Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
Today we hit perhaps the densest episode so far of Kaguya-sama: Love is War!‘s third season. -Ultra Romantic- has not been shy about plot thickets before this point, so that’s saying something, but we’re introduced to three new characters and two new plotlines here. That’s a lot to take in all at once; enough so that this episode actually has four segments instead of the usual three. (If you wanted to split hairs, you could say the last two are more like two parts of the same segment.)
We open with a pair of familiar faces, though. Mito Iino and Yuu Ishigami are, once again, the characters we’re riding along with for the opening segment. They’ve been assigned to the planning committee for Shuchiin Academy’s cultural festival, making this the second anime episode I’ve covered in a row about that topic. (Although the one in Healer Girl wasn’t a pre-Winter Break festival like this one is.)
But this is Shuchiin Academy, home of the sons and daughters of Japan’s wealthiest and most important families, must of course have a suitably grandiose cultural festival. The planning involved here must be an absurd undertaking, and one does get that sense even though we only see a little bit of it here.
Both leads for this segment have an ulterior motive; Miko, for reasons we haven’t really had explained in full yet, really wants the festival to cap with a roaring bonfire. Ishigami, meanwhile, is trying to impress Tsubame, who is also on the planning committee. Ishigami has dealt with some of these people before, during the sports festival from last season, but Miko very much hasn’t, so she feels rather out of place.
And arguments break out over what the slogan for the festival should be, starting with several….creative suggestions from Ishigami’s ostensible romantic rivals, other boys on the committee.
This is probably also the worst the series has ever suffered from the official release’s subpar typesetting.
I believe this is also our formal introduction to Rei Onodera (Yuuki Takada), yet another member of the committee and one who initially clashes with Miko.
Miko’s able to stand up for herself though—including getting everyone on board for her bonfire idea—which is a nice way of showcasing some character development on her part. Ishigami offering to help is much the same.
The second segment deals with another pair of new characters, Karen Kino (Madoka Asahina) Erika Kose (Ayaka Asai). Well, they’re not new characters exactly. Karen and Erika, in addition to being the stars of the spinoff manga We Want to Talk about Kaguya!, have actually had several small appearances dating back to the beginning of the show. And I do mean the beginning. Karen was actually the very first character to get a voiced line in the entire series, other than the narrator.
Here they mostly go about and interview various folks about the upcoming festival. This includes Tsubame, who gets a little sequence showing off her gymnastic skills, and also mentions that there’s actually a legend associated with the cultural festival.
And later, when they interview Shirogane, he alludes to another tradition associated with the festival. A “prank” usually played by the student council that involves installing a giant papier-mache orb on the school roof.
They also interview Kaguya herself, who they promptly lose their entire minds over.
As the title of the spinoff focused on them implies, the two are both down absolutely horrible for Kags. It’d be enough to make me feel a little bad for them if they both didn’t also spend time swooning over, respectively, Tsubame and Shirogane. They’re fun, and they get a lot of entertainingly wrong ideas about what Kaguya is like.
(The fact that Kaguya is an absurdly prodigal archer and has been chosen to light the bonfire that the cultural festival committee worked so hard to get approved by firing an arrow at it makes their total misfires about her personality a bit easier to understand. Still, knowing what we do about her, they’re pretty funny.)
They also interview the game club, which is mostly an excuse for Love is War to once again show off how weird Chika and her (mostly offscreen) other group of friends are. One of them goes full chuuni while explaining their grand plans for the festival, which is animated like something out of Kill la Kill for presumably no real reason other than because it’s funny.
(This joke is also a nod to the origins of Love is War! itself. It’s a commonly known bit of fan trivia that the ancestral pitch for what eventually became Kaguya-sama was a death game manga.)
And lastly, what would an episode of Love is War be without Shirogane being comically inept at something? This time it’s balloon tying.
I don’t need to tell you that his inability to make funny balloon animals leads to him wallowing miserably on the floor, which nearly guilts Chika into helping him. (A decent chunk of the scene is also shot like a moody drama for, again, no real reason but amusing stylistic clash.)
It is notable that this time, though, he actually leaves before Chika can do her whole demon trainer / mom shtick on him. Instead he keeps practicing on his own, this time in the student council room. Kaguya, who is also there, has a hard time because of this, given all the balloons popping.
Here, Love is War pulls of a neat trick of flipping this usually comedic template—which it’s used several times at this point, including once before in this very season—into Shirogane genuinely reflecting on what he sees as his own shortcomings.
But, of course, Kaguya doesn’t see it that way. To her, this is Shirogane’s charm; a dedication in the face of challenge regardless of what that challenge is, be it large or, as in this case, small. The warm, full smile she gives him (and us, given that the scene briefly switches to his POV), is probably the most sincere we’ve seen in the whole show so far. This alone would justify the entire segment even if it weren’t already pretty good.
Things swing back to the comedic for the episode’s final few minutes, in its final scene.
Initially, it seems like Shirogane’s apparent incompetence here can be explained away by the fact that he was using old balloons. But then he tries the same method with brand-new ones, and they promptly pop as well.
Hang in there, Fujiwara.
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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.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
And we’re back. Let’s celebrate with Cat Maid Kana.
Lovely.
This week’s episode of Healer Girl is a straightforward one. The high school festival episode is a classic format for anime like this, and it’s no real surprise that Healer Girl can knock one out of the park with minimal effort. We open with the class cafe` that prompts Cat Maid Kana up there, and some cute little gags about how the class spent so much time on the costumes that they had to go with pre-bought stuff for the food and drinks. But hey, no one goes to these things expecting 5-star dining. (If you do, you’re a monster, just FYI.)
The real focus point of the episode picks up about halfway through, where the student council president informs our leads—all of whom are accompanying an overfed Sonia to the nurse’s office—that there’s a gap in the festival schedule. You see, usually the school calls in a surprise performance by a band or something of the like. This year, the band actually got in a car accident, and while the band themselves are fine, their equipment is busted. The student council president is in a tizzy about this, but gets the bright idea that since the girls are all healer apprentices, they should perform as a rock band instead. Sonia, ever self-aggrandizing, agrees to it even in her hobbled, ate-too-much state. (Despite having to cede lead vocals to Kana because of this, which to be fair, she does willingly and of her own accord.)
The “high school rock band performance” is an old anime trope. To me, nothing will ever top the way it was done in The Melancholy of Haruhi Suzumiya, with J-Rock band ZONE knocking out otaku classic “God Knows” in the process. (And in 2010, Angel Beats! seemed to have doused that particular fire for good with its showstopping third episode, “My Song,” where such a performance marks the first major emotional moment of the series.) Healer Girl‘s take doesn’t match either of those, but those are all-time great anime episodes, so that’s not really a serious knock. Frankly, I’m just happy to see one again.
The lead-up here is a pretty hilarious scene where Kana just conks out after practicing the song for the first time. Exhaustion is no joke, but her bandmates letting her sleep until nearly the very moment they have to go on stage very much is, and it provides an amusing lead-in to the episode’s emotional climax.
