Tokyo Revengers – 09 – Let’s Do This Shit!

The tender sweetness of the summer festival gives way to the vicious smashing of fists and feet into faces this week, as Tokyo Revengers hosts its first all-out, full-on brawl between Toman and the remnants of Moebius.

Takemichi tries to get to Draken before Peh-yan or Kiyomasa can kill him, but Peh-yan finds Draken first. After telling Emma to keep her distance (thakfully nothing happens to her here), Draken is ambushed by the tried-and-true cowardly tactic of sneaking up from behind with a baseball bat.

But by the time Takemichi and Mitsuya find a bloodied Draken, he’s not only still conscious and standing, but has already amassed a pile of fallen Moebius wannabe badasses.

Peh-yan has somehow managed to muster a full one hundred members of Moebius against just Draken, Mitsuya, and Takemichi, but the distinctive exhaust sound of Mikey’s motorcycle heralds the coming of the cavalry. That’s when we meet Moebius’ new “temporary” commander, Hanma Shuuji.

Not only does Hanma come out of nowhere—Naoto never mentioned him to Takemichi in the present—he’s also able to successfully block Mikey’s kick, which is a dead giveaway that he’s not someone to be trifled with.

Fortunately, the 100-on-4 battle becomes much fairer when all the various divisions of Toman arrive en masse to back Mikey up. From there, things go full Gangs of New York, only in Tokyo, with a bunch of 13-to-15-year-olds.

Takemichi gingerly navigates the chaos of punches and kicks, trying to keep track of Draken and looking out for Kiyomasa, who stated his intention to murder Draken. He’s unsuccessful on both counts. By the time he spots Kiyomasa, the guy’s knife is already stained with blood.

By the time he finds Draken, he’s lying on the ground in a pool of his own blood. If Draken does indeed die, it will make Takemichi’s life—and his mission to save Hina and Akkun—much more difficult. I’m just surprised that expected big bad Kisaki Tetta still has yet to reveal himself.

Rating: 4/5 Stars

Tokyo Revengers – 08 – The Ecstacy and the Agony

It’s neither Takemitchy’s rage nor passion nor pathetic attempts to score a blow that shake Mikey and Draken out of their latest spat. Nope, it’s a big ol’ turd, which ends up nested in Takemichi’s hair when he goes flying into a pile of garbage. Mikey and Draken run off laughing, scared of the shit coming to get them, and his four friends follow suit. It’s a rare reminder that despite their pretensions otherwise, these are still a bunch of stupid kids.

Takemichi’s antics may have helped Mikey and Draken forget what they were fighting about, but since he’s the only real adult among them, Takemichi realizes what the problem was: Mikey wanted to free his friend Pah, while Draken wanted to respect Pah’s wishes to turn himself in; neither felt they could budge from their positions. Thank goodness for poop!

After washing his hair, Takemichi joins the made-up pair and his four friends. Hina shows up with Emma, who has come to ensure Hina properly asks Takemichi out to the summer festival on August 3rd. As Emma predicted, of course Takemichi says yes—Hina is his girlfriend after all—while she is bowled over that Draken and Mikey are on good terms again.

Takemichi, meanwhile, seeing everything coming up aces, celebrates having changed history by stopping the Mikey/Draken feud before it got too bad. Now Draken won’t be killed and Akkun and Hina will be saved, right? Before returning to the present where he’ll surely face a rude awakening, he decides to reward himself by going on a double date with Hina, Draken and Emma.

It’s really good to see the old Hina again, and to also learn that she and Emma have become friends owing to Emma being a genuinely pure and lovely person. Hina’s forgiven her friend for “going off the deep end” due to her intense love of Draken, and while she hasn’t quite yet forgiven Takemichi, she gives him a relatively easy out: shoot the special prize.

While the game is rigged, the fact Takemichi puts in such a serious effort is more than enough for Hina, which is why when it starts to pour and they get separated from the other couple, Hina not only forgives him, but wants him to hold her and is ready for him to kiss her. Alas, Takemichi is interrupted by a phone call from Yamagishi, saying Mikey’s rank-and-file aren’t satisfied with their reconciliation and are still going after Draken.

Cursing himself for letting young love drop his guard so completely, Takemichi runs into the rain in search of Draken, since this is August 3rd, the day he’s supposed to be murdered. What seems to have changed is who exactly will do it. Kiyomasa has joined forces with Moebius with the intent to kill Draken as revenge for shutting down his fight club.

Takemichi does an awful job staying hidden, and when Kiyomasa and the others start beating on him, he realizes that despite befriending Mikey and Draken, without them around he’s just as weak and pathetic as he’s always been. They tape him up and leave him in the dirt and cold rain, but fortunately Hina finds him well after the thugs have departed (had they used him as bait to ambush her, I might well have been done with this show).

Instead, Hina removes the tape from Takemichi’s mouth, and he laments that the best he could do wasn’t good enough, and he hasn’t been able to save anyone, and is nothing but a complete and utter failure. Hina responds by giving Takemichi her first kiss. She gives it to him because he’s special to her, and because it’s because he breaks down and cries for the sake of others that no one is cooler than him in her eyes.

It’s just the motivation Takemichi needs to buck up and get back to his mission, because she reminded him that no matter how pathetic he looks, failure is not an option. So he heads back out and runs into Mikey’s driver Mitsuya, who tells Takemichi that everyone agreed to put the Pah-chin thing behind them…except for Peh-yan, on whom the episode ends as he’s about to pull a knife on Draken…with Emma right beside him.

