Category: anime

Posted on in anime, Misc. Anime

Announcing the Summer 2022 Let’s Watches

That’s right, we’re doing this in style now.

I’ve changed my methodology for these a few times over the past couple seasons, but this time it’s very straightforward. After voting myself to break a tie (something I’ve not had to do in any previous community poll, things were much closer this season than they’ve been in any past season), I took a screenshot of the final vote tally at around 10PM last night (I checked again this morning just to make sure nothing had changed, don’t worry). I will be covering the top three shows, because honestly, I’ve been at a bit of a loss for what to cover this season. Putting it in the fans’ hands is a simple and practical solution.

Why don’t we make it a bit of an event? Here are the winners, starting from the third-place winner, and working up to the first.

Third Place: Call of the Night

Filling in the “exceedingly horny rom-com” gap that must have been left in all your hearts following the end of My Dress-Up Darling a season ago, Call of the Night is an interesting one. I read a very small bit of the manga for this, back when it was new. I liked it but failed to keep up with it (I am very bad at keeping up with manga), so I’m going into this just-shy-of-blind. Still, what I do know is promising. Take the Sentai blurb, for instance.

Wracked by insomnia and wanderlust, Kou Yamori is driven onto the moonlit streets every night in an aimless search for something he can’t seem to name. His nightly ritual is marked by purposeless introspection — until he meets Nazuna, who might just be a vampire! Kou’s new companion could offer him dark gifts and a vampire’s immortality. But there are conditions that must be met before Kou can sink his teeth into vampirism, and he’ll have to discover just how far he’s willing to go to satisfy his desires before he can heed the Call of the Night!

Sentai Filmworks

That’s really quite a lot to fit into your high premise. And it’s not like vampirism as a metaphor for coming of age—especially the less wholesome parts of that whole process—is anything new, but I do think this really has the potential to be something special. Whether or not it will actually deliver on that is another question, of course.

I do also want to point out the involvement of Tomoyuki Itamura in the director’s seat here. Just earlier this year, he wrapped up his work on The Case Study of Vanitas, a completely different horny vampire anime. That show is very good (if certainly not without a couple issues), so it gives me hope that Call of the Night will similarly be so. I suppose we’ll all find out together.

Coverage begins on July 8th. (If you’re reading this the day it goes up, that’s a week from today.)

Second Place: Lucifer and the Biscuit Hammer

Ahahaha. Oh no.

This one getting as many votes as it did quite surprised me. If nothing else, you can take its presence here as evidence that I didn’t tamper with the vote in any way, because I actually wasn’t planning to watch it at all, at this point!

I love the original Lucifer and the Biscuit Hammer manga. It’s one of my favorite action manga full stop, actually, and that’s mostly because of its deep characterization and solid thematic core. But it’s also because Satoshi Mizukami is a goddamn genius, and everything he draws is gorgeous. The only other anime he’s ever had a strong hand in, Planet With, did manage the incredibly tall ask of translating his distinct visual style to animation. Because of that, it managed to stand out in a year that was absolutely stuffed with great anime.

But that was in 2018, four years that might as well be four centuries ago, given all that’s happened since. Now, it is 2022, and the Biscuit Hammer adaption is being handed to a studio of little note (NAZ, they did Sabikui Bisco earlier this year alongside the similarly named Studio OZ), a director who is basically a total unknown (Nobuaki Nakanishi), and a series compositor best known for an utterly infamous flop (Yuuichirou Momose, of My Sister, My Writer notoriety). Combine that with the utterly hideous key visual sitting at the top of this entry, and a pair of trailers best described as “absolutely terrible” and “okay I guess”, and this one is going to be an active challenge to get through, barring some miracle. It would not be the first time that Mizukami has drawn blood from a stone, but no one should be expected to pull that sort of thing off twice.

I guess we’ll find out if it really is that bad or if all this doomsaying will look foolish twelve weeks from now soon. Coverage begins on the 9th.

First Place: Lycoris Recoil

What is Lycoris Recoil?

The interesting thing about an original series that’s yet to premiere is that it can, in our hearts and minds, be literally anything. Lycoris Recoil has had Key Visuals and trailers and all the usual accoutrements that come with being a TV anime in the modern day, but no one really seems to have a good grasp on its character. Will it be lighthearted? Dark? How big of a role does the cafe` we know is a central setting point of the story play? The chrome pistols and spider lilies in the above KV art certainly imply something sinister is going on, and “Lycoris Recoil” itself is a two-language pun combining the scientific name of the spider lily with just one inevitable consequence of firing a gun. But all of these things raise more questions than they answer, and we’re all going into this show with little to go off of but our own notions about what makes art interesting.

To me, this is fascinating. I can recall an upcoming original series capturing the public imagination in this way twice in recent times. The first time, we got Wonder Egg Priority, an anime I dearly love, but that’s an opinion that puts me firmly in small company. The second, we got Sonny Boy, which I also really like, and is also divisive (although much less so). Putting Lycoris Recoil in that company is probably attaching unrealistic expectations to it; if you want my earnest guess, I’m thinking this will be more of a piece with anime like Princess Principal or the underrated RELEASE THE SPYCE than either of the aforementioned. But honestly, who knows?

Well, we will pretty soon. Lycoris Recoil premieres tomorrow. Coverage will begin then, barring some unexpected circumstance.

See you then, anime fans. But, as a parting item of interest, here is the entire top half of the poll, if you’d like to see what else got a lot of votes. I am particularly surprised at how well Uncle From Another World did.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Reviews

(REVIEW) BIRDIE WING -GOLF GIRLS STORY- Just Doesn’t Give a Damn

This review contains spoilers for the reviewed material. This is your only warning.

“The Symphogear of Golf”

-Blurb for a now-deleted review of the first episode by Anilist user SolidQuentin.

Just accept that it makes no sense. Birdie Wing doesn’t care about your feelings—toward golf or toward anything else—and that includes how serious you think it’s being. This is sports anime as Rorschach Blot, a series that practically dares you to take it on its own terms even as it’s consistently the goofiest fucking thing that aired in its season.

Consider this; it’s ED theme (which I may or may not be listening to as I write this), is the achingly beautiful Tsukuyomi track “Nightjar.” For a series like this, it’s totally incongruous as an ending at first glance; a deeply sincere piece of work attached to an anime that is on its face, absolutely ludicrous. It’s right there in the premise; golf taken as deadly-serious as a shonen martial arts tournament or a mob movie, with all the camp that tonal dissonance implies. Over Birdie Wing‘s criminally short 13-episode first season, lives and livelihoods alike are staked on golf games. Pride is, too, and absolutely all of this is given the same narrative weight. (With one exception, as we’ll get to.)