The girls’ performance, even all I’ve said aside, gives us another of the series’ trademark free-flowing image-spaces. I will never be unhappy to get one of these, and they are almost always the high points of the show’s episodes. The music here is a lot slower and dreamier than “God Knows”, but it accordingly fits with the Healer Girls’ style in a way that a more uptempo track might not. It’s heavier than their normal material but not in a way that seems out of their ability, and the vocal trade-offs here are pretty astounding.
(This is the first episode since the one where somebody almost died that we’ve gotten to hear the girls sing all at once, I believe. And it’s definitely the first time Sonia has joined them.) There’s also a cute trick at the end where they perform an “encore,” the opening percussion of which immediately smash cuts into the ED.
“A Culture Festival Full of Surprises” may stand as one of Healer Girl‘s less essential episodes. Certainly it’s not as much so as episode 4 or episode 5. But if that’s so, it’s certainly not a bad thing. Sometimes it’s just nice to see the band play.
Song Count: Just one, but as in episode 4, quality makes up for lack of quantity.
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 Directoryto 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.
Anime Orbit Weekly is a weekly column where I summarize my journey through anime, manga, and the related spheres of popular culture over the past week. Expect spoilers for covered material.
I’ll be frank with you all, anime fans. This week’s AOW is heavy on discussing the actual shows I watched and light on intro’s and outro’s. Hopefully that’s how you like it! Enjoy.
Birdie Wing
Is it completely wack to say that Birdie Wing clearly cares a lot about class? I was hesitant in making that claim strongly when the series started, but as it’s gone on, it’s become very clear that that coding is intentional. God bless it, Birdie Wing thinks it has things to say. Even wilder; it actually might?
Consider this; this episode features absolutely zero golf at all. Instead, it’s about the fact that the shop Eve and her, basically, family are living out of is getting bulldozed. The slum—the show’s word, not mine—is being forcibly redeveloped by a construction company with mob ties. Our protagonists can’t simply move, either, because the three orphans they’re looking after are illegal immigrants. They’d get deported.
There’s also the implication that Klein (the woman who owns said shop, if you’ve forgotten) and Lily might have to resort to prostitution to get by, something the episode also later implies that they’ve done before. It is an ugly, ugly thing for a show as high camp as Birdie Wing to get into, and by all rights the series should absolutely fall flat on its face here. Maybe if it had brought this up earlier, it would have, but Birdie Wing so clearly believes its own hype that it somehow works. Because of course, the only hope they have of getting out of this awful, awful situation is for Eve to golf them out of it.
This involves pitting Eve against Rose, the lesbian golf mob boss who served as her employer a scant two episodes back. What wasn’t obvious at the time is that the casino deed on-bet there included the land that Klein’s shop is built on. Effectively, this entire mess is Eve’s own fault, even if she couldn’t have known that at the time. She confronts Rose about this and the latter simply blows her off, I suspect this will prove to be a mistake for the golf capo, but time will tell.
Eve spends the rest of the episode training, with the help of none other than Viper, who also lost all her money on that same match two episodes back.
I have to admit, I didn’t really expect to see Viper again at all, but being demoted to comedy relief serves her well. (And even then, she’s able to seduce a rival mobster’s henchman into putting a good word in for Eve.) And somewhere in here we also learn that Eve has amnesia and doesn’t remember anything from before about four years ago. Also that her name is short for “Evangeline”, which, knowing this show, will be relevant somehow.
The whole casino situation will, of course, be eventually settled with ball chess, the sport of queens, with insanely high stakes. How else does anyone solve anything in the world of Birdie Wing?
I wonder how Aoi will eventually factor in here. She has plenty of time to show up, as we are, somehow, only six episodes into Birdie Wing. There is an entire second side of the mountain we haven’t seen here yet, and I cannot wait to take a tour of it.
Estab-Life
By their ninth episode, most single-cour anime are setting up their finale. That might be true of Estab-Life, but as always, the show is so deadpan that it’s a bit hard to tell. Nonetheless, this episode does give us probably the most information we’ve ever directly gotten about how the show’s weird world actually works.
The gist here is simple; the Extractors have to bust out the inmates of a cluster that serves as a massive super-prison. (In fact, it seems to be where all the criminals from all the clusters go, which is curious.)
The main obstacle their goal? The prison’s vastly unpleasant warden, a hulking cyborg-woman who is obsessed with using her inmates to build up power to confront “The Manager,” allegedly the name of the being who controls the Moderators and, thus, indirectly, all of the clusters themselves. She’s no match for the Extractors, though. Equa and co. undo her systemic oppression in the span of what seems like a single afternoon, in a scheme that involves Equa entering the horse race(?!) the cluster hosts and Martes swiping the warden’s key. When they finally break all the inmates out, the warden seemingly outright dies, a very literal case of an oppressor not outliving the system they’ve made.
In lieu of much closure, we get the notion that the Extractors are going to be “busy” from now on—fair, given the sheer amount of inmates our girls now have to escort to new clusters—and also this.
Your guess is as good as mine. I cannot wait to see where this goes.
The Executioner & Her Way of Life
It’s been a while since we last checked in on Executioner, and in that time the show has gotten very weird. Here’s the very short Cliff’s Notes version: Akari has, as we’ve long suspected, used her time travel powers to rewind time to the start of her and Menou’s journey at least a few times, possibly quite a few. A side effect of this is that there are now, essentially, two Akaris. There’s our Akari, who we’ve been following for the bulk of the show so far, and there’s Future Akari, a distant version of herself with immense accumulated knowledge from the repeated time loops and all sorts of traps and contingencies set up in case things go pear-shaped for her “normal” self (who we’ll here call Present Akari for simplicity’s sake.) She is entirely on board for having Menou kill her, but it has to be Menou specifically, and it has to be done properly. In however many loops she’s been through, that hasn’t happened.
Last week, Menou took down Archbishop Orwell, whose corrupt machinations form an entire subplot that the series has since largely left behind. What’s important to know is that she’s dead, and will (presumably) not be coming back.
In the two in-show weeks since then, Menou and Akari have set out on a pilgrimage to somewhere called The Sanctuary. Akari is under the impression that this place will take her in. It’s probably more likely that they’ll try to kill her in some inventive fashion, given that Menou is the one taking her there.
Along the way to this place, they stop at the Mediterranean-esque town of Libelle, which rests on the coast of a massive ocean dominated by one of the frequently-alluded-to Human Errors, a huge magical fogbank called The Pandemonium. The Pandemonium, we’re told, is a place you can easily enter but only leave with immense difficulty. If you’re here thinking that there must be something pretty deadly in there, and that this would be an ideal place for Menou to try killing Akari, you’re more on the ball than Menou herself is, as the idea doesn’t occur to her until Momo explicitly points it out. In general, this episode circles back several times to the idea that Menou isn’t as focused on killing Akari as she “should” be, and she herself starts to question if she’s hesitating or not.
But hold that thought, we’ll come back to it momentarily.
It is also worth explaining that Libelle is the home of a resistance movement of sorts called the Fourth, who at some point a few years ago openly rebelled against the three-caste system that defines much of Executioner’s world. They were beaten (by none other than Flare, of course), but the town remains a hotbed of these particular folks. Their acting leader, Manon (Manaka Iwami), is the daughter of the Count who originally led this movement in the first place, but its current leaders don’t really think of her as much but a naive child. She’s only about Akari and Menou’s own age, after all.
