Zombieland Saga: Revenge – 07 – We’ve Got a Live One

This week’s opening minutes are very familiar, because they unfold very similarly to the very first episode of ZLS, when a super-chipper Minamoto Sakura’s life was unfairly snatched away by a passing car.

In the case of Yuzuriha Maimai (Hanazawa Kana!), she trips and falls on the way to the bathhouse, smashing her glasses. Undeterred, she accidentally walks into the men’s bath, then slips on a bar of soap that happened to slip out of a bathing Koutarou’s hands.

Cue the death metal and multiple camera angles that, in its first ever episode, made clear that this wasn’t going to be quite like other idol series.

We quickly cut to the briefing basement, where Koutarou, Maimai’s wrapped corpse behind him, announces they have a new member! There’s no doubt that among the many thoughts going through the girls’ heads is Did Koutarou finally go too far and murder someone??

Fortunately, the “corpse” comes to—apparently, Maimai is too dumb to die (either that, or the blow to the back of her head wasn’t as bad as it looked). In any case, Maimai’s series of errors led to Koutarou panicking and not confirming she was actually dead before exposing the rest of Franchouchou to a living person.

Fortunately, Maimai is a good girl, and also a huge fan of Franchouchou and Number One in particular. She has no intention of telling anyone their secret, but since she’s there anyway, she asks if she could join the group anyway! Koutarou, thanking his lucky stars he didn’t accidentally kidnap someone brighter, agrees, and Maimai is christened Number Seven.

While Maimai knows all the words to their songs and all the moves to their dances, her brain and body rarely operate in concert. As a result, her training does not go smoothly at first, but Ai, consummate professional that she is, never loses her patience, and Maimai eventually starts to improve.

When her school’s cultural festival committee is deadlocked on what the big act should be, she says she can get the Franchouchou. The girls are excited to perform there, particularly since they either didn’t spend much time in high school or, in Lily’s case, never made it there. It’s also slightly implied that Koutarou seduces the principal to get approval.

The girls stop by for a pre-festival tour of the festival, and when Maimai tells Sakura how she thought Saga was “done for” until she heard Franchouchou, Sakura can’t help but remember how negative her outlook was until she first heard Ai and Iron Frill. Maimai is shocked to learn of the group’s intention to have a “revenge” show at EFS, but Sakura tells her that’s what Franchouchou is: they never give up.

The big day arrives, and wouldn’t you know it, Maimai doesn’t screw up once! Instead, she totally surprises her friends and classmates by appearing on stage and performing with Franchouchou, announcing after their first song that she’s the newest member…only to then immediately announce she’ll be “graduating” from the group as soon as she leaves the stage.

Her reasoning is solid: while she initially thought she was “one of” them, and they welcomed her with open, caring, and encouraging arms, the bottom line is that other seven have no choice but to do what they do, because they’re zombies. Maimai reckons she needs to live out her life in Saga first in this new Reiwa era, inspired by their dedication to continue rising up and living life to the fullest despite being dead.

After giving a giddy Saki a parting gift of a 20th-anniversary color Tamagotchi, Maimai parts ways with Franchouchou. Part of me is sad Hana-Kana’s time with the group was so brief, but I absolutely understand, respect, and even admire Maimai’s choice.

And while she’ll absolutely never spill the beans about Franchouchou’s true undead nature, reporter Ookuba Shinta has now matched all seven members except Yuugiri to their living counterparts.

Whether he’ll put this scoop on the front page immediately, or go to Franchouchou first for further explanation, I don’t know the guy well enough to say for sure. All I know is, the preview for next week confirms that Yuugiri, the only member on which he has no info, will finally get her own focus episode, which looks to be a period piece. It’s about time!

Rating: 4/5 Stars

Read Irina and Crow’s discussion of this episode here!

Zombieland Saga: Revenge – 06 – Tae-Tae’s Big Adventure

Ookoba Shinta needs a big scoop to maintain his sanity in Saga, and he can’t quite take his eyes of the group of lookalikes of deceased famous people that is Franchouchou. He’s not a fan (though I guess he’s not not a fan either); he wants more answers about who they are and what their deal is.

Well, their deal is pretty simple: they’re 20 million yen in debt, all thanks to Koutarou (who brazenly ignores that fact, thus rejecting reality and substituting his own). They’re out of their creative slump due to the past few events that also didn’t cost them anything, but they still need to get that paper.

He even calls out Tae as someone who really should be at least trying to make some money, though Yuugiri simply sends her on a grocery errand. Ookoba encounters “Number Zero” in a crosswalk and decides to start following her. What he—and we—witnesses is a delightful day in the life of Yamada Tae!

A kind old lady gives her a snack. Some soccer kids give her a snack. She has a snack of edible offerings at the Yamada family ancestral grave. Then she shows up at the supermarket…where my favorite pint-sized bozozoku girl Amabuki Maria has a job trying to pay for a new bike for her mama. Maria can’t help but talk Zero’s ear off whenever they meet; probably because Zero is such a good listener!

Maria and her two BFFs have decided to “tear it up” in a new way, through dance, and invite Zero to a pharma-sponsored dance-off where they proceed to put on, shall we say, a heartfelt and upbeat but ultimately underwhelming performance. They’re no match for the five-time champion Cocco-kun, who is someone in a chicken suit.

Because Cocco-kun represents Tae’s ideal—a chicken big enough for her veracious appetite—she joins him in a breakdancing duel, scaring the shit out of the pharma PR exec but also blowing the top off the competition with her inhuman moves, including spinning on her head so fast her head looks motionless…because it is! Ookoba tries to snap a photo, but Romero ruins his shot.

Tae easily dethrones the fully human Cocco-kun and claims the ¥30,000 Grand Prize, but seems only interested in the Bonus Prize: a 10kg bag of onions—and tosses the cash in the trash. Fortunately, Maria fishes it out and tries to give it back to Zero-chan, attracting the attention of Saga Policeman A.

He recommends she spend it at the tracks…not the horseracing track, as he repeatedly pleads to his chief, but the boatracing regatta. There, like Maria and her little dance troupe, Korosuke’s princess Misa has also found a new way to tear it up, even though she’s yet to win a single race and wipes out almost every time. While the cop is busy, Tae places a bet, demonstrating how easy to use the machines really are.

Misa spots Maria in the grandstand and it lights a fire in her belly, because she’s a Misa on a mission, channeling Saki on her bike and pulling the legendary “eel goby turn” while shocking everyone who bet on her to DNF once more.

Maria and Misa’s Korosuke crew are elated, and then Maria takes a look at betting ticket and realizes to her shock that Number Zero increased her money over six hundredfold with a perfect trifecta (or something…I don’t know all the terminology!)