It’s a good thing Takemichi didn’t head back to the present thinking he’d fixed everything. He can’t rest on his poopy laurels—there’s a lot more to be done before victory can be declared.

Rating: 4/5 Stars

SSSS.Dynazenon – 09 – Teamwork Makes the BEAM Work

This week’s Dynazenon has a little bit of everything, which is only fitting because it’s about the merits of simply jumbling everything together. It begins with a much-anticipated laser focus on Chise, who has a surreal dream that perfectly visualized how she felt when she attended school—she was off, lost in her gorgeous, intricate doodles.

She wakes up in her cavernous, modern bedroom as an Alice stand-in, finding all of her possessions are either far bigger or far smaller than they should be. Turns out that’s the handiwork of a little golden kaiju born from the growth she found and carried with her all this time. Because the kaiju has imprinted upon her and has come to know her heart, it obeys her wishes. She names it Goldburn, after a band.

There’s a fireworks festival soon, and while neither Yomogi or any of his friends are that interested, Yume wants to give it a go, so Yomogi is in too. Chise is trying to tell Koyomi about the “hypothetical” good kaiju in her suitcase, but he’s distracted by Yomogi’s call inviting them to join them. When Chise then tries Gauma, he’s firm in his belief all kaiju must be defeated.

As she wavers over what to do, her friend suddenly grows in size, scooping her up and taking her on a ride through the skies over the city. It’s fun until it suddenly isn’t—when Chise spots her school. Goldburn almost obeys the momentary emotions in her heart wishing the school wouldn’t exist, but she’s able to steer Goldburn out of a potentially destructive dive.

Yume is walking home with her friend, who is curious whether she and Yomogi are dating, when Yomogi calls her back to school, reporting that Kano’s ex-boyfriend Futaba has arrived to talk to them. If Yume was hoping for some kind of groundbreaking revelation from him, then she’s bitterly disappointed by the resulting talk.

Futaba claims that while he heard about Kano being bullied in the chorus club, he never witnessed it first hand. When Yume asks then why Kano committed suicide, Futaba repeats the official line that it was merely an accident, and that “Kano wasn’t like that”, offering no further explanation. His answers not only don’t impress Yume, they downright upset her.

But just when she is overcome by emotion, they get a call from Gauma about a new kaiju, and she clams up for a moment to assure Yomogi that she’s fine, they should go, and she’ll be right behind him. Meanwhile, Chise is considering what to do with her enormous friend when Goldburn suddenly flies off on his own.

Yomogi arrives to find Gauma, Koyomi, and Gridknight in dire need of someone with wings to lift them off the suddenly soft and undulating ground (due to Juuga’s kaiju’s power) Yomogi ain’t that. When he tells Gauma what went down with Yume, the captain orders him to go back and get Yume, you jackass, because you’re the only one who can bring her back.

With Goldburn off on his own, a lonely, left-out looking Chise locates Yume perched atop the tower where her sister died. When Chise asks what’s wrong, Yume tosses out her boilerplate “it has nothing to do with you”, adding that “nothing good” comes of it whenever she fights. But Chise has tried to fight hard alongside everyone all this time, so she does not want to hear that it’s nothing to do with her.

Right on cue, Goldburn arrives, but of course both Yume and a quickly approaching Yomogi assume its foe, not friend, and Chise doesn’t have time to properly explain, because Yomogi is coming in hot to save Yume. Chise asks Yume who else would fly in to save her like this, and tells her she “doesn’t know what she’s got.”

But the wind from Dyna Soldier blows Yume’s ankh puzzle out of her hand and over the edge, and she dives off the tower after it with no regard for her safety. Yomogi lunges toward her to catch her in midair, but just misses. Fortunately, Goldburn is listening to Chise’s heart in this moment, and pluck Yume up by her cardigan mere feet from the water.

Chise, Yume, and Yomogi arrive at the scene of the battle where Gauma, Koyomi, and Gridknight are getting their asses beat by Juuga’s kaiju. Fortunately, with the aid of flight, a lot of the enemy’s advantage is lost.

More to the point, the minute Gauma, Yomogi, Yume, Koyomi, Chise, and Gridknight decide to all join forces into one big, beautiful kaiju-mecha melange, it spelled the beginning of the end for the Eugenicists’ chances of victory.

In an absolutely bonkers, virtuoso combination sequence paired with the most lavishly bombastic orchestral accompanied yet, Dynazenon merges with both Gridknight and Goldburn to create a big, brash, bulky and beautiful Super Dragon King Kaiser Gridknight, which is a mouthful of name for a framefull of robot. He’s even got a sheer purple cape, the better to dazzle the stage.

There’s nothing Juuga can do once all of his adversaries got “all lumped up”, which makes them stronger and faster and able to counter any attack thrown its way with tenfold force. After doing a little parkour off flying skyscrapers, Yomogi’s Dynamic Cannon delivers the beam-de-grace, and the team victory is immediately celebrated by the fireworks display amazingly not cancelled by the kaiju attack.

The ending scene is the perfect cool-down sequence after all that high-octane mecha madness. Much to Chise’s delight, Gauma accepts Goldburn as an ally despite being a kaiju, and while the whole team—including Gridknight and Second—make a run for it, they still miss the entirety of the festival. No matter; they all buy fireworks and have their own festival on the waterfront.

Yume takes her leave, promising she’ll be back, but I already knew exactly what she was up to, so there was no need to be wary. Sure enough, she returns resplendent in her gorgeous yukata, which understandably took a while to put on, but was worth it. While she plumbed the depths of despair after interviewing Futaba, here Yume rises to new heights of joy as she and Yomogi and everyone else enjoy each other’s company, all lumped together, and all the better for it.

