-proper precepts of nobility; because she is the King of Knights. I’m sure Kiritsugu’s glad Lancer didn’t kill him, but less pleased Saber let Lancer get away so easily.

What’s so great about this situation is that everyone has a reasonable position here and nobody is outright right-or-wrong. In a way, Saber went rogue, but again…Lancer would have Kiritsugu him if not for her.

As he beats Maiya to a pulp and chokes then stabs Iri (who he thinks is a homonculus), Kirei can’t fathom why not one but two people challenged him, of their own accord for Kiritsugu’s sake. Kirei has been operating under the assumption that Kiritsugu is, like him, friendless, alone, and understood by no one. But he’s wrong…and I kind of pity him for being so.

One could say Kiritsugu using Iri as a kind of “decoy master” smacks of cowardice, but that position doesn’t take Iri’s (and Maiya’s) feelings into consideration. They do protect him of their own accord, as we witnessed here, and they will continue to do so.

Kiritsugu seems to know this, because when Saber finally comes and touches the injured Iri, she is immediately healed by the scabbard Avalon implanted within her according to her husband’s wishes—something only he and she knew about. Kiritsugu is not alone, because there are those who don’t want him to be.

Fate / Zero – 07

“I KNEW all those cereal box tops would pay off!”

After a slight stumble last week, Fate/Zero immediately regained its footing as I thought it would. It starts out strong, with some more delightful comic relief courtesy of Rider and Waiver, who were absent last week. The fact that Iskandar’s main motivating factor at this point is his Master buying him pants works in a way Iri’s terrifying joyride just…didn’t.

Meanwhile, the War for the Holy Grail is on hold until all participants hunt down Caster and his Master…who are a couple of disastrous bastards. Risei promises whoever kills him will get a rad new tattoo a Bonus Command Seal. That would bring Tokiomi and Kayneth back up to three, and give the others four.

“Maiya, would you tell Iri to tell Saber that I’m NOT talking to her?”

Not surprisingly, the Magehunter-by-trade Kiritsugu is planning to break the truce by going after any Masters who are occupied with finding Caster. At the same time, he’s under no illusions anyone else will abide by Jisei’s rule change, and his cynicism and pragmatism are later validated…and then some.

This is key, because despite making the right calls once Caster arrives with a brace of child hostages, Saber urges her Master to let her defeat Caster. Kiritsugu stubbornly refuses to respond to Saber in any way, continuing his planning talk with Iri as if Saber weren’t even there.

I’m not sure if a Servant’s like or dislike of their Master makes them better or worse at fighting, but Kiritsugu is operating under the assumption a Servant’s personal emotions play next to no role. Either that, or there’s a very good reason he’s not speaking to her that just hasn’t been revealed yet.

“If this is about my cousin Sephiroth, I told him he can’t ask you for money anymore.”

What is revealed on the balcony after that tense meeting inside, is a side of Kiritsugu we haven’t seen since the scene in the first episode when his daughter was born. It’s a side he has no problem showing his wife. He’s afraid; afraid of losing those he loves most, and afraid of Kotomine Kirei in particular.

He wants to take Iri and Ilya, run away, and never return to this nasty business. But Iri won’t let him, because if she does, she knows the regret he’ll feel from running will be the end of him anyway. If death is to come for them all, one way or another, better to face it together as a family, no?

“Can’t a lady fight someone wielding a SWORD for once?!”

When Caster starts popping kids’ heads, Saber finally gets the order to deal with him. But Caster isn’t alone; he may not have Uryuu with him (thank God) but he does have a legion of tentacle demons that restore themselves as fast as a still-depleted Saber can cut them down.

Sometimes I worry that Saber has too often been depicted as a pushover, but it’s more of a “Worf-in-TNG” situation: if he’s getting schooled, you know the foe is tough. Besides, even with her injured hand, Saber kicks plenty of eldritch ass before finally becoming surrounded, overwhelmed, and bound by their tentacles.

“Sooo….while you’re here, d’you mind fixing my hand?”

And that’s when Lancer arrives, and the two warriors who respect the hell out of each other go back-to-back to fight off Caster’s legion together. Lancer assures Saber that this doesn’t mean they’re suddenly allies, just that this is the most efficient way of carrying out the order to defeat Caster. This pairing-up was a definite fist-pumper; I look forward to seeing how the two of them take on Caster.

“I tellya, this T-1000 pays for itself!”