Somehow, in that ED, when a shot of a golf ball dissolves into the night sky, an eagle cutting a shadowy figure against the moon, it makes a kind of sense. If it’s absurd, it’s not in a bad way at all.

It begins with illegal betting; our protagonist Eve (Akari Kitou) makes what little money she can to support her adoptive family by pulling off impossible shots. Golf balls fire like revolver bullets between moving train cars and lop the limbs off of trees. It’s totally insane, and, in its own way, hilarious. But as Eve meets her rival / golf girlfriend Aoi Amawashi (Asami Seto), and the series continues to tick on, things like that just keep happening. Every time, you expect Birdie Wing to tip its hand and reveal that the entire thing is a joke, but it never does. Not when we’re introduced to Golf Mafia Boss Rose Aleone (Toa Yukinari), not when we see that another mob boss owns an illegal underground course that can physically morph its shape into a new, random course every time, not when Eve’s first major hurdle as a player is a woman with a snake motif named Viper the Reaper (Kaori Nazuka) who tries to psyche her opponents out with a scented tattoo. Not ever. It almost feels like a challenge, Birdie Wing dares you to blink first, because it certainly isn’t going to. About the closest it ever gets is this joke about Eve’s inexplicable, fluent Japanese.

Rose Aleone eventually dies. Seriously, she loses a golf game, and her life is snuffed out in a pastiche of old gangster movies that is way, way better and more genuine than it really seems like it should be. Eve moves to Japan and effectively stars in a second, different, marginally more conventional absurd-serious golf anime for the series’ second half. That shouldn’t really work either. It does too, to the surprise of no one. I’ve barely even found time to mention the flirty toying that Eve and Aoi are constantly engaged in. It definitely slots the series comfortably next to, if not outright in, the yuri genre.

I’ve spent a lot of time describing Birdie Wing and rather little elaborating on my own feelings on it. To tell the truth, because of its nature wherein what one brings to Birdie Wing strongly influences what one takes away from it, I almost think it’s not really meant for people like me. Folks who can’t really shut off the analytical part of their brain even when they’re totally enjoying something. But enjoy it I did, so on the other hand, maybe I’ve been played as thoroughly as any other member of this show’s audience. (In this respect, it very much is like Symphogear, making it the second anime in as many weeks that I’ve reviewed to have some trace of the seminal singing-girls-punch-things anime in it.)

Let me put it this way. Late in the series, we’re introduced to supporting character Kinue Jinguuji (Mai Nakahara). Jinguuji is a fairly classic character in the “had to give up on her dreams because a passion for something is not the same as being good at it” mold, something many other anime have done before and plenty others have done in a way that is, at least on paper, more poignant. But somehow, the fact that Jinguuji’s dream is this—golfing, the most boring sport in the world, and one of the hardest to take seriously—makes what would ordinarily be a light tap feel like a sucker punch. Through sheer commitment to the bit, Birdie Wing will make you care about this.

In the end, the show’s first season ends in a shrug, setting up more plot points than it resolves. Why? Because it knows it’ll return like a golfing T-1000. The 13-episode count was a fakeout, and season two is slated for next winter. What else is there to say? Bury Birdie shallow, it’ll be back.

Update: Season two has premiered! You can read my coverage here.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Anime Orbit Weekly, Misc. Anime

Site Update: The End of Anime Orbit Weekly & Other Future Plans

Hi folks, as is often the case with these short “site update” PSA things, I’ll keep this brief.

The very short version is that I will not be doing any Anime Orbit Weekly posts anymore, and will be replacing them with something else. If you don’t really care about my reasoning, you can stop reading now, I’ve gotten the most important thing across.

If you do care about my reasoning; the fact of the matter is just that AOW posts are not read by most people. They get absolutely miniscule numbers, a fact that is especially stark when weighed against my other posts. We’re talking around 1/4th of those that articles dedicated to a single show or topic get, sometimes less.

This makes sense, if you think about it. Articles about a single subject are much easier to tag, which leads to better SEO, which leads to more page hits. It’s as simple as that.

As for what I’ll be replacing them with, my current plan is to just occasionally do “seasonal check-ins” on anime I think are doing something interesting over the course of a given season or are just worth talking about in some other way. This will preserve the function of AOW but in a form that’s easier to navigate and is more likely to draw in new visitors.

I will probably give these columns their own dedicated space on the front page, and the Anime Orbit Weekly archive will either be deprecated entirely or moved to the very bottom of the Anime section. (Frankly, the archive is itself another factor here. It’s ugly and extremely laborious to update, which is why it’s months behind everything else on the site.)

I might still call these new articles “Anime Orbit” or something related (it’s a good name, and it’d be a shame to waste it), but I don’t want to make any hard commitments at this juncture.

That’s about all, anime fans. Hopefully this change will improve your reading experience here on Magic Planet Anime. Stay safe out there.

Posted on in anime, Let's Watch

Let’s Watch SPY X FAMILY Episode 12 – Penguin Park

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Today, in its cour finale, Spy x Family circles back on its core strengths, those things that make it good in the first place. To wit; the series is an action comedy. There’s a lot of both in ” “. What more do you need?

Well, I don’t know about any of us, but Loid “Twilight” Forger really seems like he could use a few vacation days.

The opening minutes of this episode establish that, on top of the ongoing Operation Strix, Twilight has been picking up extra missions by the armful. (He blames a staff squeeze, and I see no reason to question his expertise.) He’s been getting home late often enough that the apartment complex’s local hens have started to notice, and some of the women in question even wonder aloud if he’s cheating on Yor. (He would never, and I’m vaguely offended at the notion.)

Determined to keep up the appearance of the Forgers being a normal family, Loid insists on taking them out for a weekend trip, suggesting the local aquarium. This proves to be a problem for two reasons. One; some of those local gossipy housewives are also at the aquarium. Two; Twilight’s agency happens to foist another mission on him as he enters the building, to retrieve a film roll smuggled into the country via penguin.

Things unfold as you might expect; Loid has to go undercover as a penguin handler in order to get close to That Specific Penguin, and in the process completely shows up the lead aquarist. He fights an enemy agent, who also wants to get his hands on that bird’s precious info. Said agent “kidnaps” Anya—by which I here mean that Anya clings to his shirt and shouts “I’m being kidnapped!”—and the predictable result is him getting his shit kicked in by Yor. Loid wins a giant penguin plushie for Anya.

It’s a good, solid, fun end to the series’ first half. A rounding-out as it closes the first cour. There’s also a pretty excellent post-script where Anya inducts her new “secret agent”—that is, the penguin plushie—to her spy agency. AKA, her apartment.

Spy x Family will apparently return with a 13-episode second cour in the fall season. Until we rendezvous once again; be seeing you, anime fans.