At the end of the episode, she’s shown luring a mute girl into an iron maiden and closing it. I frankly have no idea what that’s about, and it’s more than a little tasteless, but it does at least serve as a pretty stark demonstration that, yeah, this girl is scary in her own way.
As for Menou and Akari? Well, Menou does try ditching her in the Pandemonium—not before a fairly long, relaxed sequence where they go about town and take a bath together, but, you know, eventually. Perhaps predictably, it doesn’t work, and despite Future Akari’s cryptic comments during our brief time following her as she’s within the Pandemonium, something kills her (we don’t see what) and she immediately resurrects next to Menou like nothing ever happened.
I think it is fair to ask where exactly Executioner is going from here, and whether the show’s remaining 6 episodes are enough space to make the journey it wants to. But, Executioner has already changed quite a lot from its showstopping debut, so who’s really to say. The series itself seems dissatisfied with the natural conclusion of its storyline—Menou somehow successfully killing Akari—and I have the feeling that things are only going to get thornier from here on out.
Love Live Nijigasaki High School Idol Club – Season 2
This will already be officially “last week’s episode” by the time you’re reading this, but I wanted to talk about the brilliant little conclusion to Setsuna’s arc in episode six of this season. One of the things I really like about what I’ve seen of Love Live—and especially Nijigasaki—is that it imagines a world where ordinary high schoolers are actually rewarded for pursuing their interests. (I’ve made this observation in pithy tweet form before.) Real high school clubs are mostly things of dry obligation. There are people who enjoy them, but that’s not really the point of them. They’re extensions of a school system that is designed to create good workers, not reward students for the things they love that are not “practical.” In the utopian Love Live universe, they’re the result of pure creative drive and passion. It is very much a fantasy, but it’s one that exists for a reason, and it’s not hard to figure out why it has such broad appeal. (Love Live of course is also popular for a plethora of other reasons, but we’re not talking about those here today.)
Setsuna has always been interesting to me within this context, because her central character conflict is that she feels caught between her love for the school idol club and her responsibility to the student council. Both of these are very important to her, and there have been several times throughout the series where the stress of having a full-on secret identity wears on her. Setsuna, the idol, has never been anything less than a magnetic presence. Nana Nakagawa, her “civilian” identity, is a different story. Nana the straightlaced student council president and Setsuna the school idol come into conflict here, as part of the ongoing storyline about setting up Nijigasaki’s cultural festival.
The short version is that scheduling conflicts lead to the possibility of having to push back the idol club’s activities, and this obviously causes her no small amount of distress. She blames herself, even when no one else does, and is fully willing to just cancel the whole thing. It takes some encouragement from the rest of the Idol Club for her to reconsider. (A solution is eventually found, and it involves teaming up with the school idol clubs of several other nearby schools, but no one said any of this would be simple.)
All this leads to the episode’s linchpin moment; Setsuna’s abandonment of her dual identity entirely. On-screen, in front of the whole school, she ditches her glasses and puts her hair up, a full Clark Kent-to-Superman transformation taking place in front of their very eyes. The shockwave of astonishment that reverberates throughout the school is palpable, and contagious. I have to give a special nod to Nana’s vice president here, who I like to think has a gay awakening in between her reaction to the reveal of Setsuna’s identity….
….and the end of the episode’s insert song a few minutes later, where the camera cuts to her again and she’s crying happy tears.
This week’s episode, on the other hand, centers around Shioriko Mifune. You probably know her as “the one with the little fang.”
Shioriko’s story is simpler than Setsuna’s but also a lot more grounded. Her older sister—Kaoruko Mifune, the very same ‘Mifune-sensei’ who’s now a student teacher in Yu’s music program—was part of her own school’s idol club. But, when the time came to aim for the Love Live that gives the franchise its name, her group couldn’t cut it. This has given Shioriko a pretty limited view of her own capabilities. The broad implication here is that Shioriko wants to be an idol, but doesn’t think she’d be any good at it, and thus limits herself to supporting roles.
To be honest, as someone who maintains a blog where I write about anime as an, oh, third or fourth passion in life following giving up on music and several other things, this actually cuts a little too close to home. So, I certainly sympathize with her, including her mild annoyance when the members of the idol club continue to push the issue.
Scroll down to find out how long this particular statement holds true.
But the fact remains that, throughout the episode, they do eventually manage to convince her to give this whole idol thing an earnest try. It would come across as a little hollow were it not for the fact that one of the people pushing her is her own older sister. Failing at something, she explains, is not the same as regretting it. Kaoruko was sad, certainly, to not be able to make it to the Love Live itself, but she doesn’t regret her time with the idol club. To be honest, and at the risk of embarrassing myself, it is the kind of thing that always hits me right in the heart. Simple, shining emotional messages like that are why Nijigasaki High School Idol Club is good in the first place.
More importantly for our heroines, it seems to be that revelation that gets Shioriko to swing the proverbial bat. The episode climaxes with her stepping alone onto a quiet stage and singing for an audience of no more than a dozen of her fellow idols. Nijigasaki, as always, takes the opportunity to bring her performance to life, her insert song “EMOTION” is a shining pop jewel of whirligig synth-flutes and reverbed finger snaps, the video a hushed collection of library rooms and clock motifs. (The latter may recall, for some viewers, Moeka Koizumi‘s other most famous role; Revue Starlight‘s Daiba Nana.)
The episode ends with her confirmation that after the festival, she’ll join the school idol club. But that feels almost like a formality, more than anything. For the few minutes she fills that empty stage with light, she’s as much an idol as anyone’s ever been.
The final shots of the episode are the rest of the idol club giving her a massive group hug as they welcome her aboard…while a certain someone looks on with what looks an awful lot to me like envy.
But I suppose that is a topic to be discussed next week.
Until then, that’s all for this one. This article is already running well late, so I hope you’ll forgive me if I just drop the embeds in the Elsewhere on MPA section below with no real elaboration.
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 Directoryto 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.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
“Heh.”
Today, Spy x Family moves into the second phase of its first major arc. Anya’s gotten into Eden Academy, and the first portion of Loid’s mission is complete. We meet his handler Sylvia Sherwood (Yuuko Kaida) for the first time properly here, as she rags on him for blowing a bunch of the agency’s money. (For more on that particular misadventure, you’ll have to see last week’s episode, which I didn’t cover here due to being ill.) The main thing to take away from Sylvia’s speech though is not budgetary concerns, but her explanation of how Eden’s merit and demerit system works.
You see, Loid’s target, Donovan Desmond, only attends certain functions with the families of certain, particularly prestigious students. The students who make up this inner circle are Eden’s Imperial Scholars (an admittedly curious name given that “The East” seems to run under some kind of Communist government, but whatever). One becomes an Imperial Scholar by earning eight Stella stars, awarded to Eden students who get particularly good grades or perform feats that somehow benefit the prestige of the school.