As for Lancer’s Master Archibald, he obviously didn’t die in the bombing of his hotel; he surrounded himself in a quicksilver ball he manipulates with magic. After his so-so introduction and the dull hotel-scenes leading up to the blast, Kayneth is in top badass form himself this week, casually reciting orders to his ball and ruthlessly pursuing Kiritsugu, aiming to punish him for his cowardly failed attempt on his life.

At moments, Kiritsugu looks as outmatched as Saber often has early in battles. I mean, bringing a gun to a magic fight…seriously? But Kiritsugu is nothing if not crafty, resourceful, and sneaky as hell, and when he uses magic, you can bet there’s an important reason for it.

He’s not a guy who shows off, preferring the shadows. He turns the tables with time magic, then aims a special-looking pistol at Kayneth with a look that suggests its bullets might pierce the quicksilver shield. So much for a truce…

Little Witch Academia – 20

Despite Akko’s protesting (with backup from Andrew) Diana insists she has no choice but to perform the ritual before the transit of Venus behind the moon is complete. She goes into the ritual chambers alone, but is immediately impeded in her mission by Aunt Daryl, who wraps her in one of her many giant magic snake familiars.

No matter how much logic he tosses at Akko, she knows it’s not right for Diana to be dropping out; she’s clearly putting her own dreams aside for the good of her family. When they eavesdrop on Daryl and her twin daughters talking about how she had no problem stopping Diana, Akko has all the moral capital she needs to break with sacred Cavendish custom and enter the sanctum to rescue her.

Andrew helps, convinced that Akko is right. He remembers how passionate Diana became years ago when talk flew around she wouldn’t be able to perform magic. We know the spark of inspiration was the twin pillars of her mother and Shiny Chariot. But to her credit, Akko keeps Andrew out of the sanctum: she’ll bring back Diana on her own…all the way back the academy.

Akko proves she can mostly take care of herself, using her patented partial-transformation magic in rapid-fire mode to lure the snakes away from Diana and stay one step ahead until she regains consciousness and saves her.

With Akko bitten and poisoned, Diana sacrifices her chance to complete the ritual by healing and staying with Akko, who wakes up, then scolds Diana for staying there with her instead of continuing on with the ritual. But this is just Diana being Diana: kind, caring, and healing, just like her mother and the centuries of Cavandishes who came before her.

It’s no coincidence their conversation is held in a facility borne of that family “affection”, a secret hospital where Diana’s ancestors used their considerable magical knowledge to heal the wounded from conflicts that plagued history, without regard to whose side they were on.

Diana’s confession of her lifelong dream (to protect and preserve her family’s and mother’s names and the home they left behind) moves Akko to assure her she can still achieve that dream, restoring her family and complete her education at Luna Nova, as long as she…you guessed it, believes in her heart.

In this manner, two Chariot superfans—one current, one lapsed—come together to realize her credo that a believing heart can make anything possible. To that end, traditional and modern powers mingle, and Diana realizes the fifth word is Akko’s for the taking.

Reciting it summons Chariot’s broom, which they ride together to reach the site where the ritual is to be completed…only to find Aunt Beryl and her daughters waiting to disrupt Diana once more.

For this latest act of treachery, Diana’s relations are punished not by her or Akko, but by the system itself, and are quickly encased in trees. As she did with Akko, Diana stays true to her family’s legacy again by putting judgement aside and helping others before herself.

By the time she’s saved Daryl and the twins, the Venusian eclipse is over, but Diana still gets a momentary nod of approval, so to speak, from her family’s founder, Lady Beatrix. She may not have quite completed the ritual, but it’s clear to all who will lead the Cavendish family’s future.

Until that time, Diana is free to return to Luna Nova, much to Akko’s delight. She also gives Akko a ride home on her broom, which is the perfect time for her to express her gratitude for what Akko did…softly, and only once. Still, Akko heard her, and after their shared experiences this week their bond has never been tighter.

After charming and fun but inconsequential episodes involving the B-characters, this Diana-focused two-parter was a welcome and worthwhile outing that brought two rivals closer together and brought Akko one word closer to potentially changing the world.

I also appreciated the bonhomie that’s gradually developed between Akko and Andrew (who will be back, at least to give Akko her hat back). While I would have preferred if Diana’s full fleshing-out arc had come sooner, it’s better late than never, and well worth the wait.