You are #006!

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Seasonal Impression Roundups

Seasonal First Impressions: Hacking and Slashing Through RWBY: ICE QUEENDOM

Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.

Rarely do I feel the need to start an article with disclaimers, but this is one of those few cases. The RWBY phenomenon largely passed me by, in its original form as a 3DCG cartoon. I was dimly aware of the much-hyped color trailers, the fanbase the series eventually acquired and the eventual backlash to that fanbase. I was also aware, again in only a broad sense, of its status as Rooster Teeth‘s golden egg, of the deeply sad passing of original series creator Monty Oum, and in a general sense, of its history. I even personally know a number of people who are or were huge fans, including my three younger siblings (this is probably the first thing I’ve ever written that there is a non-zero chance they might stumble upon).

Nonetheless, in spite of all that, RWBY was very much something I just knew about. I never really engaged with it at all, beyond occasionally playing the fighting game BlazBlue: Cross Tag Battle, in which some of RWBY‘s characters appear. (My younger brother bought it for our then fairly new PlayStation 4.) So, when I write about Ice Queendom today, its curious spinoff / reboot / reinterpretation / something at the hands of Studio Shaft, I write about it as a more or less total outsider. I am judging it largely on its own merits as an action anime, not in terms of how faithful it is or isn’t to the original story, which I’m largely not familiar with, or how well it executes some abstract “vision” for the franchise. (Every long-running franchise has such a thing, an ideal, imaginary form that only exists in the minds of individual creators and fans. Rarely is discussing them productive for anyone.)

To me, Ice Queendom is primarily interesting because of that connection to Shaft. As a studio, it’s hard to argue that Shaft aren’t noticeably past their prime, with their biggest impact on the world of anime—the original Puella Magi Madoka Magica—over a decade in the rearview at this point. But that doesn’t mean they can’t still make good things, and they have recently, including both Madoka’s own spinoff Magia Record and another battle girl anime, Assault Lily Bouquet. There’s some pedigree here, and while I’m only broadly familiar with the man’s work, industry lifer Toshimasa Suzuki seems like a solid choice to direct such a thing, too.

But perhaps predictably, it’s more complicated than that. Through a morass of wonky art, confusing pacing, and at least one hackneyed political allegory, RWBY: Ice Queendom‘s first episode(s?) adds up to perhaps the year’s most confounding premiere. Given that 2022 has given us sheer WTF bombs like Estab-Life and Birdie Wing, that’s pretty impressive in its own way, and not all of the surprises here are bad. But suffice it to say, I think you’d have to be a fairly particular sort of person to want to watch this. Even its format is somewhat screwy; Crunchyroll lists the single-video premiere as “episodes 1-3.” God knows what’s going on there.

But upon starting the episode, what struck me first were the character designs. I’ve never seen the original RWBY, but I have seen screenshots and gifs of it—I had a tumblr in the early 2010s, it was practically omnipresent—and while it never struck me as a visual buffet or anything, it at least looked distinct. The same isn’t really true here, with all four of the main heroines being squashed into a frankly rather generic-looking visual mold that seems suited for an anime much less ambitious than this. Over the course of the hour-long premiere special, I got used to it, but it took a while, which is not a great sign. (Also, in an attempt to emphasize their lips, all of the female characters are given what ends up looking a lot like lip gloss. This is a visual trope that bugs the ever-loving fuck out of me.) Occasionally they’re drawn a bit differently (presumably the result of different boarders or even different animators) and look a bit better, but it’s still going to be an adjustment not just for returning fans but for anyone who even vaguely knows what the original series looked like.

Some characters take to it better than others. I like how Blake looks, in particular.

In general, there is a distinct feeling of visual cheapness throughout fairly large chunks of this premiere. The production bubble hasn’t been kind to anyone, and this would not be the first time a Shaft production took a noticeable hit because of it. But whereas Magia Record could get away with lacking polish to some extent by leaning into its abstractness, Ice Queendom mostly does not have that option. The fantasy world here is portrayed mostly in earthen tones, both literally and thematically, and it suffers noticeably from the lacking tactility and spatial definition.

This doesn’t mean there are no visual merits; this episode is pretty good at fun action sequences, definitely. There’s some good directorial work, too, with enough clever uses of manga-style paneling that it might eventually turn into something of a signature piece of visual work for the series. But really, if you’re just here for Sakuga™, there are a couple of real highlights. And in general, the issue is not the lack of quality, it’s the lack of consistency. Some scenes are excellent, and a few even achieve a somewhat surreal, spacey vibe that might dimly remind viewers of certain other Shaft shows, but others are just terrible (there is a very blatant instance of an unfinished animation being looped several times in a row in part 3, for a premiere, that’s a bad sign), and still others float somewhere in-between.

With its production a distinctly up and down affair, that leaves the story to carry the rest of the weight. But, even after having seen the entire premiere, a lot about the world of RWBY remains rather obscure to me. It’s possible this is on purpose, but it might also be semi-by-design, a case of trying to appeal to new arrivals and old fans simultaneously but falling between two stools in the process. (See also; that Pokémon movie I reviewed a few months ago.)

As far as I can tell, RWBY’s setting is defined by the presence of monsters called Grimms, which lack “Aura”—life force, basically—and turn into “Dust” when killed. Dust, as far as I can tell, can be broadly analogued to souls from Dark Souls. It has power of its own, and also seems to be used as a currency.

Grimms are fought by Hunters, which all four of our heroines want to become for various reasons. These are Ruby Rose (Saori Hayami), the bubbly title lead, her doting older sister Yang Xiao Long (Ami Koshimizu), the aloof, proud heiress Weiss Schnee (Youko Hikasa), and Blake Belladonna (Yuu Shimamura), who is a catgirl.

For the most part, they seem like rather simple characters with simple motivations, although Ruby is the only person we really get the full story of here, in that she wants to follow in her late mother’s footsteps as a huntress. Not for nothing is Ruby also the character who works best here, she’s cute as a button but also has a huge transforming scythe-gun thing. It’s hard to go wrong with that.

There are also many other characters introduced here. North of a dozen, if I had to take a guess. We learn rather little about most of them, this early on, although a small handful like honors student / cereal box model (really) Pyrrha Nikos (Megumi Toyoguchi) and the adorably terrifying Penny (Megumi Han) manage to make a decent impact in their relatively brief screentime regardless.

The actual plot? Our girls enroll at an academy for Hunters. I don’t want to say that “Harry Potter packing heat” is the general vibe here, but in spots it kind of is. Much of the specifics of this become the victim of the premiere’s downright bizarre pacing.