This means she turned her ¥30,000 into a cool ¥20 million—thus erasing all of Franchouchou (really Koutarou’s) debt in one day, while out on a little grocery errand. She either took Koutarou’s insistence she get out there and make some money, or it happened entirely by accident (after all, she did try to throw that ¥30K in the trash at first).

Zombieland Saga loves the fact that we both desperately want to know and don’t want to know more about Yamada Tae, and spent an entire Tae-centric episode proving that it really isn’t a detriment for her shroud of mystery to remain fully intact, even unto the end of the series. Tae more than proved she can carry an episode without singing, speaking, or her past being revealed, while Ookoba followed her all day only ended up with more questions.

Cheif among those crops up right at the end of his stalking session. When Tae’s head pops off and falls on the ground, Maria just happens to have her back turned, and Saki keeps it that way by pulling her into a romantic embrace. But Ookoba not only sees Zero’s head come off, he snaps a photo of it. Just when he was about to give up, his underling’s joke about those famous girls being revived as zombies suddenly doesn’t seem so far-fetched…

Read Crow and Irina’s discussion of this episode here!

Zombieland Saga: Revenge – 05 – Always Be Twinkling

This week is a Lily episode, as she decides she wants to shine even brighter by entering herself in the Saga regional of the awkwardly-titled national TV talent competition Japan’s Got Performance. If she wins, she’ll move on to the finals in Tokyo. I love how the pint-sized Lily announces this by shaking up Koutarou’s usual dungeon briefings. This is a choice she made—not him—and she’s going to do it.

But upon arriving at the venue for the competition, Lily learns she’ll be facing stiff—and very familiar—competition in the form of Oozora Light, the latest child prodigy star. While his meeting with Lily is friendly, Sakura and Tae later discover that unlike Lily he’s an arrogant, cynical little shit, spoiled by and abusive to his manager and expecting an easy win in the “sticks” of Saga.

While much of the competition before him seems to support that assessment—none more than Koutarou’s own baffling impersonation of a mudskipper—Lily brings some class, charm, and heritage to her multi-faceted rakugo performance, proving she can do whatever she wants on stage and excel.

Both the crowd and celebrity judges are eating out of her hand, laughing at the comedic bits and crying at the dramatic ones. Lily is an expert at working the crowd, but it’s always about shining as bright as she can and entertaining them, not manipulating them. If she isn’t having as much fun as they are, there’s no point.

Light follows it up with…sigh…juggling. It’s here where we see that he’s more concerned with tricking the crowd into siding with him with his on-stage performance, since they’d probably loath his true self. He does this by pretending to mess up, only to yell Never Give Up! and get back on track. As juggling acts go it’s pretty good, but in all honesty he’s riding his celeb status here; Lily’s act was far superior.

Unsurprisingly, the two finalists for the Saga Regional are Lily and Light. Lily stops by his green room to wish him good luck, and predictably Light throws her good wishes back in her face, calling her out for putting on such a syrupy sweet and cute act that they both know isn’t going to last once they’re out of elementary school.

Of course, Light isn’t aware that Lily was once a bigger star than him, and also will never grow up, because she’s a zombie. But even if she wasn’t, Lily is still a veteran of show business, and doesn’t rise to his trash talk, keeping things friendly and cordial. Even so, Sakura, who overheard Light laying into Lily, has her back, reminding her all of Franchouchou are with her.

When Light inadvertently steals “Life”, Lily’s signature song from her past, she once again shows what a multitalented consummate professional she is, re-arranging her music for the band and altering her costume, all in the time it takes for Light to perform his song. It’s also not lost on me that her light blue hair and pink and white ribbons match the transgender flag, a lovely personal touch.

Lily counters with “Life”, but rather than the classic bittersweet version, her vivacious arrangement integrates addictive scat-singing and dancing that get all the kids in the crowd and on TV dancing with her. She also basically turns all the adults into kids as the clap along, swept up in her sparkling, twinkling awesomeness.

As I expected, she still loses to the Next Big Thing, but not only is she perfectly gracious in on-stage defeat, but she tracks down Light to cheer up and encourage him off-stage. While he technically won, he knows full well Lily put on a performance he couldn’t have hoped to match, especially in the compressed time frame she had.

Lily reminds him that show business is about who wins, not always who’s best, but all either of them can do is keep shining as brightly as they can. She manages to thaw his cold, dark heart, and when he points out she’s in the boys bathroom, her response is pitch-perfect: “It’s fine…it’s just me after all.”

A lesser show would have had Lily put Light in his place by beating his ass and moving on to Tokyo (something Koutarou wasn’t going to be happy about—Tokyo isn’t Saga!). Instead, Light is given extra depth and humanity, which is gratifying because being a child star in any era is not easy…just ask Macaulay Culkin!

They part ways on good terms, with Light inviting Lily to Tokyo sometime so they can work on something together. And while Lily didn’t make it to the national final, a kid doing her scat performance of “Life” becomes a viral sensation all over the country, netting Franchouchou thousands of new fans. Let it never be said the shrimp doesn’t pull her weight!

Irina and Crow’s discussion of this episode has dropped. Check it out here!

Zombieland Saga: Revenge – 04 – Undeath Metal Girls

Sakura does her level best to cheer Junko up, but her head is still out of it, during another musicmaking practice I can’t help but think is far too quaint against the likes of Iron Frill. She doesn’t even realize her hula hoop has fallen to the ground! Shiori’s harsh and under-informed opinions about Franchouchou build on Junko’s building lack of confidence in any scenario without Ai.

If Shiori, the center of the country’s top idol group, says they’re trash, then they must be. But in believing those words, Junko creates artificial limitations. It’s less about Ai being too good for Franchouchou than Junko not being good enough. When Junko and Ai cross paths, Junko asks if Ai enjoyed being in Iron Frill more.

The way Ai responds by asking why Junko is worried about that when she should be worried about the show just rubs Junko the wrong way. For one, Ai doesn’t even attempt to humor or reassure her she’s happy where she is. But that’s less Ai being insensitive to the moment as Junko being hyper-sensitive to anything that confirms her anxieties.

Junko runs off to cry on the beach and scares the shit out of the local cop (who is never not hilarious in his buffoonery). Koutarou, no stranger to wailing at the waves, confronts Junko back at the house, armed with his trusty old red axe. As he creates wind with some sick chords, he considers it to be his lodestar, as as long as it can keep making music, he can keep moving forward.

He sees that Junko is standing still, unsure if she can go forward, and can see the false limitations she—not Ai ort Shiori—created for herself. Handing her the guitar, he tells her if there’s something she really wants—in this case to keep performing with Ai—she has to keep shining, strumming, and moving forward.