Conversely, there are Tonitrus Bolts, which are “awarded” instead as a disciplinary measure. Eight of those and little Johnny is expelled on the spot, no further questions asked, or opportunities presented. Keep all that in mind, it becomes relevant over the course of this episode.
We begin, though, with the relatively innocuous outing of Anya being measured for her uniform. The tailor promptly scares the hell out of her by casually mentioning to the attending Yor and Loid that kidnapping and ransoms of Eden students have been on the rise lately. Even so, this can’t dull Anya’s enthusiasm for her new uniform for long, and she spends a good few minutes of the episode showing it off. To her credit; it does look very cute on her, although black and gold is ostentatious even for rich kid school uniforms.
Anya actually does get kidnapped, though. Thankfully only very briefly, and she’s saved by Yor before anything can happen to her. (In a scene that is both really cool and genuinely moving. A recurring pattern in the Yor-focused bits of the series. There is something very satisfying about how righteously pissed off she gets when Anya’s kidnappers mistake her for a mere maid.)
Still, the experience rattles her a bit—understandably so—and after heaping praise on her “cool mama”, Anya basically asks her surrogate mother for self-defense lessons. Yor obliges.
The episode then skips ahead to the following day, where Anya properly enrolls in Eden and—as much as any young child does—partakes in the entrance ceremony. There, Loid carefully considers the facts of things; Anya could earn eight Stella stars and become an Imperial Scholar, or she could befriend Donovan Desmond’s young son Damian (Natsumi Fujiwara) and simply be invited over.
Unfortunately, Damian is a little shit, and Anya’s mind-reading makes her immediately privy to that fact. They don’t get on, despite Anya’s valiant (if wildly misguided) attempts to immediately get an invite to his house. Instead, Damian taunts her, calls her an “uggo”, and is generally unpleasant to both Anya and Anya’s actual fast-friend, Becky Blackbell (Emiri Katou). Anya tries to keep her cool, applying Yor’s advice to smile through tough situations. But her attempts come across as….well, just take a look at the header image. (This gag actually works even better in the anime than it did in the manga, that expression just being plastered on her face over the course of a good minute makes the scene hit that much harder.) Eventually, things escalate to the point where Anya can’t take it anymore, and she promptly slugs Damian right in the fucking face.
To the displeasure of her school housemaster, initially. But Anya is able to spin a convincing lie about how she only punched Damian directly in his smug face because he was insulting Becky. Which isn’t really remotely true, but our elegance-obsessed Mr. Herriman humansona here buys it.
She manages to get off with just one of the demerit bolts.
All in all, a very entertaining episode, but a rocky start to Anya’s school career. Only one way to find out where it goes from here, anime fans. Until next time.
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 Directoryto 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.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
“The countdown to farewell has already begun.”
It has been three years since I started covering Kaguya-sama: Love is War! In that time, I’ve read much of the original manga, so I knew this day was coming eventually. But hindsight has a way of snapping together things that seemed unrelated at first glance. Call it reading too much into pure coincidence, call it serendipity, call it the norns at work.
In its sixth episode, the show’s third season finally rounds the bend and gets serious. These more dramatic parts of Love is War! are what the series’ reputation is truly built on. I think it would still be beloved without them, but they help the story to feel larger than its constituent characters. Even for someone far removed from the rich kids’ club of Shuchiin Academy, it can reach out and touch a point in one’s own personal timeline, creating resonances both close and far. That is what this episode, and eventually, this entire arc, is all about. Which isn’t to say it’s a drag, (most of this episode is just as funny as the ones before it) but if there are any clocks ticking in your own life, expect to hear them ever louder as you watch it.
The catalyst here is fairly simple; a parent-teacher conference. A minor rite of passage / perfect-storm anxiety machine that every high schooler goes through a few times over the course of their education. Kaguya’s dad, notably, doesn’t show up to hers.
This is perhaps to be expected from her total piece of shit of a father. A man who is a walking bundle of rotten wood held together by petty spite and pure greed, a nearly elemental incarnation of the phrase “Rich Old Bastard.” A figure who, in the scant handful of lines he’s gotten in the series so far, manages to ooze a crochety, warped old-money unpleasantness that is sadly probably the single most realistic thing about this series. I really quite strongly dislike Mr. Shinomiya, if that’s not obvious.
In any case, the person who does show up is Hayasaka’s mother, Nao Hayasaka (Toa Yukinari), who pulls double duty by both attending her own daughter’s conference and Kaguya’s. We learn here that Hayasaka is a total mama’s girl, which is pretty cute. (If also a bit sad, since their exchange here implies that they spend very little time together.)
There’s also some great work from Shirogane’s dad (Takehito Koyasu), who makes a drop-in appearance for the first time in the season, back to his usual antics of being a total weirdo but genuinely good dude.
But the real important development here is what we hear from Shirogane himself, during his parent-teacher conference.
Immediately, everything else that happens for the rest of the series has this particular Sword of Damocles hanging over it. Shirogane and Kaguya’s time together in actual close proximity is ending. Not just ending but ending fairly soon. The deadline is in sight.
Kaguya-sama is notable in that its central dynamic, the “geniuses’ war of love and brains” that gives it both its tagline and original Japanese title, has faded the farther we’ve gotten from the premiere of season one. It has always felt—I think as much to its own characters as to us—that Miyuki and Kaguya have had all the time in the world to muster up the strength to finally shoot straight with each other. So their occasional throwbacks to that early period have been charming, but not felt urgent. That is no longer the case. This isn’t a slice of life series; the everyday here is not endless, and time is running out.
Give him some credit, our man knows it’s do or die time.
As I’ve gotten older, it’s felt like I should probably be able to relate to these sorts of stories—high school tales of romance and all—less. But the sense of urgency that Love is War! begins to carry from this point forward is universal. I’m 28, many people who read this column are older or younger than I, but who doesn’t feel Father Time breathing down their neck, at least occasionally?
But as we wish Miyuki good fortune and godspeed, we transition into talking about the rest of the episode. Which is, I must note, still very good, but it’s also a lot more conventional for Love is War!, so there’s simply less to discuss. In the second segment, the urgency is alleviated by one of the aforementioned throwbacks to the show’s early days. Kaguya and Shirogane both manage to galaxy brain their way out of inviting the other to a different school’s cultural festival, happening nearby. Even so, you feel for them.
In the third, Shirogane asks for the girls of the student council to help him evaluate himself “objectively.” This is mostly an excuse for wacky misunderstandings, such as here where Miko thinks he’s asking her out.
And also, for Miko and Chika to say mean but admittedly funny things about him.
But Kaguya, who can’t find a single bad word to say, is who ultimately leaves the day’s biggest impact.
Reinvigorated, Shirogane recommits himself to his plan, and it is for us and time to see if it will work out or not. Godspeed, Miyuki, and good luck.
Bonus Hayasaka Screencap: Dare I say, I think this was also how probably at least some of you reacted when Nao Hayasaka made her on-screen appearance, here.
That’s right, readers. I know your bones.
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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.
I usually write pretty straightforward articles on this site. But I don’t know, I wanted to be a little silly today. So why not, right? Join me as we explore the hangout vibes of five random magical girls who I basically picked out of a hat.