There is a pretty incredible moment where, because of a news story, three of our four heroines are discussing how corrupt one “Schnee Corporation” is, only for Weiss, who is the heiress of said company, to introduce herself to the group by overhearing it and taking offense. Was she just standing around eavesdropping? Is this bit of hilarious coincidence from the original show? I honestly have no idea. I’m not entirely sure it’s meant to be as funny as I found it.

It doesn’t really matter, because not long after that scene, our characters—plus a second team of hopefuls—are flung into a forest to take their life or death entrance exam. Here, the show comes to life with properly exciting action sequences and just enough forward plot motion to be compelling. Then, when our heroines pass their exam and are formally grouped together as “Team RWBY”—all of the teams have fun, pronounceable acronyms for names, I suppose—it immediately becomes boring again, focusing on the petty and uninteresting conflict between Weiss and Ruby or other similarly dull character interactions that just don’t mean much of anything because we haven’t gotten the proper time to know these girls, yet. Ice Queendom is frustrating in this way; at several points during the premiere, I was bored to tears, only for it to burst with exciting and fluid visuals or an interesting story tidbit once again, and then again promptly fall back asleep a few minutes later.

It’s actually Blake Belladonna who gets the shortest end of the writing stick, at least so far. Blake has the misfortune of being Team RWBY’s only Faunus—that is to say, a kemonomimi person—and consequently, she is the conduit for this episode’s utterly toothless gesturing toward political commentary. Over the course of the third part of the premiere, she and Weiss get into a big argument about the (pick one) terrorist group / brave freedom fighters / people just doing their best White Fang, who Weiss loathes because they’ve killed people she personally knows, and which Blake used to be a part of.

There is a frankly incredible scene where Blake pulls off her bow only to reveal that she has cat ears that look exactly the same as her bow underneath it. It is incredible in every sense of that word.

There are, I’m sure, ways to handle this that are not completely terrible, but you won’t find them here. Blake and Weiss are treated as simply having a misunderstanding, and Weiss eventually kinda-sorta reconciles with Blake after only a few real-world minutes of self-reflection. Nothing is actually resolved, and Weiss apparent actual bigotry toward Faunus (yes, an anime girl who hates catgirls. Unreal.) is simply brushed aside. (And of course, despite the weird racism angle here, it will not shock you that at no point during the series so far has an actual POC shown up in a noteworthy role, which is just inexcusable.)

On the whole, Ice Queendom is a mess, really. Which is a shame, because there is some good stuff in here. In addition to the visual highlights there’s a neat plot—unresolved here, presumably it’ll be concluded in the next proper episode—where a Grimm that can imitate humans and trap them in mental prisons based on their own insecurities shows up. It’s defeated temporarily by a mysterious character who calls herself a “nightmare hunter.” Her exorcism method involves tying people up with weird purple string.

Bondage Joke.

It’s weird, it’s cool, and it points a way forward for Ice Queendom in general. It’s not impossible that the series will eventually find its legs. And I hope it does, both because I will probably continue watching it somewhat in spite of my own good judgment (I will remind longtime readers that I’m one of the few Blue Reflection Ray apologists, bad production has never scared me off), and because the people who have been ride-or-die for RWBY for nearly ten years deserve a good show, not something haphazard and half-assed.

The Takeaway: If you can stomach the bizarre plotting and wonky production to get to the standout action sequences and some of the weirder stuff, this might be worth checking out. If you’re a lifelong RWBY fan, you’re probably already watching it. For anyone else? I think this is probably a skip, especially with more promising-looking battle girl anime (eg. Lycoris Recoil) on the immediate horizon.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Let's Watch

Let’s Watch KAGUYA-SAMA: LOVE IS WAR -ULTRA ROMANTIC- Episode 12

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Heart to Heart! — Let your burning love reach everyone!

– Hoshin Culture Festival Motto

How do you open the two-part finale to your long-running love story? How about your heroine turning to stone and shattering? That’s the visual that Kaguya-sama: Love is War! opens on as its third season draws to a close; girl to granite to rubble. Why? Because Miyuki Shirogane is going to Stanford, and Kaguya Shinomiya knows she can’t stop him. And moreover, knows she shouldn’t.

It’s a visual metaphor, obviously; Kaguya-sama has loved those since it started and it certainly isn’t going to stop using them now. But, the literalization of the sentence “she was shattered by the revelation” gives you a pretty good notion of what we’re all in for here. If Love is War, this is the conflict’s turning point, where the generals and foot soldiers alike earn their medals.

Spare a thought for Hayasaka, who has been mostly-unwillingly playing both roles for ages now, and is who Kaguya goes to for comfort and advice as her carefully-laid plans for a full year of dating fall to pieces. Shirogane isn’t just going to Stanford, he’s graduating a year early to account for cross-Pacific grade differences. For us, it’s an elaboration as to why he’s been acting like time is running out, if it weren’t already obvious. For Kaguya, it’s a sledgehammer to the face. Love is a battlefield, and she’s been ambushed.

Hayasaka, again in her role as a beleaguered advisor, needles her mistress. If the day has to be today, then the confession of feelings—that old Japanese pop media trope so ingrained into the anime landscape that it’s practically part of the scenery—has to be perfect. Kaguya tries different phrasings, Hayasaka shoots almost all of them down. It’s amusing, yes. Kaguya-sama fully empties its bag of visual tricks here; starting with cheerleader-based how-to-confess diagrams and references to the ancient “yukkuri shitte ne” meme.

But the real emotional heft obviously comes when Kaguya-sama reigns it back in. As Hayasaka and Kaguya talk, the room is bathed in a scarlet sunset, and the core point the maid makes is simple; there aren’t any easy outs. Kaguya just has to tell the president how she feels about him somehow. There can be nothing else.

There is just one problem; in order to confess to the president, Kaguya has to find him, first.

In the meantime, theirs is not the only story freefalling through youthful confusion. As she searches high and low for Shirogane, Kaguya catches sight of Ishigami and Tsubame, which serves as a crossfade over to their side of the cultural festival.

Ishigami remains as oblivious-self-conscious as ever, paranoid about coming across as a “creep” for having a command of flower symbology while at the same time being still wholly unaware that what he intended as a simple kind gesture has been taken by Tsubame—and indeed the whole student body—as a declaration of romantic love. Here, Tsubame begs his patience, but because he doesn’t really know what she’s talking about, things get muddled; intentions swept off the ground in the December breeze, and the half-punchline that is Ishigami’s continued unawareness can only do so much to pop the winter evening ambiance. Unintentionally, Ishigami gives Tsubame until March, when the cherry tree they’re standing under blooms, to truly answer his feelings. The gymnast is surprised by his mental fortitude, and the whole sequence is funny, but also very sweet in its own way.