The pep talk not only snaps Junko out of her funk, but gives her the idea Franchouchou needs to create the necessary impact tomorrow. True to their tight-knit family cohesiveness, everyone (even Tae!) waited for Junko to sit down before tucking into Yuugiri’s sumptuous pre-concert feast.

They’re all happy Junko looks more focused. The day of the show, Shiori is disappointed to learn Ai isn’t even going to be on stage, because without her Franchouchou is nothing but “a bunch of nobodies.” Of course Shiori is ignorant to the generational talent Koutarou assembled, just as she’s not aware that Number Three is the Eternal Center Mizuno Ai. Regardless, Ai warns her not to underestimate Franchouchou, a group that’s always striving and evolving.

Shiori agrees to give them a chance, and she’s probably glad she did, as we finally get to see the group’s quaint musicmaking pay off. Tae is given a high-end drum set to start things off with a sick solo, followed by Junko on Koutarou’s red Strat. As I had hoped, she decided to draw upon her talent and ability to enchant with a guitar in her hand.

The group’s top two fans are delighted that the Death Metal Girls are back with a spicy, almost Beastie Boys style rock-and-rap number (I’m told it’s more of a piece with the likes of Limp Bizkit and Linkin Park).

As usual for the Revenge sequel, both the singing and dancing animation, the lighting effects, the camerawork, and of course the song itself all look and sound fantastic—a serious upgrade over the previous season’s more-than-adequate production values.

I especially liked how Junko finishes the song by smashing Koutarou’s venerable guitar into a million pieces. How’s that for impact?! Her performance moves Ai, watching proudly in the stands, and reminds her of when she’d watch old videos of Junko performing—the very thing that got Ai into the business.

Ai, who at this point understands full well that her resemblance to Frill’s old center wasn’t why Koutarou kept her off the stage. Now that he achieved what he was hoping for, Ai runs to the stage to join her companions. Only it’s quite a leap to manage, and when Junko grabs her arm it starts to come off! When Junko corrects by leaping towards Ai, they both hit the deck hard.

No problem, this just shows Junko that, as zombies, they can deliver a performance living human group never could, by injecting themselves with electricity and literally shining. As they perform a slick autotuned techno remix of “Awaken Returner”, the girls themselves put on a beguiling Tron-like lightshow. Shiori and Yui are suitably impressed, even if they have no idea how such special effects are being done. I don’t either…but they’re cool, so who cares!!

But it’s more than that. Yui told Shiori to be weary of recruiting Number Three due to her resemblance to Mizuno Ai, because as good as Ai was, she’s the past, while Iron Frill is all about the future. But Shiori never stopped being inspired by Ai, just as Ai never stopped being inspired by Junko. Even uif they weren’t secret zombies, Ai and Junko are timeless talents, and AI’s performance transports Shiori back to when she was just a little girl watching Ai on TV.

One of the many, many things Zombieland Saga gets so right is depicting how past generations help shape us. The past isn’t something you can turn your back on and forget about. It’s always there, and it’s why Iron Frill are who they are. Even Yui has someone who inspired her. This is why I believe Shiori decided to give a very particular shout-out to Franchouchou when they appeared on TV for a post-concert interview.

Shiori considers them Iron Frill’s top rival because they let her travel back in time to the genesis of her love of song and dance. That’s hard to do, and she knows she can’t rest on her laurels if she wants to have the same effect on the kids out there who dream of becoming like her, and Ai, and Junko.

Read Crow and Irina’s discussion of episode 4 here!

Zombieland Saga: Revenge – 03 – The Legendary Center Cannot Hold

Saki may be the de facto leader of Franchouchou, but their center has always been Mizuno Ai. While the group now has a radio show and their schedule is starting to fill out, much of that remains odd jobs. Ai warns the others that they can’t be complacent just because they’ve had a little success. Watching videos of Iron Frill, Ai knows the gap between them is a yawning chasm, but the only way to close that gap is to keep grinding.

During that grind, it’s Ai who is most often called upon by the other members for her advice and guidance. Other than Junko, who performed a long time ago in what was a very different idol industry, only Ai has the pertinent experience to help the others. So it’s deeply frustrating when a Kotarou in full drill sergeant mode announces Franchouchou will be opening for Iron Frill at the newly opened Saga Arena…without Ai.

His worry is that her resemblance to Iron Frill’s former center—her—is too risky. The others push back, but he’s made his decision. Ai leaves it to Junko, the next most-experienced idol, to head up the group and whip them into shape. Ai even thinks it’s a good opportunity for Franchouchou to grow up a bit.

Koutarou books a bunch of solo gigs for Ai, while Junko expresses doubt they’ll be able to make an impression on Iron Frill fans no matter how hard they practice. After seeing Iron Frill’s new center Shiori on TV basically declaring war on the opening act, the others put together a dance with improvised instruments in order to make more of an “impact”, when just the night before Junko was trying to google “impact”.

Junko goes up to the roof to play a song to cheer herself up, during which the colors fade and the frame adjusts to 4:3 aspect ratio—a nice nod to the era she’s from. Sakura, who came up to check on her, is so moved by the song she falls off the roof, with Junko only managing to save her head from falling. As such, their lovely dramatic scene together takes place with Sakura in two separate pieces.

Junko is worried that all she can do is demonstrate her own personal appeal, without knowing how to make that performance pay off in a group. I was thinking that she should just do a guitar and vocal solo that the others can eventually join in on, but the two decide to ask Ai instead, noting that Koutarou didn’t bar them from talking. In the meantime Sakura does what she does best: praise, reassure, and encourage.

But in a bit of awkward timing, Iron Frill’s Shiori confronts Ai after one of her solo gigs before Junko and Sakura can approach her. Shiori takes her aside, and after noting how similar Ai looks to her Ai, is very blunt in her assessment of Franchouchou. Basically, she believes the others are holding Ai back, and Ai would be better served joining Iron Frill to meet her full potential.

If Koutarou won’t allow Ai to do solo gigs outside of Saga, he certainly won’t let her go to a Tokyo idol group…or will he? Was leaving Ai out of the Saga Arena show while also booking multiple solo gigs to spotlight Ai all part of a scheme to get her poached away? Has Koutarou decided that the others should no longer rely on someone who, due to her fame in her past life, simply draws too much of the wrong attention (i.e. those journalist guys, who return this week)?

It’s telling that Ai doesn’t immediately refuse Shiori’s offer, but it’s also devastating for Junko to hear what Shiori said, because it confirms her fears she doesn’t have what it takes to lead the group in Ai’s stead. Just when everything was starting to look up, Franchouchou’s two most idolly members are facing personal crises. Can Sakura and the others pull together to help both Ai and Junko find their proper places?