DanMachi Gaiden: Sword Oratoria – 02

After an action-packed return, Sword Oratoria settles down, as the Loki Familia returns to the surface and home to their patron, Loki. For those who weren’t a fan of apparent co-protagonist Lefiya’s bungling on the battlefield, you probably weren’t thrilled that she’s an easy mark for Loki’s sexual harassment (which all the other girls know how to avoid…though they should really report to H.R. More to the point…they need H.R., bad!)

But while she’s still finding her footing in battle, with one of the higher-ups like Riveria on her side, and the fact she’s cute and mostly harmless, Lefiya is treated like something of a mascot or good luck charm. She seems to revel in that role, and makes cheering Ais up her primary mission.

The higher-ups also see how restless and consumed Ais is with improving herself, and believes having an admirer close by will help her be more aware of others. It certainly can’t hurt for Lefiya to be beside Ais. Each can provide what the other lacks; it’s a good arrangement.

But the true reason Ais has been more down than usual lately is her encounter with the previous show’s MC, Cranel Bell, or “Tomatoface”, as a drunken Bete calls him at the tavern…the same tavern where Cranel himself is. Like the minotaur encounter, it’s another scene inhabiting the same time and place as DanMachi, only from Ais and the familia’s POV.

At the same time, Oratoria doesn’t lean too heavily on the events we’ve already seen, and when it does, the fresh POV, gives them, well, fresh context and insight.

As for what’s new, we get a lot more exposure to the various members of the Loki Familia and get to see them take care of things like bartering away dungeon loot and getting their weapons repaired—or in Tiona’s case, replaced—by some very exasperated smiths.

When the twins decide Ais needs more cheering up they take her on a shopping trip, where we see the stark contrast between their taste in fashion (much less is more) and Lefiya’s (lots of cloth; lots of frills). (They also put Ais in Hestia cosplay, which…well played, DanMachi).

When Lefiya foots the bill as thanks for Ais looking out for her (and because she just wants to) Ais finally puts two and two together and realizes everything Lefiya has done for her, and why. So instead of apologizing for not realizing sooner, Ais does all she really needs to do: she thanks Lefiya for blowing so much petty cash on her. It’s Cranel to whom she apparently feels she must apologize.

Was there way too much talk of boobs and grabbing and groping of boobs in this episode? Probably. But the fine slice-of-lifeity made up for that, and Lefiya was definitely of more use in town than in the dungeon, even if talked to herself and daydreamed too much. There’s still hope for her!

DanMachi Gaiden: Sword Oratoria – 01 (First Impressions)

This spin-off of the original DanMachi follows the powerful sword princess Ais Wallenstein, newbie mage-with-potential Lefiya Viridis, and the rest of Loki Familia as they explore Level 50 of the Dungeon below the city of Orario.

Lefiya’s mentor, fellow mage Riviera Ljos Alf, wants her protege to get some practical experience on the front line in order to build up some nerve to go with her magical potential. Ais and the Amazon twins Tiona and Tione bail Lefiya out, to the chagrin of their comrade Bete.

The Familia runs into a foe they’d never before encountered on the boundary between Levels 50 and 51: colossal caterpillars spewing highly caustic acid. The party’s heavies sweep into action to relieve their less powerful comrades, only to find their conventional attacks aren’t that effective.

Riviera again charges Lefiya with performing the incantation that will summon the magic that will turn the tide of the battle, which is a mage’s job. That means standing there and chanting while all hell breaks loose around you, and not losing your nerve.

Lefiya…loses her nerve, so Ais has to use her Tempest ability to slice through the nearest caterpillars. Bete uses some of her power to make his kicks stronger, and Tione, tied up with caterpillar tongues, gets pissed off and tears her captors apart, with no regard for the integrity of her skin.

After that, Riviera herself chants a long and grandiloquent incantation that serves as a coup-de-grace or overkill move, mopping up the remaining caterpillars. With a number of injuries and no idea what else is beyond, their leader Finn orders a retreat for now.

Up at Level 17, a huge force of Minotaurs busts out of the walls, but they’re essentially small-fry to the higher-level adventurers like Tiona, who has a bit of fun running up to a Minotaur and icing him with one swift, brutal bicycle kick. Suffice it to say, I had no complaints about the combat animation, nor the dramatic but very appropriate battle music.

While the Minotaurs are no match for Ais or the Amazons, if any were to escape to the higher levels, it could mean big trouble for one of the lower-level adventurers, like, say…Cranel Bell! Hey, guy, wonder where you were at! It’s not his or Hestia’s story this time, however.