Higehiro – 08 – Such Sticky Sweet Sorrow

In hindsight, it was already over for Sayu the moment Issa showed up at her workplace. A man of her brother’s means and drive surely wouldn’t rest until his little sister had been found. Even though Sayu knows this this, and understands this is probably It for her months-long excursion, she’s understandably shaken by the close call, and freezes up. Rather than take immediate action to soften the inevitable blow, Sayu retreats to her happy place: buying snacks for her and Yoshida, who will be at the office late.

But more to the point, Sayu once again places someone or something—in this case Yoshida’s work and her obligation to handle the chores—before herself, even though well within her rights to insist upon being the priority. Her brother finding her also affects Yoshida quite a bit, and in more ways than one—psychologically, legally, etc.—yet Sayu keeps quiet. She doesn’t bother Yoshida.

Thankfully, just as her brother and his employee are about to spot her, Sayu rings into Yuzuha, who, after hearing that Sayu doesnt want to be found, helps hide her. We learn she does this as much to help Sayu out as she does to take the temperature of Sayu and offer some unsolicited but very much needed advice; even some tough love.

In yet another example of how Sayu’s youth has not gone the way most kids her age have, Yuzuha learns Sayu can’t sing with her, because she doesn’t know any songs, because she never had any friends with whom to go to karaoke. Yuzuha surely sympathizes with Sayu, but she’s also more concerned with giving her a thorough reality check than sparing her feelings.

As such, she sits down next to Sayu and asks her, if her pursuers are already here, and she has so little time left, what is she doing shopping? I don’t think Yuzuha is right when she says Sayu “doesn’t get it”, but she is right that Sayu isn’t taking this as seriously as she should. Not just that people are looking for her, but that she and Yoshida seem to have become co-dependent.

One can argue as a practical matter whether Yuzuha the character has really spent enough time with the two of them to make that determination so confidently, but that doesn’t really matter to me, because as much or as little as Yuzuha is assuming, she’s absolutely correct that Yoshida and Sayu have become far too comfortable with their arrangement.

I gave Yuzuha grief in an earlier episode for essentially reading both Yoshida and Airi the riot act for the way they’re going about their lives, but while her little stalking incident is still a mark against her, I for one am glad Yuzuha is here as the voice of reason. Sure, she has a massive conflict of interest in being literally in love with Yoshida (which is its own can of worms), but Yuzuha is no kid.

At this point I trust her more than anyone else to see the forest for the trees. That’s why she can love Yoshida, see the way he looks at Sayu when he arrives, and stay behind in the karaoke room to cry her eyes out, while still being very much in the right about how tremendously unprepared either Yoshida or Sayu are for what isn’t coming down the pike—but has already freaking arrived!

The remainder of the episode sets to work painstakingly validating Yuzuha’s concerns. I can’t blame her taking a rain check considering her feelings for Yoshida, but it really would have been better if Yuzuha had joined them for dinner. At least then, she might’ve been able to steer Sayu towards telling Yoshida that she’s close to being found.

Instead, Sayu says nothing to Yoshida about her brother, choosing to ignore her fate. The two see a poster for the Summer Festival, and in one of the more awkward transitions of the show, the episode cuts from one night to the next night, with Sayu resplendent in her pink yukata,gold obi, and geta. 

Then they go on a date that would be adorable, except for the fact that it’s an indulgence neither of them can really afford at the moment. I can’t really blame Yoshida—he’s in the dark about Sayu’s brother and wants Sayu to have another “normal high school girl” experience.

At the same time, I can’t really blame Sayu for not suddenly turning to Yoshida and saying the jig is up. After all, she hasn’t been to a summer festival since she was a little girl, wasn’t allowed to eat cotton candy even once, and has never been as close to fireworks as she and Yoshida end up being.

The temptation to forget about her imminent doom for just one night proves too strong to resist, but like a yukata rental, the quickly-melting cotton candy, and the fleeting light from the fire fireworks, the trappings of normalcy in which she seeks refuge are all too temporary.

Their interactions throughout are charged with romantic tension. When he sheepishly compliments her yukata, she asks, just under her breath so he can’t quite hear, if it’s prettier than Gotou-san’s. She feeds him some of her cotton candy. When a kid bumps into her, of course Yoshida takes her hand to keep her from falling, and she decides they should keep holding hands throughout so they won’t get lost.

Yoshida knows that were it not for Sayu, he’d have never gone to the festival. Images of his past life without her flash by in his head; it’s a place he’s not ready to return to. When he exits those thoughts, Sayu is no longer holding his hand, and he calls out for her. She’s right behind him, and teases him for thinking she’d disappeared, but we cut to his five-o’clock shadow as he asks, also just under his breath, if she’s really going home.

Even after the fireworks are over, Sayu keeps looking up at the sky. She recalls how she gave all the other guys an alias, but when she met him, her real name just came out. The moment arrives that has arrived in so many romantic anime where there’s either a confession and/or kiss or a failed/thwarted attempt at either.

Instead of either, Yoshida wisely gives Sayu a nice, platonic head pat. Sayu looks disappointed, but quickly smiles. She knows, even if she wasn’t a teenager, Yoshida is sure would have taken her in…and just as sure they wouldn’t have had sex.

Of course, while she knows this, and Yuzuha and Airi and Asami know this, the person to which that very crucial distinction matters most does not know this, at least not yet. That means when Yoshida comes to the door in his pajamas and Sayu is standing behind her in hers, Issa has absolutely no way of knowing Yoshida wasn’t sleeping with his sister.