Zombieland Saga: Revenge – 02 – Blazing Souls and Beckoning Winds

Franchouchou are training with renewed confidence after Koutarou pulled himself together, with Saki deciding to work on her abs with some sit-ups. Zombieland Saga’s slice-of-life scenes are always full of great little details, from the sound of the zombies’ bodies creaking, to the sound of Saki’s giant ponytail gently whapping Sakura. Koutarou announces their next gig as co-hosts of a TV tourism segment on Saga’s Yutouku Inari Shrine.

He does so in the most obnoxious way possible—thereby proving that he’s back!—by wearing a cardboard TV on his head and aggressively interviewing the idols. The details I loved here included the different ways they reacted to having a mic shoved into a facial feature, the change in the sound of their voice when the mic is close, and Tae’s spinning her head Exorcist-style once she gets the TV box…just ‘cause. It’s also the first time I’ve heard the current Japanese era of Reiwa—which began in 2019—mentioned in an anime.

Koutarou also mentions that they’ll be joined in the segment by The White Ryuu, a pompadour-sporting rock star from Saga who has also hosted a nationally popular radio show called So Saga Can Be Saga since 1992. Of the idols, only Saki shares Koutarou’s enthusiasm, as she’s a huge fan of everything White Ryuu, who is portrayed here by the real-life Hakuryuu, himself a pretty colorful character.

A little after Franchouchou arrive at the shrine and get set up with the TV crew, Ryuu makes one hell of a cool entrance, drifting in lying semi-supine across the hood of a ’59 Cadillac Eldorado. The White Ryuu is showing his age, with deep lines in a face partly obscured by a drooping, graying pompadour. It doesn’t matter; Saki is in awe, as am I! He explains he’s late because “the wind blowing down from Kyougatake gave me pause.” It won’t be his only mention of winds, nor the last philosophical thing he says.

In a refreshing development, the TV segment goes swimmingly, with a camera-shy Sakura bailed out by the consummate professionalism and knack for spontaneity of Mizuno Ai, as well as . The idols’ bubbly happy-go-lucky energy is nicely balanced (and sometimes usurped) by White Ryuu, who is full of bemusing little asides about life, society, and freedom.

In a beautiful little moment I’m glad was captured, Sakura asks Ai while they’re praying at the shrine if “zombie prayers count”, with a smiling Ai saying she’s “sure the gods are surprised we’re even here.” It reminds us something that you sometimes forget during their “human” segments: they’re zombies covered in makeup.

The segment is ready to wrap, but Ryuu insists on a torturous climb to the inner temple, where the zombie idols are fine but he collapses from exertion at the top. Even so, he raises a defiant fist and declares that “grasping hold of something real is never easy”, engendering a primal, avenging “RYUUUUU!” from Saki.

As the TV crew packs up, completely confused by everything Ryuu said, Saki has to hold herself back from picking a fight, just as she asked Sakura if she wanted to die when she said she’d never heard of him. To her, Ryuu’s words are like “fists fulla soul”, running out to say a proper goodbye to her idol and promising to start listening to his show again.

As he climbs back on the hood of his Eldorado (the guy commits), he says won’t be on the show much longer, as the winds are blowing him elsewhere. But he tells her not to sweat it, parting with the refrain “The answers you’re looking for can still be found in Saga.”

Back home, the other idols notice Saki is down in the dumps. The question of whether Saki is in love is brought up, and again we see how the different idols regard romance for idols. Junko is scandalized, even though plenty of her era’s contemporaries had secret love lives, while Lily is all for it, as long as it makes you shine brighter.

Sakura decides to approach Saki to find out for sure what’s troubling her, finding her out on the balcony listening to Ryuu’s show. Meeting him reminded her of how she thought everyone was out to get her, and how whenever she wouldn’t bow and scrape to them, they’d try to get rid of her. Even as a middle schooler she’d get in huge brawls, her victories leaving her lost and alone.

One night while lying on a riverbank she heard So Saga Can Be Saga from a fisherman’s radio, and White Ryuu’s positive affirmations to the troubled souls of Saga and beyond soothed her smoldering heart. Now we know why he said so many offbeat things during the segment: that’s his whole thing. And doggone it, he had some really nice things to say:

“No matter who you are, it’s rough not knowing where you belong. But it’s times like that you gotta keep your eyes and ears open. You’re gonna find somebody you feels the same way you do. Even now, me talking with you like this means you’re not alone.” Ryuu was right: Saki kept her eyes and ears opened and found Kirishima Reiko, jumping into her big brawl and fighting by her side, leading to the complex and deeply heartwarming relationship covered last season.

Saki is upset because she doesn’t want Saga or Japan to lose a voice like White Ryuu’s, finding and saving wretched souls like her. She’s lost enough already, damnit! So she hops on a bike (with Sakura accompanying her) and races to the radio station—utterly destroying the bike in the process—to confront Ryuu and beg him not to quit.

Ryuu welcomes Saki and Sakura (AKA Nos. 2 and 1) into the booth to discuss it. Saki tells him Saga is still full of folks who don’t know what to do with themselves, and even Saga itself doesn’t know what to do. Without him, where will smoldering hearts turn to? But Ryuu says that’s just it: the people need a place to turn to, not him.

He never said the show would be shutting down, only that he’d be departing. But not before finding someone with the passion in their soul to take over for him, and he believes that’s Saki and Franchouchou. He says they have the spark that lights a fire in folks. Brooking no input from the suits, he bequeaths the show to the idol group right there on the air.

Before Ryuu hops on his Cadillac’s hood to be pushed by the winds of Kyougatake, Saki confesses her love for him. He’s flattered, but assures her her passion will be needed elsewhere. Then he says what might just be the saddest string fourteen words ever uttered on Zombieland Saga, knowing what we know: “Look me up when you’re a bit older and have grown into fine women.”

As they watch the sun rise on Saga together, Saki tells Sakura that no longer how much time passes, she’ll never grow up into a fine woman. At first she tries to laugh it off with a brave smirk, but her eyes become flooded with tears and she’s suddenly on her back sobbing. Then Sakura starts sobbing, and I tellya, I had to fight back tears too! Then Sakura starts drying out like a mummy, and I was laughing again.

That’s the beauty and the magic of Zombieland Saga, which is so much more than a show about down-on-their-luck idols. The futures they should’ve had taken from them, and now they must try to build new futures from whole cloth. While initially depicted as “lame” and washed up, White Ryuu was a revelation here, imbuing the episode with wisdom, gravitas and optimism.