Instead, we see everything that led up to him being rescued by Ais…including him simply running away screaming after she did so. As Riviera said to Lefiya, Ais has problems too…they’re just different ones.

This was a solid re-introduction to the world of DanMachi and the vast and hazardous dungeon below the city of Orario. It seemed designed to shake us from our slumber by throwing us into one big battle after another, while also showing us how well-sorted Loki Familia is.

Mind you, I do miss the warm friendship between Bell and Hestia; we’ll see if Lefiya and Ais can carry a season. They certainly have plenty of supporting cast backing them up.

Macross Delta – 26 (Fin)

md261

Delta surely wasn’t going to end with Lloyd using Mikumo as the instrument to bring the entire humanoid population of the galaxy under his command; we just needed some clutch performances from our heroes—plus a confession or two—to turn things around.

Before heading out to the final battle (which is the final battle, in case you missed last week), neither Hayate nor Freyja can say “I love you”, merely mumble, while King Heinz essentially lets Lloyd do whatever he wants, even though he eventually wants peace talks with the UN, a far less ambitious (and less crazy) goal than Lloyd has planned.

md262

Kaname, Reina, and Freyja do their thing shorthanded while Delta Platoon does theirs, but everyone is sent to the Naked World when Lloyd gets Mikumo singing the Song of the Stars. For a few minutes we see the future Lloyd has in mind for the galaxy, and, well…nobody on either side likes it very much.

Heinz realizes Lloyd is up to no good too late, but thanks to Freyja’s determined singing, he adds his own song to the mix to notify Keith, Bogue, and the other knights to assist Delta and Walkure in stopping Lloyd. When Freyja’s voice falters, Hayate finally gives her the “I Love You” she’s been waiting and hoping for.

md263

The connection turns triangular when Freyja doesn’t immediately respond, leaving Mirage free to confess her love for Hayate and challenging Freyja to say something back already. She does, telling Hayate she loves him too. Everything turns pink, everyone is cast out of the Naked World, and Walkure is back on the stage, in new, Final Battle outfits.

A nominally-healed Makina adds her voice to the other three, and eventually not even Lloyd can keep Mikumo from singing along, donning her own Walkure outfit in Macross Giant Songstress Mode. At the same time, Delta blasts a hole in the Windermerean flagship, and with help from the Aerial Knights (someone called that), rescue Mikumo.

md264

Keith ends up being the one to take out Lloyd, his own best friend, with an air of disappointment he strayed so far from reasonable ambition. While his stated goal is universal peace, Lloyd wanted to become no less than a god, with total control over every living soul at once…which just wasn’t going to, er, fly. 

This is a finale full of nicely-composed images, including the Chaos fleet’s daring entry into battle, the Giant Mikumo on Ragna, Keith and Lloyd’s last moments before the ship blows up, the reunion of Walkure, and the parting shot of Mirage, who unsurprisingly ends up being the loser in the triangle, despite the fact she’s going to probably end up living far longer than Freyja.

Freyja’s skin crystallization doesn’t simply vanish when Lloyd is dealt with. But Hayate chooses the possibility of far outliving the object of that love, rather than the alternative (the part-Zentradi Mirage far outliving him). The flame that burns half as long burns Twice as bright.

And so ends Macross Delta, surely not the strongest of Macrosses, but perhaps better than no Macross at all? For all its flaws (and the fact one of its meal tickets—its eye candy—was out-candied this Summer by Zestiria), it was a show with deep ties to the past, which marched to its own beat in a 2016 where so much can feel the same. It was a fun ride.

16rating_7

Sousei no Onmyouji – 07

sno71

This episode’s Arima-heavy early scenes (and why does every show need someone dressed like a proper English lady having tea?) were a little troublesome, but I liked the end result, as well as his very serious underlying goal: he wants to bring about the prophecy of the Miko; to do that, he needs to bring Rokuro and Benio together.

So this week, the two would-be lovebirds graduate from being two roommates in a dorm of many to two occupants of palatial villa, in order to grow closer to each other. Thus continues SnO’s emphasis on character over plot or action (though the short bit of action still packs a punch)—something I’m on board with, because I happen to like both leads.

sno72

A big part of why I like them is that while they do spar a lot of the time, they also spend a fair amount of time not sparring. They also can suck it up and work together when they have to, and the floors of their two once-separate bedrooms literally turn on an incline and create a sidescroller-style physical challenge, the two know they need each other, and as they figure out how to overcome the various obstacles involved, they find themselves thinking alike more often than not.