Inori “Buki” Yamabuki (Cure Pine) from Fresh Precure!
Perhaps the least complex of Fresh Precure‘s four main characters, Cure Pine (Akiko Nakagawa) strikes me as a deeply chill person. The only Pretty Cure to ever be given a canonical religion—she’s Christian, in what I assume was someone’s attempt to get Toei some merch money from Japan’s surprisingly large Christian minority—Buki is only lacking in complexity as a character because she’s the Fresh member who least needs it. She begins the show as a pretty well-adjusted person and basically still is one by the show’s end. Her parents are veterinarians, which seems neat. Buki is not the sort of friend you call up because you want to go clubbing, but she is the sort of friend who’d happily be your designated driver after the night is over. That’s called reliability, every friend group needs “the down-to-Earth one.”
Vibes: Peaceful Pineapple.
Special Friendship Skill: Will Pray for You (but Not in a Judgey Way)
Kirika Akatsuki from Symphogear
Is your friend group missing that one person who really seems like they should work at a Hot Topic, even if they don’t? That one friend who knows every single lyric to “My Immortal” and seems like she’d think the main character of My Immortal is genuinely cool? Do you need, also, someone who is a hyperactive ball of energy, a perpetually coiled spring ready to leap to their feet to join in on whatever inane totally badass plan you’ve cooked up for the weekend on zero notice? Well, I don’t know why I’m phrasing this as though she’s a car I’m trying to sell you, but Kirika Akatsuki (Ai Kayano) ticks all those boxes. The second-string Symphogear character is a highlight of the series’ cast, even if she’s occasionally subject to, we’ll be delicate and say, questionable things from the show itself. There is no friend group that would not be improved by adding in this adorable little edgelord. Just make sure you leave room for Shirabe Tsukuyomi (Yoshino Nanjou), the blonde beyblade and her yo-yo girlfriend are a package deal.
Momo Chiyoda(Fresh Peach) from The Demon Girl Next Door
At first blush, the rather reserved Momo Chiyoda (Akari Kitou) might seem like a strange choice for this list. But the real secret here, aside from the fact that much like 90% of anime characters who seem such, she just needs to be around the right people to open up, is that Momo has stories. You see, Momo is in the rare position of being mostly retired by the time we actually join the story of her originating series. Machikado Mazoku is a comedy show, and the big dramatic events that define the lives of most magical girls are several years in the rearview for Momo. She has been places and seen things—we know from the series’ actual text that she probably saved the world once—and in the right setting, she might be persuaded to share some of that wisdom. It’d probably be good for her, too, honestly. Momo is certainly the most emotionally troubled mahou up to this point on the list, even if she doesn’t show it often. (Machikado Mazoku is not usually that sort of series, after all.) Also her cat sometimes mutters ominous things in a deep voice, which is pretty fun.
Vibes: Seen It All
Special Friendship Skill: Property Owner
Asuka Tsuchimiya and Asuka Tsuchimiya from The Girl in Twilight
Easily the most obscure girl on this list, Asuka Tsuchimiya (Tomoyo Kurosawa) hails from forgotten 2018 battle girl anime The Girl in Twilight, the only full-length TV original from little-known studio Dandelion Animation. I don’t have the time or space to give TGiT the writeup it deserves here (despite being seen by just about nobody, the show is actually quite good), but the appeal of Asuka herself is easy to explain. One; she’s just an all-around good girl, an uncomplicatedly kind person who makes every room she’s in that much brighter. Two; she’s friends with a double of herself from another universe who is basically just the same person as she is but more badass, a fact that objectively rules. With Asuka, you get two friends for the price of one. There’s no beating that.
Vibes: Seeing Double
Special Friendship Skill: Ham Radio Expert
But alright, let’s say you’re tired of all the sunshine and quiet wisdom. You want to throw some anarchy and chaos into your friend group. Who do you call?
Anarchy from Mahou Shoujo Magical Destroyers
So, okay, full disclosure. This show doesn’t exist. Yet anyway. Mahou Shoujo Magical Destroyers is an upcoming anime based on a small group of characters created by fashion designer Jun Inagawa. We don’t really know what the show is going to actually be yet, the only extant trailer is very vague, as is the plot description. (Which kind of implies to me something vaguely akin to last year’s Rumble Garanndoll, but at this early stage who the hell knows.) But there’s no way Anarchy wouldn’t be a fun hang. Look at her. Look at her name! It’s Anarchy! She has a magic staff with an anarchy A on the tip. There’s no way this girl isn’t a living party-starter. If you want good vibes, you can call any of the other girls on this list. If you want to overthrow a government, you call Anarchy.
Vibes: Rage Against The Machine Fan.
Special Friendship Skill: Will lend you her copy of The Abolition of Work.
So that’s the list. Normally I try to concisely summarize the main point of the article in these closing paragraphs, but, you get the picture by now I’m sure. Did you like this article? Absolutely hate it? Do you want more of these (whatever “these” are) on MPA? I do have to say I feel a little bad that I only got one girl from a “traditional” magical girl anime in there. Perhaps a follow-up is in order? Let me know in the comments below. Also consider donating if you can! See you on Friday for the Kaguya recap, friends.
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 Directoryto 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.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
This week, Healer Girl returns to a marginally more mundane setting. Specifically; Sonia’s clinic. Much of the episode serves as a small spotlight shone upon the hitherto minor character. I’ve never disliked Sonia—her “antagonism” is extremely minor and cartoony—but it’s nice that she gets an episode to shine regardless. Haughtiness is fun, in the right hands, and Sonia’s are well-equipped to handle it.
The episode’s forehalf showcases Ria’s apprentices helping out around Sonia’s grandmother’s clinic. You may recall that Sonia has something of a self-proclaimed rivalry with Ria, but their help is at her grandmother’s insistence. (She’s bedridden dealing with backpain, you see. Which also serves as yet another small reminder that even in this world, there are limits to what medicine can do.)
Sonia is extremely haughty throughout, even as Kana tries to help despite her palpable exasperation with the white-haired healer’s antics and Reimi nerds out over the clinic’s massive archive of vintage sheet music. The entire opening half here is very charming, and caps with Sonia showing off her healer chops by singing away a burn on a young boy’s arm with almost no prep time beforehand. (That second thing being impressive is new information to us, I think, but given that the only other healer we’ve seen do much work is Kana, who is also a prodigy, it makes some sense that we didn’t know before now.)
The second half of the episode sees Sonia rope Kana into all kinds of silly bullshit. First, she drafts her into the “executive committee” of her high school’s culture festival. Then, she abuses the power she has in that position to create a “Russian Cooking Club” out of thin air and fill out the paper work letting them set up a stand at said festival. Why do this? Because she met some random little kids who wanted to eat Borscht and she promised she’d make them some sometime. It’s exceedingly random, but it mostly works as far as goofy school life antics go.
We meet a few of Kana’s classmates here too, although none get much characterization beyond their constituting the Local Kana Fanklub (which she deserves. She’s a good protagonist.)