I never, ever tired of his entrances and exits atop his ridiculous car, while the episode completely sold Saki falling for him, making his parting words all the more heartbreaking. The only thing this episode was missing was a performance, which is what we get during the end credits, and it’s appropriately a heartwarming cover of a White Ryuu song. The idols’ outfits look great, the lighting looks great, their singing sounds great and the dancing animation is fantastic.

Saki assures the rapt audience that anyone lost out there will be able to see her soul burning, just like Lake Imari’s breakwater lighthouse. Taking over the mic at So Saga Can Be Saga, joined by the rest of Franchouchou, she tells the listeners to find their way back there if they ever feel worried or alone.

Zombieland Saga: Revenge – 01 (First Impressions) – The First Ragged Cry of Rebirth

After their miraculous show in the snow at Arpino, Franchouchou’s first CD sold like hotcakes, but then Koutarou booked them for the 30,000-seat Ekimae Fudosan Stadium (EFS)…and only 500 fans attended, or 1.66% capacity. They failed to get even a single encore, and ended up in humongous debt.

That would’ve been the end of the road for most idol groups, but the Franchouchou girls weren’t ready to throw in the towel. Sakura, Ai, Saki, Junko, Lily, and Yuugiri all secured jobs with which to gradually pay off that debt, and are working towards a comeback show at the metal club where it all began a year ago. But even a month after EFS, Koutarou remains a drunken, disheveled, distraught, and infuriating mess.

He’s convinced it’s all over for Franchouchou and his Saga project, even dramatically standing on the edge of the water during a horrific storm and ranting incoherently. The girls start to consider that it may not be just about the money, because there’s no way he could’ve reasonably thought they could have sold out a stadium show. They break into his office and find a demo tape of the song they were going to perform as an encore but never did.

After Yuugiri, working at a fancier bar using the skills learned in her past life, encounters a horrendously drunk Koutarou mistakenly sticking his head in, then going outside to vomit. He’s in a very bad way!

The day of their concert arrives, and Sakura tries one more time to get through to him, but ultimately loses her patience. She returns to the others, and they go forward with the metal show, despite the fact almost no one in the crowd wants to see an idol group aside from their handful of hardcore fans.

The girls are confident if they can just take a step in the right direction they can begin the hard climb back to recognition, but the crowd is, to say the least, impatient and hostile. Their performance suffers due to Koutarou not being there, but a grizzled bartender eventually guilt-trips him into running to the venue, where he yells for an encore from the back and starts a huge brawl.

Re-energized by the timely arrival of their eccentric producer, Franchouchou slaps their collective cheeks, bears down, and belts out the encore song with power and confidence. As with the last season, the group is CGI, but I wasn’t bothered.

On the contrary, the performance really packed a punch, especially since the CG looks like an improvement on the first season. Even after that, they only get mild applause, but they managed to pull it off. The zombie idols clawed their way back from the dead…again!

A bit later, the girls assemble in the basement and are further heartened to find that Koutarou, still bearing the scars of the concert brawl, has shaved, cut his hair, and dried himself out. Recognizing how they’ve been able to pull off everything he’s asked for (aside from the totally unreasonable EFS gig). With their producer’s head back—and pocket squid—in the game, the Zombie Land Saga Project continues apace.

Zombieland Saga picks its zany story back up nicely without missing a beat, offering the same wonderful blend of weirdness (the foley on their undead body movements is always great), charming camaraderie, heartfelt drama, and of course, Miyano Mamoru being a completely unhinged lunatic! I for one am overjoyed the zombie idols are back!

Rating: 4/5 Stars

You can read Irina and Crow’s discussion of Zombieland Saga: Revenge’s first episode here!

Talentless Nana – 07 – Just Girl Talk

When Yuuka scoffs at Nana’s barb, Nana tries a different tack, stating “Humans don’t believe the truth. They believe people.” Even if Yuuka knows what Nana tried to do, Nana has the trust of the others, while Yuuka is someone who screws her dead boyfriend. So Nana proposes a deal.

She’ll keep Yuuka’s dirty secret and even read her beloved Shinji’s thoughts if Yuuka releases her. Because Yuuka is “a hopeless romantic” she falls for the ruse, and Nana says Shinji is thinking “Kill Nana”, which Shinji later confirms is the true, though Nana was again simply bluffing. Bottom line, she gets the hulking Shinji off her back and flees into the woods.

During the ensuing nighttime game of cat-and-mouse, Nana gains crucial intel on Yuuka’s powers. Yuuka needs a”relic” (an item the deceased has touched) to raise someone. This culminates in her having a whole pile of weird stuff under her bed, and Nana is chased not just by Yuuka and Shinji, but a whole zombie army composed of dead students and teachers.

The presense of so many dead people ont he island suggests that the “Committee” Nana serves didn’t tell her everything, but she’s too busy trying to survive to give that the thought it deserves. That brings us to Yuuka’s other weakness: her zombies, including Shinji, only “work” during the night.

Nana proves that theory by putting her life on the line, locking herself in Shinji’s cabin where zombies are lying in wait. They fall asleep once the sun rises over the horizon, so she’s safe for the time being, but then Yuuka locks her in the cabin for the day, content to finish the job once the sun is back down.

When Yuuka and Shinji return to the cabin after going to class (during which time Kyouya mentions how the clasp of Yuuka’s necklace is damaged and loose), Nana is nowhere to be found. There’s a nice double fake-out when I figured Nana was pretending to be the zombie girl with a similar hairstyle, but that was a red herring.

Nana not only managed to escape from the cabin, but gets the jump on Yuuka as she’s carrying a dormant Shinji during the next sunrise. Then she pulls the real relic Yuuka uses for Shinji from her back pocket. The necklace was a decoy; the scrap of a test is the real thing. And now that it’s in Nana’s possession, Yuuka is in her pocket.

Nana explains that while it looked like she was panicking and barricading the door to the cabin to seal herself in, in reality she was removing screws from the lock, then covering it with tape so Yuuka wouldn’t notice. That’s why she was able to escape the locked room…it wasn’t really locked. She then replaced the screws before Yuuka and Shinji returned.

When Yuuka offers to do anything for Nana, Nana is perhaps a bit too cruel in saying “I’m a cat person…I don’t need another dog,” referencing Michiru. She then has Yuuka return her needles, but drops the scrap of paper off the cliff anyway. With no more relic, Yuuka will be unable to revive her undead boyfriend…he’s gone forever. But that’s not the end of the story.