Even so, Ogiwara Issa’s entire character as we know him thus far is that he’s polite but determined to find her, and now he has. His brief smirk seems more out of relief to have succeeded than a reaction to just how screwed Yoshida is. But that smirk soon straightens into a more serious face as he announcesnot proposes—what’s going to happen. He’s taking Sayu home.

Yoshida may have something to say about that, and Issa may be open to hearing him out, but because this is there first interaction, depending on the level of assumptions Issa is willing to level against him, I can’t imagine anything Yoshida says will move him. I guess we’ll find out eventually, but with next week’s episode entitled “Past”, we may have to wait longer than we should.

Rating: 4/5 Stars

Jaku-Chara Tomozaki-kun – 11 – Shedding the Mask

If Hinami was genuinely scared of the cicada, it was only for a moment. It certainly didn’t keep her from getting back to her feet by herself. No, the ensuing embrace and almost-kiss is only more practice, more training … more lies. Of course! Tomozaki wonders what would have happened had he not dodged her kiss. She probably would have kissed him, but it wouldn’t have meant anything.

How either she or Tomozaki feel about each other wouldn’t factor, because she wouldn’t ever let it. The test of courage ends with Misuzawa reporting that Nakamura and Yuzu agreed to make plans to hang out at some point in the future. It’s baby step, perhaps, but a meaningful one, because neither Nakamura or Yuzu are following a script or playing roles.

Later that night Hinami texts Tomozaki to see if he’s still up, and they review his progress throughout the trip. But they’re interrupted by Mizusawa, who is also up. Tomozaki hides, and Mizusawa has a very important chat with Hinami. Watching Nakamura and Yuzu fumble through their courtship, and Tomozaki fumble through socializing, he can’t help but admire and even envy how goshdarh sincere they are.

They do what they want and getting emotionally involved in everything. He mentions Tomozaki calling life a game, but Mizusawa feels like he’s holding the controller but moving someone else around. Because of that remove, he gets neither hurt nor happy when the player does. He feels like he’s merely putting on a show, and asks Hinami if it’s the same with her.

Hinami responds by saying maybe she is watching from a distance as she goes through the motions. But due to the perfect ideal she represents to everyone, she unconsciously suppresses her real self, and speaks of “one person” she can show her true self to. Tomozaki, listening in, knows that Hinami isn’t being sincere here; she’s just removed one mask to reveal another, subtler mask.

By not shedding all of her masks, Aoi puts Mizusawa in a position he’s not used to: being the sincere one to open up. He’s a high-tier character, but he’s no match for a top-tier. Mizusawa confesses he likes her, and while he already knows the answer, he’s still glad he came face-to-face with what he wanted and gave it an honest shot. One day he wants to know how Aoi really feels, and asks her how long she’ll “stay on that side.”

Hinami would probably have preferred if Tomozaki had stayed hidden, but he can’t, and when he emerges to apologize for seeming to eavesdrop, he explains the “it would be weird to stay hidden”. That’s very telling, because it reflects Misuzawa’s own thinking on the matter after watching Nakamura, Yuzu, and Tomozaki acting with sincerity the whole trip.

Hinami suggests they all head back to the cabins, and is content to pretend nothing that was discussed or heard ever happened. But neither Misuzawa or Tomozaki want to forget. Misuzawa exhibited growth by being sincere and confronting what he wanted. Hinami “wasn’t the slightest bit moved” and simply continued her “perfect performance” by keeping her mask on.

Watching how Hinami reacted to Misuzawa’s sincerity made him realize that he can’t continue to follow Hinami’s training regimen. She tells him to tell Fuuka how he feels after their fireworks date, but to him it sounds like she wants him to put on another show; another mask.

So for his date with Fuuka, he tries something different. He forgets all the conversation topics he memorized and simply speaks to her extemporaneously. It’s a little awkward at first because there’s more silence, but what he does say is sincere.

Sure enough, when asked, Fuuka tells him he’s been easy to talk to all night. His hunch was correct: on their first date, it wasn’t him going off-script that made it harder for her to talk to; it was the fact he was trying to follow a script at all.

Tomozaki doesn’t tell Fuuka how he feels, because he’s not sure yet, and their date doesn’t suffer for his omission, any more than it suffered because he ditched the script. When he meets Hinami at the station, she considers this not only a defeat, but a surrender—taking his hands off the controller.

Immediately, Hinami starts going into ways to minimize the stiltedness and clumsiness of his conversation with Fuuka, and Tomozaki does something he’s never done before: he asks her to stop it. To stop her cold, logical discussion of strategies and countermeasures that totally elide and ignore what he really wants.

Himani remarks that Misuzawa “got to him”, and now he’s being misled like most everybody else by an idea that doesn’t exist—”what I really want”—and being unable to move forward, not mincing words as she dismisses it as “textbook weak-human behavior”. Tomozaki the gamer calls Hinami out for viewing human connections in terms of tasks and goals, saying it’s “weird out of the gate”. But Hinami doesn’t want to hear someone like Tomozaki judging her for her methods.

As far as she’s concerned, abandoning her regimen and rejecting her advice is no different from abandoning his personal development; giving up on progress. She expresses the same disappointment in Tomozaki she expressed for Misuzawa when he dropped his mask, and judigng that there’s nothing more to be said, gives Tomozaki back the button he gave her, asks for the backpack she gave him back at a later date, and hops on the next train.