It also manages to sneak the ancient “people who are incompetent at cooking accidentally create the weird purple muck that Grimace from McDonald’s is made out of” gag in there. It’s old hat by now but this is at least a well-executed take on the joke.
Kana manages to run herself pretty ragged while doing all this, so the episode’s last major scene is also its insert song. Sonia, adorably, soothes Kana as she sleeps. My personal guess is that the right song-medicine can make sleep more restful, turning even short naps into a viable way to recharge your batteries? It’s not spelled out to us here, but the general idea is clear. It’s also illustrative of the fact that just below her somewhat arrogant surface, Sonia is a real sweetheart, too.
At the end of the episode we’re treated to a small post-credits scene. There, a nondescript fellow (one of the very few on-screen boys in Healer Girl at all) rushes into what is presumably the high school’s student council. He declares an emergency; a huge gap in the culture festival’s schedule! And on that fun little cliffhanger, the episode comes to a close. Perhaps hinting at a full-on concert next week? I wouldn’t put it past Healer Girl. The show remains, even in minor moments, as pleasant as lemonade in July.
Song Count: Two, both sung by Sonia. There are a few ditties consisting of a couple bars each throughout, as well, although in general this is one of the least musically-dense Healer Girl episodes.
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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.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
I knew this day would come eventually.
He wants to express his feelings in rap. Miyuki Shirogane, student council president of Shuchiin Academy, wants to express his feelings through song. No, through performance art, in what is probably the absolute worst medium he could’ve chosen to do so short of perhaps mime. Ask anyone who’s ever been subjected to Lil Dicky; rap and comedy do not mix. Rap and anime have a very uneven track record and historically mix even worse.
A conflux of the three should signal a truly epic crash where Kaguya-sama: Love is War! burns out and never recovers. Improbably, it does not, but that may be because this is A-1’s most impressive production on the season yet, a true cartwheeling display of visual panache put in service of a bizarre pseudo-music video. The music is still very much at its worst the closer it is to actual hip-hop, but at least it’s never unwatchable. The combined first two segments of the episode are basically this Tumblr post, I don’t know what else to say.
Anyone familiar with the “Chika teaches Miyuki to do something” skits of prior seasons will understand immediately what’s going on here. The twist this time around is that Chika is also completely clueless about hip-hop and has to teach herself before she can teach Shirogane anything. This is admittedly pretty funny, but it does drift into the notion that rap is just funny as a concept, which definitely isn’t true and is usually the domain of a specific kind of bad American cartoons. Although Shirogane’s profound badness remains hilarious. His first try at “rapping” here sounds more like a walrus dying slowly. It physically propels Chika into the air.
The “actual” rap as it eventually develops here is, I don’t know, fine. It’s not the kind of skin-peeling cringiness that I usually associate with rap music showing up in cartoons, which is a positive. Shirogane’s actual song is notably old school, having something broadly in common with the retro pop rap stylings of chelmico. and similar acts.
What is he rapping about? Well, initially this is just followup on that karaoke episode. He wants to convince Hayasaka to be more honest with herself and others and such. We also get a flashback to the karaoke place, where Hayasaka mentions that her job is to “keep tabs on” Shinomiya. Hmm.
In any case, the “musical” segment that follows this is pretty damn impressive, just from a production standpoint. For my money though it’s actually Kaguya herself who has the best song, despite it being probably the farthest-removed from hip-hop music. It also has the best visuals, including a truly inexplicable nod to Queen‘s “Bohemian Rhapsody.” (Maybe it’s a pun? “Rap”sody? I don’t know.)
In the largely-unrelated final segment of the episode, we link back up with Maki.
She seems to be doing well.
In what seems to be a recurring pattern, this section of the episode is a lot simpler and less ambitious than what precedes it. It’s mostly Maki venting to the boys again. Ishigami correctly points out that it’s usually best to be quick on the draw in games of love. The fact that all three people in the room have crushes they can’t own up to having, some more involved than others, casts a palpable irony over the whole thing, something the series itself is very much aware of. Maki’s own regret boils hot enough to burn away the tea Ishigami prepares for her, and Yu and Miyuki nearly give themselves a stroke just imagining the other person stealing their crushes.
All in all it’s a pretty simple segment that serves mostly to close out the episode. And it is nice to see Maki making friends, of a sort, it helps all the comedy at her expense feel less mean.
There’s also a new ED this week, presumably a one-off. Once again done in a totally different stlye from the rest of the show, and also featuring a hip-hop soundtrack. (One that I’d go so far to say is a fair bit better than Shirogane’s rap in the actual episode.) It’s cool, but I’ll welcome the return of the usual ED next week.
Until then, Kaguya fans.
Bonus Hayasaka Screencap: Why have one Hayasaka when you could have five?
I should here note that Hayasaka’s song is probably also the one that comes closest to having any real bite to it. It conveys her increasingly fed-up attitude with Kaguya pretty well. She even has something that might actually qualify as a Bar™ if you’re generous, rhyming that she has so many faces that she feels like “a hydra.”
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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.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
“The light of drifting stars fills the sky.”
The fact is, it’s actually pretty easy to review something bad. Reviewing something that’s mediocre isn’t that hard either; line up its strengths and weaknesses, weigh them and determine if, at least for you, the former outweigh the latter. The real challenge is writing about something great.
And that is part of why this particular Healer Girl recap comes to you a day (possibly multiple days) late. That and a combination of truly fearsome writer’s block. If this column seems a bit less coherent than usual, I do apologize. It’s not in my general nature to “break the fourth wall” during these columns, but sometimes explanations are in order.
In any case, the actual plot of this episode is so simple that it almost doesn’t bear summarizing. Our main trio visit Hibiki’s family in the countryside. There, we learn a bit about her and her family, and a bit about Kana as well. One of Hibiki’s many younger brothers develops a precocious crush on Reimi, which is cute.
We also get an elaboration on the event that made Kana want to become a healer in the first place. When she was young, she had an asthma attack on a plane, and without an inhaler on hand, was in serious trouble. A mysterious healer, who she has been looking for since then, soothed her, thus setting her on the path to becoming a healer.
We find out almost immediately that this mysterious healer is, in fact, the girls’ teacher, Ria, who has just apparently not heard this story before. There’re a few details that don’t entirely line up about this, and I’m not sure if that’s the show trying to deliberately evoke the faulty memory of young children or if they’ll come back to that later. Either way, the reveal is humorously anticlimactic.
After all that, the episode’s real point makes itself known. It’s always been fascinating to me that so much human art is dedicated to depicting the natural world. By all rights, it’s something almost all of us are at least passingly familiar with; it’s the world out our window, or at most, a drive away. Why is it then that we spend so much time writing about waterfalls, so to speak? Why are we so fascinated with the motion of water and the little skipping and wriggling things that live in it? The girls swim in a small river, and I am reminded of my own times doing the same, visiting my father’s parents in the Pocono Mountains. These were not the happiest times for me, but they were simple, maybe that is why a tug that is something like nostalgia pulls at my heartstrings even so.
After the river scene, the girls trek toward a split-apart stone monument that reaches into the sky like the hand of a lost god. By the time they arrive, singing all the while, day’s become night.