A challenge that could have been sigh-worthy in less careful hands also adds to the enjoyment and complexity of their trial, as Benio just happens to be going commando today on account of her panties being in the wash. This means she has to be careful what happens with her skirt, and Rokuro has to be careful where he’s looking. But when he accidentally sees something, she doesn’t go berserk and beat the shit out of him. They simply deal with it, in a reasonable fashion.

sno73

Indeed, Arima meant for this trial to bring the two closer together in several ways, and when they do, Rokuro and Benio are what you’d expect two kids to be: embarrassed, a little excited, but also respectful. Rokuro doesn’t try to sneak another look, and Benio doesn’t hold it against him when gravity causes him to fall on her.

Because they work together, they get out of the combined room without too much trouble, and when they face another trial in the air ducts in the form of a question involving numbers of hiragana and strokes, the two put their brains together again to come up with the correct answer.

sno74

It’s a good job they do clear the trial as quickly as they do, because their “exorcist” pals need bailing out once again. Seriously, is there ever going to be an episode where these guys can handle a Kegare on their own? Until they do, I’m putting “exorcist” in quotes when referring to them.

Rokruo and Benio work together again to bring down the giant mantis-like beast, but Benio starts to panic when she realizes her hair tie is gone, one of the two her brother gave her. Rokuro stops her desperate search and takes her back to the villa, where he finds the tie in the air duct (and I noticed the glint when they fell out of it the first time, a neat little visual detail that went unexplained at the time).

sno75

The day over, the two have their baths (ladies first, says Rokuro, but again, no funny business with peeping), and prepare to go their respective, once-again separate rooms to turn in. But before that, Rokuro asks about Benio’s brother. She wonders why, but the amount of importance she placed on her hair tie made him curious.

She sits down with him and talks about her beloved twin brother, from whom she was separated and believes to be dead—though I think we might have caught a glimpse of him a couple episodes back. Maybe if he reappears, he’ll be Benio’s version of Mayura?

Rokuro’s desire to learn more about Benio means he’s starting to care about her, just as Benio is starting to care about Rokuro when she tells him to make sure to brush his teeth, and assures him that even if he’s not the heir to a great family, his skills are remarkable…even if he’s usually “mostly useless.”

That last jab that leads to bickering at the end wasn’t all that necessary, but it’s clear she’s half-joking, and just giving Rokuro shit. If she didn’t like or care about him, she probably wouldn’t bother. As goofy and insufferable as Arima is, he may be on to something here.

16rating_8

Ushio to Tora – 04

ushi41

Ushio to Tora continues its run of Very Good-ness serving up meaty portions of unsettling supernatural baddies-of-the-week, the gradual forging of something resembling a friendship between the titular characters, and exciting action with high stakes laced with hearty comedy.

There’s something both frightening and funny about the giant floating heads called the Gamin-sama, not to mention the fact they’re released by the greed of developers for whom there are no sacred cows. Frightening because they tear humans to pieces like wild dogs; funny because, well, they’re giant floating heads with extremely expressive faces and voices.

ushi42

They’re out for the blood, flesh, and bones of the beautiful shamaness Hizaki Mikado, who sealed them in the Meiji era, according to an old man who pleaded with the construction teams not to lift up the “keystone” that kept the demons sealed. When Ushio gets a look at Hizaki, he finds she bears more than a slight resemblance to his old friend Inoue Mayuko.

Mayuko just happens to be on a shopping trip into the city on her own, which was a situation that immediately spelled dread. But her doomed trip crosses with Tora’s own excursion into the city, for the first time, where he’s flummoxed by glittery skyscrapers, annoying cars, and those magical transparent barriers known as windows. It’s a great fish-out-of-water situation for a youkai out of his time.