While I know there hasn’t been a lot of romantic chemistry between Tomozaki and Hinami, that doesn’t mean there’s none there whatsoever. In the spirit of the sincerity Tomozaki has chosen to start living his life and interacting with people, he’s not going to confess to Fuuka willy-nilly simply because it’s the next assigned task. Both he and Fuuka preferred him being his genuine self, warts and all.

By trying to be no less earnest and open with Hinami, Tomozaki thought he could bridge the gap between them. Like Misuzawa, he wants to know what she truly feels and wants behind the mask. But in trying to find out, he called her entire philosophy into question, causing her to retreat even deeper within her mask.

I think losing Tomozaki as a student genuinely hurt her. She saw in both him and Misuzawa kindred spirits who played the game at a remove. Now she perceives herself as being all alone, stubbornly clinging to her ideology. Hopefully Tomozaki won’t shrink before the most challenging boss yet: Hinami’s misguided obstinacy. If her mask can be shed, he still stands the best chance of shedding it.

TONIKAWA: Over the Moon For You – 12 (Fin) – I Want You to Live

In the first half, Nasa lets his tendency to get really involved in something get the best of him, and he works on a computer project all day and through the night. When he’s done, he has a fever, and Tsukasa is committed to being the “cute newlywed wife” who sees to his every need until he’s better.

That includes making him food and administering medicine, but also more intimate things like having him strip (as much as he dares to) so she can wipe down his sweat. By the end of the day, he’s feeling much better…better enough to get frisky in bed.

But Tsukasa again warns him to know when to “apply the brakes”—she’ knows he’s still not fully recovered enough for strenuous activity. As for Tsukasa, she drops one last hint about her mysterious origins by declaring she “can’t get sick or hurt”.

The remainder of the episode is actually the reason Nasa worked so hard he got sick: he wanted to be able to go to the summer festival with Tsukasa. He makes what he believes is not an unreasonable request to watch Tsukasa change into the yukata Kaname lent her, and doesn’t forget his camera—mostly to take pictures of his cute wife, not fireworks.

Nasa shows he’s not good at everything when he instantly fails at goldfish scooping, and Tsukasa confesses that the way they made takoyaki at their party is not her favorite way, and she’s super stoked to get the traditional kind at a food stall. Finally the two make and offering and pray for a long and happy marriage, for their health, and for better luck scooping fish in the future.

Then they join the others to watch the fireworks, Nasa looks forward to going to next year’s festival with his wife, and they return home together, husband and wife. Nothing too fancy! Certainly no other further revelations about Tsukasa’s possibly immortal status are revealed.

In this regard, TONIKAWA ends just the way it should have, with the lovely status quo of a happy Nasa and Tsukasa continuing to enjoy their lives with one another and their little circle of friends. It’s simple and mundane, but in the very best way, and I wouldn’t mind more heartwarming comfort food of this kind at some point in the future.

Rating: 4/5 Stars

Warlords of Sigrdrifa – 10 – Don’t Be a Memory Just Yet

Odin makes it official via hacked video feed at an international summit: he’s provided humanity with weapons to use, a motive to fight, and now enemies to fight. Now it’s up to them to resist their destruction. As far as he’s concerned, Ragnarök isn’t over—it’s still nigh.

Miko notes that Sono has seemingly become stronger following the loss of Yayoi, and also proposes they carry on with Tateyama’s summer festival in spite of the ongoing crisis. After all, if not now, when? Claudia accompanies Satomi on various PR gigs to shore up support for the next battle.

As for Azuzu, she’s extra-burdened by the weight on her shoulders, believing she’s the only one around her “smart” enough to comprehend that if they lose the next battle, it’s curtains for humanity. When Miko wakes her up and presents a yukata for the festival, Azu is furious: how can you think of festivals now?

She lashes out at Miko and runs off because she’s scared, and Miko knows it, so she runs around trying to locate her. Sono hides Azu, but maks it known that pretty much everyone agrees with Miko that this isn’t just an appropriate time to celebrate and make memories, but the only time. After the next battle, memories may be all remains of them.

After a brief chat with Claudia, who is as happy and at home in Takeyama as ever, Miko realizes where Azu has gone: the same vantage point where she used to gaze out at the sea when she first arrived. Azu is scared, and apologizes for being weak; Miko tells her she’s scared too, and tells her not to confuse being a crybaby with being weak.

The two lean closer, acknowledging that they may die very soon, but Miko assures her that if one of them dies, both of them will, leading to the most haunting lines of the series: “I’ll wake you in heaven for breakfast.” Now that they’ve made up, they join Claudy and Sono for the festival.

It’s a big success, as they and the townsfolk have a ton of fun doing standard festival stuff. Miko has Azu cram into her Hero Wing to apply the finishing touch: a fireworks display during the casting of water lanterns, meant to console the living as much as guide the dead.

Claudia takes it all in, as it confirms her feeling of home in this place where she one felt so out of place, and adds her song to Miko and Azu’s display, tearing up in the process. When Satomi and the head mechanic see her cry, that settles it: they, and everyone beneath them will do everything they can to protect those tears. The calm has now come and gone, and now it’s time for the decisive storm.

The Quintessential Quintuplets – 06 – Dad Wants Results

As a result of all his help at the fireworks festival, Fuutarou is well-liked enough by Ichika that she walks to school with him, something any lad in his right mind would die for! But as good terms as he’s on with the eldest quint, the youngest continues to harbor a deep animosity for him.

Itsuki still holds a grudge for him refusing to help her study back when they met. She and Nino remain outside the study circle, and his attempts to convince them to join it are rejected with prejudice. That said, Fuutarou was way too loose with his words to Nino in front of her friends, making it sound like the two of them slept together!