It’s only after the two part that Ishigami gets some sense of what he may have actually done. A festival play recounts the legend that gives the culture festival its heart motif, and our boy comes within striking distance of figuring out that giving hearts out is an implied romantic gesture. Still, the second Tsubame herself takes stage in the play, all rational thought goes out the window for Ishigami, and he promptly stops thinking about it.

But, even if things between them don’t work out, one gets the sense they’ll both be fine in their own way.

Back at our main story, though, Kaguya is lost in her own little world as she prepares to light the culture festival bonfire via flaming arrow. She manages an impressively skippy internal monologue the entire time, as We Want to Talk About Kaguya! leads Karen and Erika cameo off to the side of the scene.

I wonder if Aoi Koga gets paid by the word.

Karen will write a doujin about this later.

But the bonfire-lighting itself is swept aside as the mysterious “phantom thief Arsene” makes his presence known; the papier-mâché dragon jewel is gone, and the thief’s calling cards float in the air en-masse as a shadowy silhouette cuts a looming figure against the night sky.

Of course, no one but us knows that Shirogane is behind all this just yet. Notably, Fujiwara tasks herself with solving the mystery, only for her grandiloquent proclamations of her own genius to dissolve into a puddle as it becomes obvious that most of the ‘clues’ she’s found are either her own inventions or deliberately planted to throw her off. This is Kaguya’s puzzle to solve, and there’s only one actual hint.

Karen, in what is to my recollection her single most substantial contribution to Kaguya-sama‘s story, points out that the small calling cards are made of flame-resistant paper. This sets Kaguya’s own mental wheels a-turning, because that kind of care and preparedness reminds her of a certain someone, and it does not take long for the rest of the game to click into place.

And to give us all just the slightest airbrake of comedy before rocketing into its last half hour, Kaguya-sama then pulls out the one-two punch of “Kaguya dropped the plastic heart she was going to give Shirogane” and “Kaguya does not know how coffee machines work.”

Very good, Miss Shinomiya.

Shirogane, meanwhile, is starting to get flustered. The usual pattern of his where he does something extremely teenager only to cringe himself half to death the following day beginning to kick in as the second day of the culture festival ends. The narrator puts it best; the final battle of this war of love is to be a fistfight.

Kaguya-sama: Love is War!‘s season finale is a fucking hurricane of romantic imagery.

Shirogane’s plan is grandiose, ridiculous, ostentatious, and the sort of thing that only a heartsick teenage boy could dream up. It leans hard on narrative convenience—the strings he’d have to pull make no real sense, and the post-hoc explanations given here don’t really either—and hard on pre-built character sympathy. If someone did this kind of thing in real life and you read about it in the news, they’d be a horrible creep and you’d hate them. This is a “proposing on the Jumbotron” gesture blown up to ridiculous fantasy proportions.

But that of course is part of the beauty of fiction. Kaguya and Shirogane love each other very much; we know this, and have known this. It’s been obvious to everyone, including much of the show’s own cast, for, at this point, real-world years. Anything that moves the needle at all is good. But this? This is insanity. Beautiful, wonderful, romantic insanity. If love is a sickness, Shirogane’s case is terminal.

He uses some mechanical doohickey to pop a massive balloon, sending scores of heart balloons out into the air above the festival, held aloft by the heat from the bonfire, the December night breeze, and the fact that anime is the highest form of art. Shirogane’s winding internal monologue about how he really wants Kaguya to confess first because he needs to feel equal to her only half makes sense, but that doesn’t really matter. None of the obvious little holes in Shirogane’s plan really matter. Do you see how hard Kaguya’s blushing? I got contact flutters from watching this. Frankly, I’m a little envious.

It would be one thing if it stopped there, but it does not.

This isn’t usually what one means when they say “popping the question,” but it certainly feels comparable.

Really stop for a second and think about what he’s asking there. Think about these two characters and their respective situations, think about the enormity of what he’s asking her to do. Even on its own, studying abroad is a huge undertaking. Studying abroad at Stanford University is quite another level beyond that. Doing so in Kaguya’s specific situation is yet another step beyond that. This is an absurd ask. Kaguya says as much.

She says yes anyway. An implicit fuck-it-all to her own upbringing and, really, her entire life up to this point. She doesn’t even really hesitate. She’s giddy, if anything.

They kiss. Obviously, they kiss. On top of a clocktower, hearts surrounding them in the air.

Elsewhere on the festival grounds, Hayasaka blushes like crazy once she realizes what’s going on, and Miko Iino, alone on patrol, is the only one not present at the bonfire. Ishigami brings her a recording—and a plastic heart trinket, for the lost and found—a much more subtly sweet moment that contrasts nicely with the star-scraping, wild gesture that Shirogane’s just pulled off. Could there be something between those two someday? I don’t think it’s impossible. (It will certainly be funny if Ishigami, the character that Kaguya-sama‘s least pleasant fans attach themselves to out of a misunderstanding of his character, ends up having to choose between two women who are into him, but let’s not get ahead of ourselves.)

And just like that, the festival switches off like a lightswitch, and we cut to the morning after. There is a postscript of sorts here; it’s very funny, and sweet in its own way, featuring a rare appearance from Kaguya’s childish “Kaguya-chan” personality. But with all I’ve said here, recapping that bit as well would feel a little pointless. It made me cackle out loud at one point, so you can consider that an endorsement.

It’s a valid question to ask; where, if anywhere, does Kaguya-sama: Love is War! go from here?

Well, not long after the episode aired in Japan, we got an answer of sorts. Whether that’s another season being announced, an OVA, a film, no one really knows yet. But Kaguya and Shirogane’s story doesn’t end here, and that’s the important part. I will spoil nothing, but there is much of the manga left to cover, so I am very curious as to what’s being planned. Kaguya-sama will appear here on Magic Planet Anime again, that much is almost a certainty.

But for now, the romantic rollercoaster ride has come to an end. Until next time, Kaguya fans.

Results for Today’s Battle: Mutual Victory

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Misc. Anime

Vote on the Next Let’s Watch for the Summer 2022 Season!

Summer is upon us, anime fans, and with the changing of literal seasons comes also the changing of anime seasons.

I think most of you know the drill by now, but just in case you don’t, here’s how this works. You go to this survey, you check all the boxes for shows you’d be interested in me doing one of my weekly Let’s Watch columns on (there’s no limit. Hell, you could check all of them if you wanted to, as pointless as that would be), and that’s basically it.

I’ve changed the way the list is organized, somewhat. This time around, it simply uses Anichart.net’s order, and I’ve put in every eligible series under both its English-market title and the Romaji title. (In some cases, these are one in the same, those would be the shows with only one title listed.) I don’t use unofficial synonyms. So, for example; Call of the Night is in there both under that title and under the Romaji version of its JP market title, Yofukashi no Uta, but it’s not there under the little-used manga scanlation title Night Owl Song.