Nana is curious why Yuuka chose something so flimsy for a relic for someone so important to her. Breaking down the details of Yuuka’s story about their movie date and ensuing fire, she determines that Yuuka and Shinji were never boyfriend and girlfriend; that Yuuka was merely a stalker, and she set the fire to kill the girl he was going with.

This sends an already crazed, despair-ridden Yuuka fully off the deep end, but Nana doesn’t bother pushing her off the cliff. Instead, she kills her with a needle, and the phone confirms she saved 500,000 lives by doing so. Her greatest threat thus far has been eliminated, but in the process a lot has been revealed about just how little she knows about the people who hired her. She could well be struggling and fighting for the wrong side!

Rating: 4/5 Stars

Star Trek: Lower Decks – 01 (First Impressions) – The Optimism’s Back

We’re big Star Trek fans here at RABUJOI, and while I was both excited and proud to watch its return to TV (albeit streaming TV) in the form of Discovery and Picard, since it meant Star Trek was back and that could never be a bad thing, I’ve been ultimately disappointed in the negative and violent general outlook and worldview of those new shows.

I came into Lower Decks with extremely guarded expectations. I was not a fan of the art style in the previews nor what sounded like a lot of try-hard rapid fire comedic dialogue. Heck, even the logo of the show is ugly, with the words “LOWER DECKS” rendered what looks like a crappy free font, clashing with the iconic yellow/gold Star Trek word type.

Lower Decks is first Trek show since Voyager ended in 2001 to restore that upbeat, optimistic, cozy, joyful Star Trek milieu in which actually want to live and hang out. It felt more like those shows, and thus the Trek that I grew up with and love, than any of new live-action stuff, and pulled off that feat in less than half an hour!

Obviously, a show like ST:LD has the advantage of not having to spend too much time setting up its world—it’s basically TNG-era Star Trek, only animated. If you aren’t a Trekkie, I’m not sure why you’d watch this show, nor could I begin to imagine how it would come off not knowing anything about warp cores or the uniform colors or what-have-you.

LD can immediately focus on its scrappy underdog characters who populate the unremarkable Federation Starship USS Cerritos, starting with Ensigns Beckett Mariner and Brad Boimler. While Mariner comes off as an overly hyper chatterbox (she’s also drunk in her first scene), I’m pleased to report not every character chats at the same pace, and even she calms down for some scenes.

It’s clear Mariner’s authority-bucking, boisterous joie-de-vivre is a veneer to conceal the fact her round-peg personality in a square-hole Starfleet has caused her career to stall. There’s a lot of Tom Paris in her, right down to her admiral dad. She’s the opposite of the eager-to-please, by-the-book Boimler (ahem…Ensign Kim, anyone?), and between his discipline and her experience the two are poised to learn much from each other about life in the command division.

Rounding out the main quartet is medical officer D’Vana Tendi of Orion (hence the green skin) and engineer Sam Rutherford, a cybernetically-augmented human and to me, spiritual successor to Geordi LaForge. Tendi, also like Ensign Kim, is the definition of “bright-eyed and bushy-tailed rookie” without Boimler’s hang-ups, while Rutherford’s still-buggy implants sometimes add cold Vulcan logic to his human baseline at inopportune times.

There is a mission-of-the-week, and it involves the less sexy but very important second contact with a new purple porcine alien species. An aspect of Trek I believe really translates well to animation is the aliens and their worlds. Since it’s animated, the makeup and production design budgets are only limited by the animator’s imagination, and there’s never a chance of putting off viewers with either unconvincing makeup or falling into the uncanny valley.

Boimler was instructed to “keep an eye” on Mariner by the no-nonsense Captain Freeman, and that eye immediately watches Mariner break protocol by selling farm equipment to aliens on the side. Boimler ends up being sucked on by an alien spider-cow creature for far too long, but the whole incident demonstrated that his green instincts caused him to overreact on more than one occasion while Mariner got the feel for things and was able to improvise them out of peril.

Back on the Cerritos, Rutherford is on a date with Ensign Barnes that, unlike LaForge’s many dates, starts out pretty well! The issue is, the Cerritos’ XO Commander Ransom came back up to the ship infected by a bug bite that turns him into a vicious black bile-spewing zombie, and soon more than half the crew succumbs to the same transformation.

While it could have come off as too-cute-by-half to have the Rutherford and Barnes remain completely calm and even continue their small talk as their comrades start eating each other in the Ten Forward-style bar, the comedy worked for me since it tracks that Starfleet officers would keep their heads even under extreme conditions. Similarly, D’vana enters a gory hellscape of a sickbay, but feeds off the professionalism of her Chief Medical Officer (who is a Caitian) is, and comports herself well in triage duty.

What ties Boimler’s close encounter on the planet to the zombie virus aboard ship is the purple-pink goo secreted from the spider-cow, which cures and de-zombifies the crew. Thus it’s established that despite her refusal to submit to Starfleet orthodoxy, Mariner inadvertently saved the ship by letting the spider-cow suck on Boimler as long as it wanted. I got a really cozy feeling from the scene of the four officers taking a much-earned breather, their deeds going unsung as the senior staff takes all the credit.

While I hope she doesn’t back into saving the ship every week (something that would make her akin to early Wesley Crusher aboard the Enterprise) in a pilot it works pretty well at establishing the value of her approach to a Starfleet officer’s duty. If she breaks a few regulations, she’ll be able to rely on Boimler (who doesn’t rat her out to the Captain) and her other fellow junior officers to rein her in or bail her out.

“But wait, Zane,” you may ask: Why would you want to live in this Trek world—in which the crew turned into vomit zombies and a drunk officer cut another’s leg to the bone with a contraband bat’leth—but NOT want to live in Discovery or Picard? Because the violence, xenophobia, and general lack of human progress is too virulent and unrelenting in those live-action series, while the violence in Lower Decks is more stylized, comic, and by dint of being animated doesn’t feel as real (and thus depressing).

Also, it’s clear Lower Decks isn’t centered around violence, whether it’s threatening to blow up Qo’noS, enslaved androids being hacked into causing a massacre, or beheading people you don’t agree with. It’s far more aligned with the values of TNG. Its goal of being a Trek comedy inevitably bring up The Orville. I actually thoroughly enjoyed The Orville because it too took place in a lighter-hearted TNG-style world that’s futuristic but also bright and fun.

But as hard as it tries, Orville will always be homage with a hint of satire. Whatever else it is, Lower Decks is Star Trek, through and through. Production of live action Trek is delayed In These Times, and no telling if what we ultimately get won’t be filled with more violence and despair, and the further erosion of my preferred Trekkian outlook. I didn’t know this going in, but Lower Decks is just the Trek I need, just when I needed it.