The episode’s visual and emotional crux is a pair of landscape shots; the Milky Way rising into the sky like a plume of neon smoke. Later, the constellations that the fireflies within a cave play out on its ceiling and hovering in its air serve as a reprise. They are sights simultaneously familiar and obscure to me; even in my years living in rural Pennsylvania, there was simply too much light pollution for me to ever see that many stars. The night has always been black for me. Not so for Healer Girl, whose devotion to the natural world ranks up there with among the all-time best of its medium; Ghibli films, Yokohama Kaidashi Kikou, Kamichu!
But the sky’s vastness and beauty shouldn’t obfuscate something else important. The Night on the Galactic Railroad namecheck, brought up explicitly in conversation, is what gives this episode its title. And it is casual, but not careless. Galactic Railroad, one of the seminal works of modern Japanese literature—which was, in 1985, transmuted into one of the most stunningly beautiful films ever made—is ultimately a story about death. Recall that only a week ago we saw a man nearly die on the operating table. This week Kana relays her own brush with ill health. Are these allusions a gesture toward the flip side of the show’s very premise—those whom medicine, no matter how fantastical, cannot save—or something else? Or “just” a reminder of the circle of being? All that begins ends, and dust begets dust, and the big wheel keeps on turning?
All this from a pseudo-beach episode that is also very much about how pleasant a trip to the countryside can be may seem like a stretch, but Healer Girl can juggle all these thoughts and emotions effortlessly. Healer Girl feels a lot like Kana herself, able to pull others into its own little world with a prodigal effortlessness. (Another thing we learn this episode, but one which is only dwelt on briefly.)
For precisely these reasons, it is one of the best things airing right now. Nothing else right now makes me feel this strongly or feel this much. I am happy that it exists.
Song Count: Just one for this episode, as the girls and Hibiki’s family are hiking up the mountain.
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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.
Anime Orbit Weekly is a weekly column where I summarize my journey through anime, manga, and the related spheres of popular culture over the past week. Expect spoilers for covered material.
Hello, anime fans. I don’t have much to say to you this week. I hope you enjoy the writeups below. I had a lot of fun writing about Birdie Wing this week in particular.
Seasonal Anime
Birdie Wing -Golf Girls Story-
If you’re anything like me, you started watching Birdie Wing not because it’s particularly good, but because it’s fucking ridiculous. I am pleased to report that, after a somewhat disappointingly tame (but admirably lesbian) past two episodes, Birdie Wing not only gotten its groove back, it’s also reached utterly stunning new heights of absurdity.
The episode begins with Aoi’s tournament-winning putt being interrupted by a laser pointer to the eye from one of Rose’s lackies. On its own, this is a mildly amusing Dick Dastardly-esque turn. To say things escalate does not do justice to what eventually transpires here.
Post-tournament, Rose immediately calls in the favor she used to get Eve into the tournament in the first place. That favor? She has to win another underground golf game. But not just any underground golf game. Oh no, not just any by a long shot.
This episode’s plot goes so far into pure ridiculousness that I feel tired just typing about it. Things start at, for Birdie Wing at least, normal. The job Eve is called into handle is merely the way that a brewing mob war between Rose’s “patron” Catherine and one of her rivals is being resolved. When one realizes that the term “underground golf” is here meant literally—as in, the golf course is subterranean—they might think “wow, this is pretty absurd. Definitely more so than anything that’s happened in Birdie Wing so far.”
They might have a few seconds to hold on to that thought before Catherine pushes a button and the entire course begins transforming like Autobot City into Metroplex.
They have a “randomize golf course” button! A button to randomize the physical golf course! Like it’s Pokémon and they’re loading in a ROMHack! The terrain is ripped apart, a random little lake is drained, and it reconfigures into a new and novel shape. I am so utterly thrilled to live on the same planet as the person who dreamed up this beautiful spot of true-blue total nonsense. It’s awesome.
And we haven’t even gotten to discuss Eve’s actual opponent yet. Meet Viper, or “Vipère” (Kaori Nazuka) as I will not be calling her because I don’t feel like pasting that accented E every time. Now, every important character in Birdie Wing is two things; one, obsessed with golf, and two, a lesbian. Viper adds a twist on the formula by being an evil golf lesbian, meaning that she’s uncomfortably pushy, wears a ton of perfume, and has a skimpy outfit. In any other show, I’d probably find this character, and her relentless advances on Eve (down to a wager wherein whoever loses has to do what the winner says for a whole day. Yikes.) rather off-putting.
Golfing!
I still kind of do, but it’s hard to entertain any thought of reality when the character in question is named Viper the Reaper. (Yes, she needs two menacing nicknames apparently.) And that she’s playing against our hero on a mighty morphin’ golf course that can bend into any shape its owner wants. I’m not a big advocate of the “turn your brain off” philosophy for campy bullshit—it’s not hard for something to be both entertainingly silly and meaningful—but in this particular case, it might help. If only to save yourself from psychic damage.
Oh, and I should also show you all her golf ball.
Of course there’s a two-headed snake stamped on it. Did you think there wouldn’t be? Have a little faith.
Viper cheats, of course. She’s the villain! Obviously, she cheats! But Eve is able to sniff out her strategy pretty quickly. Literally, because she cheats by having a perfume-scented tattoo that throws people off-balance just enough to disrupt their swings. She gets the perfume to diffuse by unzipping her top, which “explains” why she does that several times over the course of the episode. I want to really, really strongly stress that I am not making a word of this up. This happens. This is real. This is the actual plot of Birdie Wing.
The truly absurd thing is that there actually is a trickle of a genuine theme in here. Eve’s distaste for the bourgeois, despite playing perhaps the most rich-folk-only sport in the world, has become consistent enough that I’m convinced it’s part of the central point of the show. I sincerely hope that the series finale somehow involves Eve destroying golf as a concept and replacing it with something far better, more egalitarian, radical, and lesbian.
In any case, Eve wins after figuring Viper’s trick out, naturally, and her one order to Viper is for the evil snake golf lesbian to drive her to Nafrece Golf Course by 5am. So that she can meet Aoi for a final game before the latter goes back to Japan. (I neglected to mention that that’s a running B-plot throughout this episode. Can you blame me? There’s a lot going on.) She just barely misses Aoi, who is straight-up heartbroken. How do we know that? Well, Eve finds something on the golf course. I’ll let the series speak for itself here.
Golfing!
Even when Eve tries to prove that she got there by shooting golf balls at Aoi’s plane as it takes off, Aoi still screams and cries that she’s a liar. End episode, roll credits.
I’m tired of beating around the bush. There’s a lot of good to great stuff airing this season, but Birdie Wing might be the best. If it’s not, it’s at least in the conversation. What else is going this hard for so little reason right now? Nothing, and that’s why Birdie Wing can’t be beat.
The Executioner and Her Way of Life
Some anime’s strengths are subtle; their merits only become obvious either upon repeat viewings or prolonged contemplation. And then, on the other end of the scale, are those where just watching them can feel like repeated kicks to the ribs. Guess where The Executioner and Her Way of Life falls?