Fuutarou remains committed to studying, so he declines to join Ichika, Miku and Yotsuba for parfaits, but Itsuki flags him down on the way home and puts him on the phone with their father, who informs Fuutarou in no uncertain terms that he expects results for his investment: if any of his daughters fails the upcoming midterms, he’ll be fired.

It’s a gut punch for Fuutarou, who doesn’t immediately react well to the warning, as he takes out his anxiety on Itsuki, who is convinced he’s only doing this for the money and doesn’t want his half-assed help after rejecting her. The two end things in a bad place, declaring they’ll never work with one another ever.

When Fuutarou comes to the quints’ place so he work with Ichika, Miku, and Yotsuba, Itsuki is nowhere to be found, but Nino is around, so he can’t let the others know the cost of failure lest Nino exploit that information to sabotage him. Nino gets the info anyway when she pretends to be Itsuki while Fuutarou is in the bath. I guess her goodwill toward him didn’t last past the fireworks festival, huh?

Meanwhile, Ichika has picked up on Miku’s feelings for Fuutarou, and makes every effort to put the two in closer contact with one another, from insisting Fuutarou spend the night (hence the bath) to plain ol’ shoving Miku into Fuutarou’s chest, then having Yotsuba check his pulse…which is high, but to be fair Yotsuba chased him around the house!

When Miku comes right out and asks him what type of girl he likes, Fuutarou only doles out his three top qualities in a girl after the three each complete a page of notes. Ichika invites Fuutarou onto the balcony for a break, and brings up his fight with Itsuki. She sees Itsuki and Fuutarou as “too alike” for their own good, but thinks it’s fine for friends to fight, but as friends, not sworn enemies.

She also knows both of them are stubborn and its holding up their reconciling. She’ll do what she can for him, but at the end of the day it’s up to him to make things right with her. Fuutarou is impressed with how much of an “oldest sister” Ichika is, and follows her advice to praise her by patting her head, causing her to blush profusely.

Still, Ichika is being the good big sister by deferring to Miku’s feelings regarding Fuutarou…at least for now. When it’s time for bed, Miku bunks with Ichika and volunteers her bed for him, only to drowsily return to her bed out of habit after going to the bathroom. Fuutarou wakes up to find Miku curled up beside him!

Whatever consequences result from this innocent mix-up will pale in comparison to what happens if any of the sisters fails the midterms. This isn’t just about Fuutarou losing his job and the money his family needs. He’ll suddenly be cut off from the five young women who are gradually helping him grow as a person, just as he’s helping them. So I hope, for all their sakes, he finds a way to help them all pass.

The Quintessential Quintuplets – 05 – Flying Colors

As Ichika hides her face by locking herself in a warm embrace with Fuutarou, we learn that the mustache guy is not her date, but her co-worker on a film crew. But even that is a fabrication on Ichika’s part, desperate as she is to keep her secrets as long as she can.

She manages to deflect by asking Fuutarou why exactly he’s so invested in her and her sisters. When Ichika comments how it’s weird for them to be hugging so intimately despite just being friends, Fuutarou mentions how he’s not sure it’s right to call themselves friends, to which she responds he’s being way too picky about semantics!

Also, Ichika says she’s a little hurt by the notion he never considered them friends, and that gets Fuutarou thinking about his recent interactions with both Miku, who also looked hurt by the same assertion, and Itsuki, who said it’s so obvious what they are to each other it doesn’t actually have to be said!

Yet apparently it does! Especially when Ichika’s co-worker spots Miku—who is sporting a new hairstyle so Fuutarou will compliment her— and mistakes her for Ichika. Fuutarou and Ichika track the two down, and Fuutarou declares once and for all: he’s their partner. That’s when mustache guy blurts out that Ichika is actually an actress who has to get to her audition.

While that’s not the most surprising twist, it’s still a hella good one, which subverts Ichika’s previous reputation as cool, relaxed and lazy. It’s not that she can’t be all three of those things at times, but that’s not all she is. She’s held back, both from her sisters and Fuutarou, in case this audition thing goes south. But judging from Fuutarou’s reaction to their little line-reading session, it won’t!

When she turns to leave, Fuutarou takes her face in his hands and stretches it out, telling her to quit it with the fake smiles that hide her true emotions. He’s observed it what sets Ichika apart from the others, and it was confirmed when he felt her trembling while hugging him in the alley. Ichika is putting on an act with those false smiles, but Fuutarou isn’t convinced. He proceeds to come clean about their partnership, and that at the core of things he wants to “work for what he earns.”

Ichika is impressed he was able to discern such a subtle change in her behavior. Acting is her dream; her way to finally stand tall as the eldest sister. If she has to ditch the fireworks for a shot at her first big break—leaving the ensemble to explore a solo leading role—she’ll do that, apologize to the others later, and hopefully it will work out.

Ichika is super-late to the audition, but gets her shot, and doesn’t miss. From the first lines she utters, the casting crew stands up straight, like some rare bird had suddenly entered the room. There’s suddenly more conviction and resonance to her lines than when she said them to Fuutarou. Now I know why they cast Hana-Kana for Ichika—it’s such a powerful yet subtle performance, but she makes it look easy.

Later, Mustache Guy (who scouted her) presumes Fuutarou must’ve helped Ichika pull out a role-winning performance. Her role thus secure, Fuutarou escorts her to her sisters, who are waiting in the part with…Chekhov’s Fireworks Kit! Yotsuba bought the kit for Raiha, but there’s no doubt the wise-beyond-her-years imouto would have no problem donating it to a good cause.