As with last season, you’ll note there are a few notable omissions. This is for one of several reasons:

  • It’s a sequel to something I haven’t seen, or I otherwise don’t have necessary pre-existing narrative context.
  • It’s in “streaming jail”, making covering it weekly impractical or impossible.
  • Or I’m planning to cover it anyway. (Although that doesn’t describe anything

I’m not sure how many, exactly, Let’s Watch columns I’ll be picking up this season. There have been some recent structural changes on MPA (I’m sure you’ve noticed, say, the One Piece Every Day project), but I will certainly pick up at least one community pick. This past season I ended up covering the tied-for-third-place Healer Girl as well as the outright winner Spy x Family, so don’t be afraid to punch in votes for obscure stuff even if you don’t think it’ll win. You never know.

I look forward to seeing your responses, anime fans!

Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Misc. Anime

Two Dreams in the Council Room: The Other KAGUYA-SAMA: LOVE IS WAR! Anime

I have written a lot about Kaguya-sama: Love is War! over the years. Before this site even existed, I wrote about it for GeekGirl Authority, and then did so again for its second season. This season I’ve been following the third, writing about it here all the while.

But one thing I’ve not discussed is the second, other anime hidden in plain sight in Love is War! I am talking, of course, about the combined storyline presented by the Season 1 and Season 3 EDs.

Unique to the anime, and with no real equivalent anywhere in the manga, these two EDs tell a wordless, fantastical otherworld version of Love is War!‘s central storyline, blown up to epic fantasy proportions despite their limited runtime. They cross Love is War!’s basic ideas with a setting that begins at Studio Ghibli and ends somewhere out near Starship Trooper. It’s a strange, singular thing, and I love that it exists.

Metatextually, they are presented as a pair of dreams. One had by Kaguya in the student council room as she dozes off after a day of hard work, and the other had by Miyuki in what appears to be the cafe` from season 2.

In this version of the story., Miyuki Shirogane is no student, he’s a plane mechanic. And Kaguya’s status as a “princess” appears to be far more literal, with all that implies. She’s also not human, possibly alluding to her namesake‘s nature as a princess from the Moon. By their nature, neither short has a terribly complex story. Indeed, the lack of any dialogue makes the specific events depicted in each ambiguous to some degree, but there’s no denying that they are telling a story, and that they do fit together.

Like her mundane counterpart, otherworld Kaguya appears to have her heart shut off from the world, and her only real companion is her maid, Hayasaka.

But it seems like some version of the student council did exist here at one point. A brief flash of a framed picture is all we get, but it’s enough to make the conclusion that Kaguya had bonded with these people—just like she did in the real show—only to have them taken away from her.

This frames what follows in a fascinating way; something like a mutual plan, by both this “aviation club” and Kaguya and Hayasaka themselves (the latter takes up a rifle here and looks perfectly at home holding it.) Kaguya escapes from the massive zeppelin all of her lonely isolation shots took place in, and literally sprouts fucking angel wings as she flees. In the pivotal, romantic clincher, she grabs on to Miyuki’s hand as he flies past in a biplane.

Ishigami and Chika are there, too, to give their approval. Kaguya is sometimes hard on these two, especially Chika, so it can be nice to have even small reminders that, yes, she really does care about them a lot.

And the short ends on a shot of Kaguya waking up in the council room, giving her friends a warm smile.

The second ED—again, from the third season. The second season’s ED was nice in its own way, but doesn’t connect to this story—is stranger and darker. Some amount of time has clearly passed, and Kaguya, here specifically marked out as an alien, has been once again spirited away by her people. The opening shot of the ED shows her coronated with a wicked crown that seems to change her very body and soul, a blunt and evocative metaphor for her abusive upbringing from the main series, and the “Ice Kaguya” persona she once put on to escape it.

So, what choice do our heroes have? Pulp sci-fi splash screens spring to life as they spell out the operation.

Miyuki broods as he remembers those he’s met over the course of what seems to be a rather long war (more questions unanswered, there). Hayasaka, Iino, and what appears to be his own family. But when the Earthlings arrive, there’s no time to reminisce; they come up against swarms of monster bugs, lead by Kaguya herself from the chair of command.

There’s a ton of movement in this microscopic fight scene—it really is only a few seconds—bullets fly and, at one point, Chika takes a shot to the head (don’t worry, she’s fine).

Through the furor, Miyuki can only think about one other person on the battlefield. An injured Hayasaka gives him Kaguya’s hair ribbon, and he dashes forward like a madman, leaping, seeming to knock the crown off, and tying her hair back into a ponytail. The spell is broken! Mission successful.

The dream ends here, and we see the real Miyuki’s eye pop open as Kaguya gently wakes him up.

Isn’t all this just adorable? That Miyuki fantasizes about being this romantic hero archetype rescuing the princess from the enemy’s clutches? Isn’t it adorable too, that Kaguya dreams of being rescued by him, even if she does a lot of the work herself, in her own dream? There is a lot of warmth between the two even in just the short few seconds they interact with each other at the end of the second ED.

To state the obvious; I would, of course, watch or read the absolute hell out of a spinoff that elaborated upon this story. But even as successful as Kaguya is, that seems unlikely. So, it remains, just these few minutes, like tiny jewels.

In general, I’ve always believed that Kaguya is at its strongest when making bold, sweeping, romantic gestures. It is at its weakest when it attempts to delve into gender psychology and make too-broad statements about the nature of love or sex. One of the reasons that these two EDs work so well is that they’re entirely the former, distilling down all of Kaguya‘s strengths and casually eliminating all of its flaws into just a couple combined minutes of excellence. There is nothing else like it, and as I already mentioned, I’m just happy that it exists. Hopefully you are too.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Reviews

(REVIEW) To Heaven & Back on a Song: The Soothing World of HEALER GIRL

This review contains spoilers for the reviewed material. This is your only warning.

“These are the beautiful miracles sung by humanity.”

The first thing to know is that Healer Girl was inspired by Symphogear. Comparisons between anime rarely do either work any favors, but for Healer Girl, knowing the name of its stylistic ancestors puts some things into perspective. The Symphogear comparison is merely the most recent in a list that also included Macross and, less centrally, G Gundam.

Ostensibly, these are strange bedfellows for what is at its heart an iyashikei series / sometimes-musical. In practice, it makes perfect sense. Like in Symphogear, the music in Healer Girl is not a background element; it’s diegetic, and the very source of the protagonists’ abilities itself. I’ve taken to calling this sort of thing the “dynamic music” genre, perhaps you have some other pet neologism. In either case, understanding that the music is not just a plot element but what the entire work is built around is key to understanding Healer Girl at all. It’s not a complex series, but there is stuff going on here beyond pretty songs.