Stray Thoughts:

  • The show’s logo may be hideous, but the opening sequence is beautiful, showing the Cerritos getting damaged in various ways against gorgeous space backdrops. The credits are also in the same font and color as TNG, which is just fine by me!
  • The USS Cerritos is the perfect balance of familiar details (like the Enterprise-D style deflector dish) in a new orientation. While a little awkward-looking, it’s a clean enough design, and I actually prefer it to the Orville.
  • The Senior Staff is mostly in the background, which is how it should be, but I do like the Riker-esque Cmdr. Ransom and the big burly Bajoran security chief. As for the doctor, she’s from a catlike species first depicted in the original Animated Series but a live-action Caitian admiral appears in Star Trek IV: The Voyage Home. He was my favorite Trek alien for a long time, even though he was just in the background.
  • On that note, another great thing about an animated Trek is that you can have as many alien officers as you want without worrying about the makeup budget. Orions, Bolians, Andorians, etc.
  • It’s astonishing how many Trek lore Easter eggs this episode manages to cram into the half-hour, but most of them feel organically integrated, rather than shout out “Remember THIS?” or “Remember THAT?” The old didn’t get in the way of the new, but added texture and color.
  • This is a show that rewards die-hard Trekkies, not just with familiar sights and sounds but in how qualities of past Trek characters and episodes inform the crew of the Cerritos.
  • Mariner’s dad is an admiral, but her mom is also her Captain!
  • Rutherford’s date with Ensign Barnes ends up kissing him in a moment of passion after an emergency EVA, but he’s so preoccupied with a code fault in the airlock, and the fact she isn’t preoccupied with it, he later decides not to pursue a second date.
  • The second part of this joke is that Ens. Tendi agrees with his reasoning. Both of them are total Starfleet nerds and I love it.
  • That was a hell of a battle through the decks of the ship…reminded me of the DS9 Genesis game where Sisko has to run through the corridors of the Saratoga after the Borg attack.
  • I have never seen Rick & Morty, but I think part of why I think I’m okay with the very un-anime character design is that I’ve also been recently watching Avatar and Korra, which features an almost-but-not-quite anime style.
  • Other quick production notes: the voice actors all do great work bringing their characters to life, while the orchestral score does what a Trek score should.
  • I’ll be reviewing this series going forward, but future reviews will be shorter and feature fewer images, I promise!

Cop Craft – 03 – Tilting at Windmills

We soon find out where Tirana went—to O’Neill in order to get her into the Pioneer Club run by Elbaji. O’Neill makes sure she looks the part with a skimpy cocktail dress, hose and heels, and attempts to walk like an Earth Girl are unsuccessful. But it doesn’t take long for her to find Elbaji, because he comes right up to her at the bar to make a pass.

Once they’re alone in Elbaji’s office (with two of his guards) and he learns who she is and what she’s after, the chatting is replaced with fighting. Tirana pulls a sword out of her purse and relieves the guards of their hands in the blink of an eye, but Elbaji has a sword too, and soon overpowers her (she left her good sword with Kei, after all).

As Kei learns though Wikipedia (natch), a Knight of Mirvor leaves their sword behind when they are taking a temporary step away from their chivalric code, be it temporary or permanent. But it isn’t long before Kei is on Tirana’s trail as she’s captured and brought to some abandoned temple ruins in an undeveloped district of the island.

Chief Roth tells him to hold his position and wait, but things down at the temple are moving very fast. After Elbaji gives Tirana to Zelada for questioning, Zelada, a supposedly otherwise venerable wizard, leaves her alone with disposible guards, which she quickly dispatches and follows Zelada to his horrifying workshop, where she finds thousands of jars containing fairies in various stages of dismemberment.

Elbaji confronts her there, and as before, he shows off some of the noble background he shed in order to find his own fortune in America: the Land of Opportunity where Money is God. Tirana looks like she’s in trouble again with nothing but a stick to fight with, but Kei arrives in the nick and tosses her her knightly sword.

In a wonderfully-drawn fight full of bold flourishes, Tirana shows what a Knight of Mirvor can do, particularly one who was taught swordsmanship from Lord Verada Vreideni. And just like that, a bad guy I thought she and Kei would have to deal with for some time dies right there on the ground in a pool of his blood.

Unfortunately, the “psychic bomb” Elbaji had on him is a dummy; the “fairy” inside is just a doll. Now reunited, Kei and Tirana find a passage out of the temple and track down Zelada, but the arrest is interrupted by the arrival of Chief Roth, which is very confusing for Kei, considering Zelada sure looks like the guy who killed his whole unit in The War.

Roth shoots Tirana and orders Kei to let Zelada go. Turns out he’s a hardcore xenophobe who wants to use the threat of the psychic bomb to re-separate the two worlds, politically and culturally. Never mind if many humans have adapted; he doesn’t want coexistence, period.

But like Elbaji, Chief Roth doesn’t last long, as Tirana’s sword caught the bullet, and her getting back up is enough distraction for Kei to pull a second gun from his ankle holster to kill Roth, who up until tonight had been like a father to him. Roth’s grand plot also seemed a bit too sprawling and ambitious for a man of his relatively humble station. We’ll see if anyone else in his unit or the department harbors similar positions and goals.

The chase for Zelada continues, leading to the tallest building in the city, Forest Tower. The results would be disastrous if a psychic bomb were detonated there. While on their way to the roof, Tirana notices that Kei’s sidearm has a faint hint of latena, created from feelings put into an object or weapon. Thus, he might not be entirely useless in the impending fight with the red wizard.

This was another strong entry from the great-looking and sounding Cop Craft, which really gets its world-building, little details, and combat right. It’s villains have a tendency to drop pretty quick, but its not like Elbaji or Roth were particularly compelling (though Elbaji’s forsaken noble past wasn’t nothing). More than anything, it’s fleet, fast-paced, and fun, and the central partnership is starting to gel nicely.

Cop Craft – 02 – Fearful Kitten

When gunshots won’t bring down one of the zombified baddies, Tirana ignore’s Kei and kills it with her sword. Kei then impugns Tirana’s honor by insinuating she’s working against the case for profit, Tirana puts her blade to Kei’s neck and warns him never to insult her like that again, and Kei points his pistol at Tirana’s face.

At the Medical Examiner’s office (Cecil, Kei’s ex), they determine that Rick’s murderer and the guy Tirana slashed were both dead before they were killed: place under a wizard’s spell and manipulated like remote control zombies. But it doesn’t take an M.D. or Ph.D. to pick up on the fact that Tirana and Kei’s relationship is having a tough gestation.