Ichika bows and apologizes, but the others apologize right back, since all five played a role in the confusion that separated them. Where one sister messes up, the five of them overcome it together. Nino gets in Fuutarou’s face, but to his shoc k it’s to thank him for getting the job done—albeit in the most unconvincing tone imaginable! He then sits back and admires his work, shaking off the urge to go home and study.

When there are only five fireworks left, the sisters do a countdown before grabbing their preference…and Ichika and Miku pick the same thing. Ichika lets Miku have it, saying Miku “can’t let go of that one.” It couldn’t be any clearer that the “less flashy” firework represents Fuutarou, and despite Ichika’s generosity in this one instance a love triangle is officially up and running.

To confirm that, one need not look further than when Ichika approaches Fuutarou to tell him that as partners, she’ll be working hard to repay him for his support, but warns him not to think he’ll have an easy time with her. Alas, he’s asleep with his eyes open, so she gently rests his head in her lap.

This episode felt like a turning point when the dynamic of Fuutarou and the quints finally shifted from one primarily composed of hostility and discord to one of more cooperation and harmony. Sure, it may now only be something like 51-48 in cooperation’s favor, as there are surely many more conflicts to come, but it’s a long way from the utter chaos of the first episodes. Enough good faith and good deeds have been exchanged and motivations revealed that more progress can be made.

It’s been said in the comments, but it bears repeating after watching this episode: a harem rom-com about quintuplets has absolutely no business being this damn good. It’s as if creator Hariba Negi came up with a premise he knew sounded like tacky schlock, but said “Just watch—Imma elevate the FUCK outta this schlock!” And he did. I don’t often regret a decision to skip a show, but in the case of QQ I clearly missed out on a gem.

The Quintessential Quintuplets – 04 – Fireworks Factory

When Itsuki shows up to the Uesagi household, it’s on official business on behalf of her dad. She’s come to deliver Fuutarou’s payment so far: ¥50,000 ($469) for two days of work. Only Fuu doesn’t want to accept it at first, since very little in the way of tutoring has happened in those two days.

Still, Itsuki doesn’t agree that he’s done nothing, mentioning how his mere presence is starting to “change something” in the five of them. So the cash is his. Fuutarou decides to spend it on Raiha, and because no one can refuse Raiha’s shimmering Bambi eyes, Itsuki tags along on what turns out to be a fun trip to the arcade. I was impressed that the episode managed to pack an entire dating sim event’s worth of material in the first five minutes!

What was to be Fuutarou’s Sunday free of quints turns into half a day with one, followed by an evening with all five. No matter; he was thinking of them even when he was studying alone, indicating the “change” Itsuka spoke of goes both ways. They somehow(!) agree to finish all their homework before going out for the fireworks festival.

As if the quints weren’t resplendent enough in their school uniforms or casual clothes, they all show up in full yukata regalia. Itsuka even changes her hairstyle, leading Fuutarou to initially not know who he’s talking to when she approaches him. Yotsuba seems the most smitten with Raiha, to the point she jokingly considers marrying Fuutarou just so they can be legal sisters.

Meanwhile, Nino sees Raiha with a firm grasp on her big brother’s sleeve so as not to get lost in the crowd, and if anything seems jealous of Raiha. Miku explains to Fuutarou that fireworks were a big part of their shared memories of their departed mother (something they share with the Uesugis).

That also explains why Nino is so intent on keeping the tradition alive, this time in the role of the caretaker in her mother’s stead. She even rents out an entire rooftop so they don’t miss a thing, but it’s she who gets lost in the crowd, until she’s “rescued” by Fuutarou, and proceeds to grasp his sleeve as they ply through the crush, and head for the rooftop.

Unfortunately, Nino messed up: none of her sisters know the rooftop’s address. Fuutarou volunteers to head out and locate the others, starting with Ichika, whom they spot from the roof. However, once he approaches her, he’s stopped by an older man in a mustache from whom she’d gotten a call earlier that night. While Fuutarou is trying to determine the best way to describe his relationship with Ichika to the man the two vanish.

Apparently when life takes away an Ichika, it provides a Miku in return, and since Miku got her foot stepped on, Fuutarou lets her ride piggyback…for all of five minutes, until he declares her too heavy to get anywhere fast. He bandages her foot and she gives him a sarcastic thanks (what’s he doing bringing up a lady’s weight?). Regarding Ichika, Miku has seen her getting out of a mustachioed man’s car in the past, so whatever’s going on with them, it’s not the first time.

By episode’s end, only 24 minutes (equal to one more episode) of the fireworks remain, meaning there’s still time to wrangle the quints so they can share in the special tradition Nino so desperately wants to preserve. One could call Fuutarou’s mission akin to scooping five goldfish with the same net, with the prize of gaining at least some points with Nino.

The only problem is, the pool in which those five fish reside is a big one, time is wasting, and one of those fish, Ichika, has already escaped, making it plain she won’t be joining the others. Whether this is her own choice (part of a larger effort to become an independent adult), that guy’s choice (is this an escort date, a legit relationship, or something else?) we don’t really know. Ichika’s face at the end is a veritable enigma.

Still, one thing is clear: something is definitely troubling the cool, carefree Ichika, and Fuutarou can tell. And that’s what’s so engaging about the quints: just when you think you have one figured out based on their outward traits, something happens that reveals a whole new side of them, and you can’t help but want to learn more.

Karakai Jouzu no Takagi-san 2 – 12 (Fin) – The Real Game Begins

The entirety of Takagi 2‘s finale is devoted to the summer festival, as it should be. We start with Nishikata waiting nervously for Takagi, his hands already sweating with anticipation. She arrives positively resplendent in a yukata, nearly bowling him over with her beauty.