That breath-snatching immediacy is a very subjective thing, of course. But I feel it in a real and present way with Executioner. The most recent episode is, from start to finish, a slow-churning nausea in the stomach, the knowledge that something is about to go very awry, and then a chop to the throat when it finally does. Menou loses everything she’s held important, both new and old, in an instant, and the episode stops dead at the end of its run on what might be one of the most evil cliffhangers I’ve ever seen.
I don’t actually feel comfortable detailing the episode at length. I intend to cover the fallout of all this in more detail next week. For now, take this fiery impression as yet another recommendation to watch Executioner if you aren’t already.
Love Live! Nijigasaki High School Idol Club – Season 2
In which Karin and Ai try in vain to comfort a depressed girl.
I’m being flippant, but that really is what the plot of last week’s Nijigaskai High School Idol Club boils down to. One of Ai’s friends, recently recovered from some nonspecific long-term illness, is out and enjoying her freedom again. But oh, she’s sad because Ai’s become a successful singer while she was gone, and she feels left behind. Look: I’m sympathetic, I’m a blogger, I do not have an exciting life and I sometimes envy people who do more outwardly interesting things. That’s a valid feeling, and as a base for creating an interesting character, you could do some strong things with it.
The question is whether it works in the context of this show, as a mostly self-contained story that takes up the better part of its fourth episode. And the answer is no, because what this plays out as is everybody involved—Karin, Ai, Ai’s friend, whose name I have already forgotten—just kind of being a downer to each other for about 12 minutes. I could recap the specifics for you, but there’s really no point. None of this seems like it’s going to have a big impact on the series, none of it reveals anything new about Karin or Ai, and the girl in question is certainly not an interesting character on her own.
You have depression.
There’s also a bizarre B-plot wherein Ai tries to get Karin to form a group with her, which Karin initially doesn’t want to do. That seems like it might have lasting implications, and perhaps draws a parallel between Karin and Lanzhu. But it’s made a moot point at the end of the episode when they decide to group up anyway, under the pretense that they’re “rivals” on-stage, “competing with the same song.” That does not make any sense. You don’t need me to tell you that. It’s also totally unimpactful, since we only have known Karin feels this way for about half an episode by the time she changes her tune. Also; at one point, Karin tries to comfort Ai when her friend’s being down makes her consider quitting being an idol at all. Her approach here is hilariously dickish, and completely whiffs as an intended emotional moment.
Immediately after this scene Karin says that if Ai quits being an idol, she’ll steal all her fans, including her friend. This, somehow, is what gets Ai out of her funk. In a better context this could actually work. Here it mostly just seems like someone remembered they had to get these two on stage together by the end of the episode.
The good news is that the music itself is still there. The duo of Ai and Karin (yes, they team up anyway, despite all the talk. They even get some very sharp matching outfits) perform the insert song “Eternal Light” for the music video portion of the episode, under the name DiverDiva, and instantly it becomes pretty easy to forgive any missteps the show might be making. These, at least, are still consistent highlights, even if none have quite reached the highs of Setsuna’s total fucking barn-burner from season one yet.
For my money, if we want to indulge their “idol duo who are rivals” bit, Karin absolutely smokes Ai on the song. She just has the more powerful voice by a good margin and Ai’s admittedly dexterous rapping doesn’t really make up for that. But hey, I may be biased.
Eventually it all turns out fine, and Ai’s friend officially declares herself to be Ai’s fan also (which is a fucking weird thing to do, but whatever, it’s an idol series.) She redoubles her commitment to working overseas (in what capacity, we never learn), and says something about how Ai inspires her. That’s all fair enough, but we again run up against the problem of none of this seeming to much mean anything. Are we ever going to see this girl again? The last thing this show needs is more characters, especially if they’re totally extraneous.
After the credits roll, we’re quickly introduced to another new character who will presumably make her proper debut next week. She, though, is an actual idol—that’s not pointed out explicitly and, frankly, it doesn’t need to be, you can just tell from her two-tone hair and cocky attitude—and I feel like her contribution to the show will, by its end, massively dwarf that of Ai’s little friend here. (This is without mentioning other far more interesting running plot threads. Lanzhu’s inevitable upcoming face turn, Shioriko Mifune (Moeka Koizumi)’s likely eventually becoming an idol. ETC.)
Plot detours are normal for seasonal anime, so none of this spells the end for Nijigasaki as a series or even for this season of it specifically. I intend to find out today if this is merely a rough patch or the start of a recurring problem. (Nijigasaki actually airs on Saturdays, but, because of my schedule, I can rarely get to it earlier than Sunday evenings.)
Shikimori Isn’t Just a Cutie!
I won’t pretend I have a ton of value to say about Shikimori Isn’t Just a Cutie!, my obligatory after-the-season-starts pickup. It’s an entrant into the growing “romcom about a valid straight couple” genre, and one I like. It is, admittedly, a series of extremely limited ambitions. (Which only makes sense, given that it got its start as four-panel gimmick strips on Twitter.) But that actually works in Shikimori‘s favor, a lot of the time. The series is relentlessly pleasant enough that it almost operates on the same wavelength as an iyashikei anime. You turn it on, you enjoy the lovey-dovey vibes between main characters Izumi (Shuichirou Umeda) and the titular Shikimori (Saori Oonishi) for about 22 minutes, including whatever particular antics they get into this week (and there are certainly antics to be had), and then you turn it off. It’s not a particularly complicated show.
I mostly wanted to shout it out here for the most recent episode, which showcases two things I really like. One, and the more low-key of the two, is the show’s smart eye for set design. All of the places about town that our cast end up in feel tangible, yet nostalgic. The mall in particular is sure to trigger nostalgia for a lot of people.
Secondly, I really like the fact that every member of the cast seems to be casually bi. Izumi himself has mulled over the idea of his girlfriend as a boyfriend before, but this episode spotlights said bi vibes more directly with Nekozaki (Misato Matsuoka), who spends much of the flashback sequence she stars in freaking out over how hot she thinks Shikimori is.
And there’s a post-credits scene where Shikimori herself gets flustered by Izumi’s mom. (They take a cooking class together. It’s a long story.)
It’s very easy to be unkind to a romcom, as a queer critic. Especially one where the main couple are straight. And I have definitely seen my fair share that just make me want to puke. (An impression you could be forgiven for not getting from this blog, given that I don’t tend to write about anime I dislike and never finish.) But I do think that for what it’s trying to do—which is admittedly not much!—Shikimori is pretty good. My hope is that I can provide a bit of a counterbalance to the show’s small but definitely present antifandom. And if you’re not watching Shikimori, well, it’s a busy season so I certainly understand, but consider penciling it in if you want something to help you unwind.
Poor Ishigami can never seem to catch a break. I feel bad for the guy a lot of the time. Oh yeah; and the last part of the episode with Chika sleeping over at Kaguya’s place is great, too.
Fun fact: I believe this is the longest article title anything on this site has ever had. It’ll probably be a long while until something else breaks that record. Anyway, yeah, this manga is great. It’s got lesbians, cool fantasy nonsense, and swords. What else do you need?
And that’s all for this week, folks. See you tomorrow for the Healer Girl recap.
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