Kei drops Tirana off at her hotel, but within minutes she’s tossed for not surrendering her sword (indeed a ridiculous request to make of a knight), and she calls his cell. He considers leaving her to sleep on the ground for the night, but reconsiders and picks her up. The moment her face of dejection turns to joy is a sight to behold.

At Kei’s place we learn why he wears a mask: a cat allergy. But he was the only person at the station who would take the cat in, so he’s keeping it “temporarily.” This leads Tirana to laugh and realize Kei is more of a softie than he lets on, and then thanks her for letting her stay. Appropriately, Kei later checks a translator and learns she was flubbing his name intentionally to the phrase “fearful kitten.”

I liked how those neat mini-mysteries were organically solved this week, as Kei and Tirana put down their defenses and act more like the professional partners they’re supposed to be (Tirana also mentions that despite her childlike appearance she’s 26). The veil is also lifted on the identity of the villains and their plan. A club owner from Semaani named “Mr. Elbaji” meets with a “terrorist” named “Mr. Kareem.”

The former demonstrates a prototype “fairy bomb” that enables his on-staff wizard, Zelada the Sage, to control humans without the time and effort of getting them hooked on fairy dust (like the two zombies Kei and Tirana have encountered). They test it on a couple doomed cops who respond to a call. Once the bomb is perfected it could be used as a superpower-threatening WMD.

After Rick’s suitably morose funeral which Tirana observes from a respectful distance, she and Kei inspect the corpses of the cops, which again suggests they were fairy dust users, but since they’re cops, there’s something else in play here. Tirana suspects gold to be a factor, unaware of just how big the threat is becoming.

Kei believes a digitally-controlled manufacturing device is in use, and some digging reveals that a Mr. Elbaji is in possession of such a device. Obviously from a world where justice is dispensed more quickly and the ideals of chivalry still rule, Tirana wants to go after the guy immediately, but Kei tell her they need to find proof and do paperwork first.

During dinner at a diner, Tirana goes to the bathroom, but leaves her sword behind, something she said was as important as her life (and which got her kicked out of her hotel). By the time Kei realizes she didn’t go to the bathroom, it’s too late; she’s in the wind. Just when the two were getting along, Tirana goes her own way, for her own reasons. When Kei catches up to her, he’s not going to be happy.

Mayonaka no Occult Koumuin – 02 – Another Bang for Another Buck

After two episodes, one thing that stands out about MOK is the quality of animation…or rather lack thereof. There’s a number of things drawn in a fast, iffy, haphazard way that all combine to distract from a story that probably needs better production values to hold my interest.

Which is a shame, because MOK is as strong with the Japanese mythology as it is weak in actually showing it, from the nekomata Yuki who reunites with Arata (who thought Yuki was just a regular cat years ago) to a mysterious nine-headed kishi that threatens to cause further Another disturbance.

Arata and the other midnight occult civil servants are putting in overtime to investigate a string of recent burglaries involving very particular magical objects. Arata, with his “Ears of Sand” that can understand Anothers, is immediately one of the more in-demand members of the office, as if it wasn’t for him, they wouldn’t be able to gather the information they need to connect the dots.

There’s also a weird tension between Arata’s desire to reason with all Anothers through dialogue and his co-worker’s belief that’s naive and even reckless. They maintain that Anothers are distinctly another, and that they and humans just aren’t going to see eye-to-eye on things. I tend to side with Arata on this; after all, the position of the others is due largely to the inability to ever properly communicate prior to Arata’s arrival.

Still, Arata manages to do something stupid and touch a magical circle of some kind before determining whether it’s safe. He and Kyouichi are teleported deep beneath a mountain, where the “oni” who was riding the kishi, stole all the magical objects, and created the magical circle, is there to welcome “Abe no Seimei” with a horde of kyoushi, or Japanese zombies.

That last-minute reveal finally introduces some serious peril to what had thus far been a mostly harmless job; the kyoushi can’t be talked to or reasoned with, so Arata had better hope he can convince their master to make them stand down. I bet Arata wishes he’d listened to his grandpa more…

Zombieland Saga – 12 (Fin) – We’re All Zombies, We’ve All Died

Even after Tatsumi’s big speech, Sakura remains skeptical that she’ll be able to pull off the Arpino show, believing she’ll only be a drag on the others, even as practicing reveals she still has the muscle memory of the dance moves. After those demoralizing failures in her life, she’s given up all hope of ever succeeding at anything, and would rather be left alone.

Of course, her friends don’t leave her alone, in large part because she never left them alone. That is to say, she never gave up on them when they were at their lowest. Junko, Ai, Lily, Saki—without Sakura, none of them would be where they are today, on the cusp of their biggest show yet. They fully intend to repay that debt, and a well-timed slap from Yuugiri is the sign they won’t take no for an answer.

They remind Sakura that she’s not the only one who had a rough life—they all died young and tragically—and would rather fail on stage together than have a perfect show without her. If she’s not beside them, it’s not a success, bad luck be damned.

The night before the show, Tatsumi reminisces about the past; specifically, a certain red-haired classmate at school whom he admired. That classmate turns out to be Sakura, which explains why he recruited her. She may not have been a legend in her time, but he’s determined to make her one after her time.

The day of the show, a huge winter storm approaches (thankfully isn’t named, because naming winter storms is asinine). The group rehearses, prepared to perform in an empty venue of necessary, but to their surprise and delight most of the 500 who bought tickets show up; a who’s-who of characters whose lives they touched throughout the series run.

They all go out on stage, with Sakura as the center, full of vim and vigor, and get off to a good start—only for Sakura’s bad luck to rear its ugly head in the cruelest of ways: the snow and winds crash through the windows and collapse the stage and lights, leaving Franchouchou in a pile of debris and dust.

Then Tatsumi starts slowly clapping, breaking the stunned silence of the crowd. Sakura gets up and keeps singing, and the rest of the group follows suit. The techs get enough lights and speakers working so they can continue the show (albeit under extremely hazardous conditions for the still-living crowd).

No matter, the idols dazzle the stage (what’s left of it) and earn an encore, while Sakura gets her memories back. It’s a great victory, but it’s only the beginning of Franchouchou’s quest to conquer Saga—just as the journalists start to connect the dots about their shouldn’t-be-possible resurrection.

Whether that’s a legitimate teaser for another season or these twelve are all we get, Zombieland Saga was a pleasant, at times side-splitting, at times surprisingly poignant diversion. Vibrant, rootable characters, an irreverent tone and Miyano Mamoru made for a pretty solid combo.

I’d have liked to learn more about Yuugiri and/or Tae’s past, particularly the latter’s inability to talk despite nailing all the dance moves and expressing emotion during her attempts to bring Sakura back in the fold. But I’ll settle for what we got!