As they walk to the festival together, little kids and old people alike see them for what they are: a couple on a date. Nishikata thinks he can win a game in which no adults say they’re on a date, but he has to rely on semantics, and ultimately loses at the candy apple stand.

As the other members of the cast enjoy the festival, Nishikata tries to distract from the fact he’s on a date with Takagi by engaging in one competition after the other, from goldfish scooping to ring toss. He loses at all of them, but Takagi gives him an out: if he does “date stuff” with her, he’ll automatically win.

For once, Nishikata doesn’t want to win, or rather the little timid voice inside him doesn’t want him to fully open himself to the experience. He won’t feed Takagi, but he does give her the gift of a cute hairpin, eschewing the childish toys also available to choose.

On two notable occasions, the large crowds separate Takagi and Nishikata. The first time, he’s able to locate her quickly, but the second almost spells disaster, as they can’t find each other when the fireworks begin. Thankfully, Nishikata’s mate Kimura, with the assist of the episode, directing Nishikata to Takagi’s location atop the shrine steps.

Takagi has to endure the bulk of fireworks all alone, and her face has never been more morose…but when she spots Nishikata running up the steps her face brightens, and meets him halfway down the steps. Sadly, the fireworks end just as they reunite.

Far more importantly to Takagi, Nishikata finally takes her hand into his, unbidden, calmly explaining how it would suck if they got separated, not to mention the steps can be perilous.

DAWWWWWWWWWW

Takagi’s reaction above tells you all you need to know about how much this means to her. Just one episode after he finally asked her out, he mustered the courage to take her hand, and even if it was the practical move, it shows HUGE growth on his part to actually, you know, make it.

They descend the steps hand-in-hand and later we find them playing with sparklers on the beach; unassailably a date thing. Takagi tells him that throughout all the “losses” he’s endured, he’s never really lost, because, well, he has her. Her attention, her affection, her eyes on him.

No matter how you slice it, Nishikata is a winner. And in what I dearly hope will be a third season of this beautiful, uplifting show, perhaps he’ll keep gaining confidence, shaking off his childish hang-ups, and making the right moves. There’s a lot of game left to be played. But if this is the ending to this particular story, I’m glad it ended on a happy note.

Takunomi. – 11 – Hot Pot, Hot Sake

Michiru is full of energy and kitted out in full yukata as all four housemates visit a shrine to pray for a prosperous New Year. Since everyone else is in modern garb, Michiru can’t keep up and get lost in the crowd, missing a chance to drink some traditional amazake with the others.

She also gets pretty cold with no coat, so when they get home Kae whips up the perfect meal for a cold day off: hot pot. Nao provides the booze-of-the-week: a special sake called Daishichi Junmai Kimoto, especially well-suited to be enjoyed hot (but also great cold). One thing I didn’t know: how quickly you heat it and the specific temperature results in different flavors being released.

Nao heats it up to “Atsukan” packs a rich punch that goes perfectly with the hot pot proteins, vegetables, and broth. The combination of hot food and hot sake quickly make Michiru very relaxed, changing into her PJ’s and cuddling up to Nao like she’s back home—where she was the talk of the town for her big city exploits.

Itsudatte Bokura no Koi wa 10 cm Datta. – 04

This ain’t ten centimeters!

Miou’s in a funk and a half, and really just wants to curl up and die, or at least switch places with Serizawa’s dearly departed brother, since she doesn’t deserve to live while he’s dead, and it’s all her fault for drowning. This is of course patently ridiculous…yet here we are.

Of course, Miou doesn’t tell any of this to Akari or Natsuki right away, but they don’t like her in this troubled state and do all they can to support and cheer her up. Such nice friends!

“My finger camera…broken?!”

Miou’s sudden disappearance from his life, compounded with the notice that he’s won the chance to study abroad in America, is also weighing on Haruki. Frankly, both protagonists are real mopey pains in the ass this week, and it was most unpleasant to watch.

I’d like to think I’d have the patience of Miou and Haruki’s friends, but some one can only snap at you, or tell you they’re no good, so many times before one has no choice but to throw their hands up and say “You know what, fine! You’re right! Now go suck someplace else!”

“There you go, quit being a whiny little brat and paint something!”

While Haruki sinks deeper into the muck, even questioning whether he really wants to be a filmmaker or if he’s just carrying on his brother’s dream, Miou thankfully comes to a sort of epiphany when Natsuki begs her and Akari to help her out at a community art class.

Echoing the cold open where a Lil’ Miou wowed her preschool-mates with her drawing, Miou interacts with an ornery little boy and gets him to cooperate and even have fun, then moves from person to person giving tips and encouragement. She clearly has a knack for talking about and teaching art.

“Let’s do this, canvas.”

She also later realizes she can’t keep the secret about Haruki’s brother inside forever or it will eat away at her like a sickness. So she comes clean, only it’s nothing to “come clean” or even blame oneself for; Natsuki can’t stress it to Miou enough: It’s not her fault, and staying away from Haruki out of fear he’ll hate her will only make him hate her.

Natsuki and Akari agree both Miou and Haruki are at their best when they’re on good terms, talking and hanging out together. So even though Haruki can’t see any future with Haruki in it (especially now that he’s headed for America), that isn’t going to stop her from imagining that future anyway—starting on the canvas, which she returns to with newfound desire to fill it with her vision of “love.”

Besides, Haruki may not end up going to America anyway. He just needs a reason to stay.