Take our protagonists. Three young girls; Kana (Carin Isobe), Hibiki (Akane Kumada), and Reimi (Marina Horiuchi). For the majority of the series, they serve as interns at a clinic run by their teacher, Hibiki’s cousin Ria (Ayahi Takagaki).

A clinic, because as Healer Girl quickly establishes, in its world, the power of music is literal. Carefully-applied musical treatments can literally heal injuries, soothe sickness away entirely, and aid in surgery. This sort of there-is-power-in-the-song thing is something idol anime have been flirting with for years but never really commit to. (A personal frustration of mine.) Part of me enjoys Healer Girl just because it has the stones to actually dive into this idea. At twelve episodes, it doesn’t have the time to answer every question I had (I really want to know what healing music looks like around the world, but the show sadly doesn’t really go into it), but maybe it doesn’t need to.

From that central premise, Healer Girl builds a few strong, simple metaphors. Healing music as art is the easiest to understand, and effectively renders the series as a defense of itself. Taken through this lens, the anime is a series of iterative exercises; how much can art really help with? In the first episode, Kana sings a song to a boy who’s scraped his knee to take the pain away. Just three episodes later, the girls assist in a surgery where someone nearly dies on an operating table, and they face the truly harrowing experience of possibly failing to help someone. Much like conventional medicine, healing music definitely has its limits, but also like medicine, it certainly helps. Is this Healer Girl‘s argument, that art can heal the world, if not by itself, at least in a supporting role? It’s a strong reading, and I do think that’s at least partly what the series is going for.

Consider also the show’s actual music. A lot of people—including myself—initially assumed Healer Girl was going to be an idol series, and it is true that there is an associated idol unit, the Healer Girls themselves. But, if we consider it a part of this idol anime lineage, it’s a highly unconventional one, at least for 2022. In style, the Healer Girls are a lot closer to forgotten ’90s American soft-pop sensation Wilson-Phillips than anything presented in, say, its seasonal contemporary Nijigasaki High School Idol Club. More to the point is the presentation; the titular healer girls don’t really dance, and their songs are not performances. They’re tools. And learning how to use those tools forms the show’s other main theme; the passing of knowledge and love from one generation to the next.

Much is made of the girls’ relationship with their mentor Ria, a well-developed character in her own right. Reimi has a cute, one-sided crush on her, and much is made of her incredible skills. (Which we finally get to see in action in episode 9.) Over the course of the series, Ria guides the girls through simply being her pupils toward being healers in their own right. In the show’s finale, it implies via paralleling that Kana may herself one day take students of her own. It’s rare to see teaching and imparting wisdom treated as something beautiful and graceful, but that just makes appreciating it when a show can properly pull it off all the more important.

And look, all this writing about what the show means, and I’ve barely told you anything about why you might want to watch it! The simple truth is that, like most of Studio 3Hz‘s productions, the show is just damn good-looking. It’s beautiful, colorful, wonderfully vibrant, almost a living thing itself, in a way that is truly rare and all too easy to take for granted. That vibrancy makes Healer Girl something to be treasured. Naturally, it translates to the soundtrack as well; Healer Girl is at most half a musical, but enough of the show is sung—including incidental dialogue, in some episodes—that if you enjoy that medium, you’ll like Healer Girl as well.

And on top of that, it’s simply fun to watch. Rarely are anime fans starving for some classic slice-of-life antics, but Healer Girl‘s are a particularly well done set thereof. The show is very funny when it sets its mind to it, and not working in that mode 100% of the time only renders it more amusing when it does.

There’s even a pastiche of an old, old slice of life trope, the obligate “high school rock band” episode—episode 7, here—that’s been sorely lacking from most modern anime for a whole generation at this point. I have to admit, seeing one in this day and age made me nostalgic, so I suppose that’s another emotion that Healer Girl can effortlessly tap into.

Because of this kaleidoscopic emotional approach, Healer Girl‘s characters feel truly alive as well, even comparatively minor ones like the girls from the rival healing clinic (of course there’s a rival healing clinic), Sonia (Chihaya Yoshitake) and Shinobu (Miyu Takagi).

And, of course, we should discuss Healer Girl‘s visual ace in the hole. The girls don’t merely sing; the world changes around them as they do, a literalized, visualized version of the consensus fantasy-reality created by the most powerful music here in the real world. But in Healer Girl‘s universe, it can change the world in a truly direct and immediate way, and these bubbles of magic are called image songs. Episode 9 is the best showcase of them, where we see Ria greatly aid a surgery with hers; she influences literal events by manipulating abstract visual material within the image song. In doing so, she herself is a metaphor for the real impact of art in our own world. It’s a curious, but justified little thematic mobius strip, something that impressively never feels pretentious or self-impressed. Healer Girl knows what it’s doing, maybe that’s why there isn’t a weak episode in the whole thing.

The only real tragedy about Healer Girl is that its strongest moments are those where it instills pure awe in the audience. And that, unfortunately, is not something I’m truly able to replicate in text format. You will just have to take my word for it, that my jaw dropped more than once throughout the show, that I teared up a few times, and that several episodes—particularly episode 5 and the latter half of the finale—left me frustrated, although in a strangely positive way, over my inability to fully convey their emotional impact in mere words. You will just have to see it for yourself, and if you haven’t, I again strongly recommend that you do.

If there’s justice in the world, Healer Girl will be a watershed moment. But even if it inspires nothing, even if this artistic lineage ends here, I find it impossible to imagine that it will ever lose its potency as a work unto itself or, indeed, as a healing tool.

There is often a desire—spoken or not—in seasonal anime watching culture for something to get “another season.” Healer Girl, however, was clearly crafted with just these twelve episodes in mind. That renders the show small, certainly, but it does not rob it of its power. In a way Healer Girl is like the over-the-counter medical records mentioned in the first episode. It will soothe your sickness if you let it; simply rewind the tape and play it all back again. One more time; if you feel it, it’ll heal you.

If you’d like to read more about Healer Girl, consider checking out my Let’s Watch columns on the series.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Let's Watch

Let’s Watch HEALER GIRL Episodes 11 – 12

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

The time has come for measure-taking. Healer Girl ended today. I will not make a secret my feelings; I absolutely love this show. It’s a soft, glowing rainbow light that revitalizes the soul. If you don’t have the patience for unchecked fangirling, I suggest you turn back now.

A certain kind of studio hound will want to know where I rank Healer Girl among Studio 3Hz‘ other two well-known originals—Flip Flappers and Princess Principal—but in truth I find them so different that any comparison would be irrelevant. So instead, I will say this; Healer Girl, regardless of whether it’s the best or anyone’s personal favorite, is certainly the most healing and soul-soothing of the three. How appropriate, given its name.