Best of all, Tora is in town to eat someone, so he’ll have the strength to kill Ushio once and for all. But the smells of perfume and hair products and the presence of “anti-youkai trinkets” (i.e., accessories) on their bodies nearly puts him off his lunch…until he finds the soft, clean, nice-smelling Mayuko (who conveniently told Asako she’s not one for accessories).

ushi43

Not only is it clever to make Ushio target the same food as the giant heads, thus bringing them together in conflict, but Ushio chooses her specifically because she’s a more traditional human that looks and smells like the humans he’s used to. Kinda like Hizaki Mikado, whom the heads mistake her for (we’ll see if in turns out they’re actually related).

ushi44

Regardless, Mayuko puts up a pretty good fight, in that she’s able to successfully run away and evade the Gamin (and her death) for a good long time; she’s partly fueled by primal fear, sure (who wouldn’t be) but there’s a toughness to her refusal to be glomped up, not to mention put bystanders in harm’s way. That buys enough time for Ushio and Tora to show up and save her; Ushio because she’s a dear friend; Tora because he won’t let these moronic heads eat his food; the same reason he won’t let anyone else kill Ushio.

ushi45

It’s selfish altruism, but it’s altruism, and Tora is making more an more exceptions to his evil youkai ways and doing ever more semantic gymnastics to explain away what are, essentially, good deeds that make him more than just a monster and Ushio and Mayuko more than just dinner.

Once the five heads are squished, sliced, and speared into oblivion, Mayuko gets up, dusts herself off, and, realizing Ushio told her who Tora was, offers a cheeseburger in gratitude for his help. And it’s perhaps the most proportionally amazing feat anyone pulled off this week that despite everything she went through, she managed to hang on to those burgers!

8_mag

Ushio to Tora – 03

ushi31

In its third episode, the Demon of the Week is something that feels like a common trope in these kinds of shows—the evil painting—but Ushio included enough original twists, details, and character to make it its own, and an entertaining romp to boot. I especially enjoyed Ushio’s dad’s reaction to the fact his son let Tora out and now bears the Demon Spear. Even better: it’s Ushio’s passion for art that gets him into this week’s adventure.

That evil painting happens to be Ushio’s favorite by his favorite painter, Master Hanyuu, his last before he died. Ushio learns that Hanyuu’s daughter Reiko attends his school, but he’s blocked from approaching her by Masaki Kenichi, a bad-tempered beast of a third-year whom everyone in the school fears.

ushi32

Later, we get a nice Ushio and Asako moment: when she realizes Ushio’s only interest in Reiko is as a model for his painting, she’s willing to help him out. Even if the crazy demon shit she’s gone through feels like dreams, Ayako knows Ushio is a capable lad, and perhaps he can succeed where she failed in making Reiko a little happier.

In a pleasant surprise, after a short and evenly-matched fight, Kenichi and Ushio bro out, dropping their aggressive postures for the sake of a girl they both care about.

ushi32a

Ken and Reiko were childhood friends, and he remembers her answering the door in a sheet as her demonic-looking dad feverishly painted that last portrait. Ever since he died, any guy who gets too close to Reiko meets with an unfortunate “accident”, isolating her at a crucial time in her life.

ushi33

In one of the first depictions of P.E. consisting of line dancing I can recall, Ushio insists Reiko give him some pointers. As he tells Asako, he’s not going to let sinister rumors keep him from painting his muse. Her demon dad shows up on queue and tries to blow Ushio away via tornado, but Tora happens to be around, and isn’t going to let a lowly demon steal his food. One might think being regarded as food is demeaning, but here it’s a gesture of regard.

Whether he’d admit it or not, Tora’s views on humans have been changing rapidly…and he’s had a lot more fun than he ever did in that musty basement.

ushi34

Unaware of how used to this kinda stuff Ushio is (and unable to see Tora), Reiko rushes home and tries to kill herself—for the rumored fifth time—so that her father will be appeased and no one else will get hurt (naturally, she blames herself for the casualties her dad has caused).

But Ushio isn’t going to let her die, and Ken, who had froze in fear earlier, is inspired by Ushio’s courage. They save Reiko, only for her dad to snatch her and start pulling her into the painting, something that is always creepy and nightmarish no matter how many iterations of it I witness.

ushi35

It’s—you guessed it—up to Tora to reluctantly pull a defiant Ushio out of the painting, with Ken and Reiko in tow. That frees Ushio up to spear Demon Dad, but Reiko jumps in the way at the last possible second. Fortunately, the spear only kills monsters and goes right through humans.

For that matter, the spear kills the demon, but not before purifying Master Hanyuu’s soul, which appears before them before fading away, with parting words for Reiko to “find happiness.” In his final moments before oblivion, he was able to find it in the knowledge he was free of his demonic shell and his daughter free of its torment; perhaps with her friends Ushio, Ken, and Asako, Reiko can find happiness too.

Then Ushio and Tora scamper off before they have to explain what the hell just happened. All in a day’s work!

8_mag