We’ll spend much of this article talking about today’s episode, the finale, but it’s important to discuss last week’s as well (which I wasn’t able to cover on time). The gist is simple; our girls have found themselves in a rut with their C-Rank exams dangerously near on the horizon. When they try to sing, their image song breaks, and each of them is yanked out of it by a trio of biting orca-like creatures. Ria has the idea to send them to a training camp of sorts, spearheaded by Reimi’s former maid.

Over the course of the camp, they visit museums, take a pottery class, go bunging jumping, and hike in the mountains. None of it helps, because even as the diverse experiences temper and strengthen their songs, an underlying issue isn’t addressed: jealousy.

There were a few broad hints before, but episode 11 foregrounds the fact that all three of our leads are, in one way or another, jealous of each other. Once again, Ria actually notices this long beforehand. At the end of the episode, we’re given a quick peek at her notes, and they’re pretty revealing.

In a way this represents the first major interpersonal conflict these characters have ever had, but it’s entirely believable that a trio of teenagers, no matter how naturally talented, might develop inferiority complexes over that very same talent. All this leads to perhaps Healer Girl‘s single most unexpected scene; a full-on shouting match between the leads, each of them venting their jealousy. Even this, it’s to be expected, is sweet in its own way, given that the three are mostly yelling about how talented each of them thinks the other two are. (If you’re a certain sort of person, I could imagine finding this saccharine. But if you are that sort of person, I doubt you made it this far into Healer Girl unless you’re also a masochist.)

It will not surprise you to know that getting all of this out is exactly what they needed, and indeed if you read Ria’s notes up there, you’ll see that having the three of them grow closer together on their own, without her interference, was the plan all along. The camp completed; they return for exam day.

The image song, as sung during their exams, is a thing of beauty. They are more in harmony after their little fight, despite being physically apart and taking their exams in different rooms, than they were together, and the results are spectacular. Kana in particular, perhaps the one among them with the most raw talent, metamorphoses into a butterfly-winged fairy as she sings, the orca rendered nothing more than a blooming flower itself.

They all pass, because of course they do.

As the episode’s obligate heartwarming post-credits scene ends, Ria cheerily announces that all three of them are expelled. It’s a slammed door played like a punchline, but the underlying idea—that she’s taught them all she can, and they now have to stand on their own two feet—is sound. Ultimately though, any expectation that they move on permanently is to be ignored. Spoiler alert; at the end of the show they rejoin Ria’s clinic. Again as understudies, but also as proper healers in their own right. Still learning, but able to stand by themselves.

Still, episode 12 does deal with the girls out and about on their own for the first time. It splits into three parts for its first half, showing us the month-long internships that the girls enter. Reimi cuts her long blonde hair short and takes up residence at Sonia’s clinic. Hibiki interns at the newly founded audio medicine department at the hospital from episodes 4 and 9. Kana, who the episode returns the central spotlight to, interns abroad, at a hospital in what appears to be California.

This part of the episode is charming, especially in its depiction of how the girls remain in touch even when physically apart. Although Hibiki and Reimi in particular aren’t actually far from each other, and it seems like they occasionally hang out at the clinic. (Where Hibiki might still live? I’m not totally clear on this.) In what is easily the episode’s silliest scene, they embody every meaning of the term “moé blob.”

In general, episode 12 is concerned with legacy and the meaningful passage of knowledge and love from one generation to the next. Ria spends much of it with her own mentor, Sonia’s grandmother, but the real clincher takes the form of multiple callbacks to episode 1. Kana, in a land where she does not speak a lick of the local tongue, nonetheless soothes a crying, lost girl in the hospital’s lobby. Unlike her technically unauthorized use of healing from that first episode, this is exactly what she’s supposed to be doing, and it’s only through her study under Ria that she can accomplish it. Thus, here on her own, she draws on both her own life and the legacy of those who came before her. This is a difficult thematic balance to strike, but Healer Girl pulls it off.

There is an extremely funny comment made by Abigail, the woman with brown hair on the left, where she’s startled by “what Japan’s C-Ranks can do.” This would maybe come across as a little self-aggrandizing if this scene took place anywhere but the United States. As someone who lives here; yeah, that’s fair.

Later, when the threes’ internships end, Hibiki and Reimi get a cryptic email from Kana on the eve of her anticipated return to Japan. True friends and, apparently living in a world where commercial flight does not cost a small fortune, the two actually take a flight to California, where they find Kana helping out with the aftermath of a wildfire.

In any case, it’s on their return flight that Healer Girl makes this parallel between its first and final episodes most explicit. One of the passengers, a young girl, has an asthma attack. Our girls, of course, volunteer to help, directly referring back to the very incident that made Kana want to become a healer in the first place. I honestly cannot do this scene justice with words alone; the soothing song itself is one thing, but the imagery of Kana spiritually duetting with the younger incarnation of her master got to me in a way that I struggle to properly describe. The parallel invites you to imagine that the young girl they sing to might one day become a healer herself; wouldn’t that be a beautiful thing?

Amazingly, Healer Girl has another trick up its sleeve, its last, as the finale comes to a close. When the girls return home to Japan, they’re formally “given investiture” as healers (another of the series’ many strange and mystical religious parallels). And as they depart the graduating ceremony, they sing the song from the OP. The long version, with more verses.

Healer Girl—the very show itself—dissolves into magical dream sequence; their song fills the air like the light of drifting stars. Their friends and teachers come to join them. Is this all literally happening? Is it artistic license? A better question for you; who cares? In an interview, Director Yasuhiro Irie cited the Symphogear series as an influence on Healer Girl. These anime are, on many fundamental levels, very different. But they are alike in that both have a deep, intuitive understanding of the fact that with enough raw emotion, you can transmute literal events into symbols and back again.1 So the question of whether this is “really happening” is irrelevant, what it is, is Healer Girl‘s case for itself. A definitive answer to the question of whether these twelve weeks have been worth it.

During this fantastical, mesmerizing ending sequence, any lingering doubt vanishes like shadows against the morning Sun. Healer Girl takes its final showman’s bow, and it exits, as suddenly as it arrived.

If you feel it, it’ll heal you. That’s all there is to it.

Song Count: In episode 11, just one, but they sing it four times, only completing it on the fourth. In episode 12, three in total, all of which are wonderful in their own way. If you’ve liked the show’s songs and have more money than I do, consider buying the soundtrack or official vocal album.

1: Incidentally, Hibiki Tachibana would make a great healer. And the girls from this show would probably be pretty good Gear-wielders as well. There’s a free idea for the four of you who read this site but also write fanfiction.

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