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 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.
One Piece Every Day is a column where I read a chapter of One Piece every single day—more or less—and discuss my thoughts on it. Each entry will have spoilers up to the chapter covered in that day’s column.
Please keep in mind that many other readers are also first-timers. Do NOT spoil anything beyond this point in the comments!
Unsurprisingly, Buggy the Clown is not dead. But in contrast to last chapter’s pure, streamlined punch-and-stab machine, this chapter is a bit more all over the place. Not in a bad way, but it’s a lot less Just One Thing than yesterday’s.
Mainly, we learn a couple things here; about Red-Hair Shanks, about Buggy the Clown, and about the Devil Fruits themselves, which, it’s becoming increasingly obvious if it weren’t already, are the manga’s central plot tokens.
It’s worth taking an aside here to point this out; it seems like Mayor Boodle’s bravery has inspired his citizens, and they arm themselves while preparing to fight Buggy off. They don’t arrive at the site of the battle in this chapter, though. My guess is we’ll circle back on them tomorrow.
Much more of the chapter is taken up by a flashback from Buggy, where we see a slice of his youth serving as an “apprentice” aboard a pirate ship. We also learn why he ate the Devil Fruit in the first place and why he doesn’t like Shanks. In order, he ate it because he was trying to steal it, and he doesn’t like Shanks because Shanks saved his life. No, that was not a typo. Why did he want to steal the Devil Fruit? Turns out, a lot of people will pay good money for superpowers if the only downside is that they can’t swim.
Assuming a “berry” is roughly about a yen, a hundred million of them is about $743,000 USD. If it’s actually closer in value to a US dollar, then it’s about $100,000,000 USD.
Buggy, via an ill-considered harebrained scheme, ends up both accidentally eating the fruit and nearly drowning. Shanks has to save him, and in spite of that, Buggy ends up blaming him for the failure of his get-rich-quick plan. This is the rare shonen flashback that actually manages to make a character even less sympathetic than they already were, it almost comes across as parodic. (Obviously, that’s intentional, but still, it’s pretty funny.)
Importantly, though, it does establish that Buggy’s fixation on literal gold-and-jewels-style treasure is deep-rooted. Which makes it make sense when he actually cuts and runs from his fight with Luffy. Literally! He pops the top half of his body off and flies at Nami like some kind of cutlass-wielding aerial drone, a shot on which the chapter ends.
Tomorrow: Buggy vs. the thief of pirates!
One Piece Every Day relies on reader support even more than most of my columns do. Please consider sharing this article around if you liked it!
Also 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.
In which Buggy the Clown learns not to mess with Luffy’s hat.
Today’s One Piece chapter is another that’s essentially just a single, uninterrupted action scene. It’s also a bit longer than normal, with a few extra pages, presumably to commemorate the start of a new volume. But if you’re inclined to worry that this will dilute the action somehow, rest easy. There really isn’t much to this chapter but 20-some pages of blood and iron, but a series like this doesn’t always need much else.
We do learn one thing, though. That cliffhanger from the end of the last chapter is followed up on immediately; Buggy and Red-Hair Shanks once served on the same ship. Beyond that, we don’t get much detail, and it’s not like Buggy is going to tell Luffy anything else without a very good reason.
Of course, Luffy interprets Buggy’s reluctance to share info in a somewhat different light.
The remainder of the chapter’s pages are largely a tangle of rubber limbs and detaching heads; Luffy and Buggy seem almost an equal match, and I like the comedic detail of the more normal members of Buggy’s crew knowing to stay out of the fight.
What gives Luffy an extra edge? Buggy damaging his hat, of course, first just by nicking the brim and then by full-on impaling it with a trio of stubby daggers. That much is enough to turn the tide in Luffy’s favor.
Will it be enough to actually take the clown down? Well, we’ll find out together, tomorrow.
One Piece Every Day relies on reader support even more than most of my columns do. Please consider sharing this article around if you liked it!
Also 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.
One Piece Every Day is a column where I read a chapter of One Piece every single day—more or less—and discuss my thoughts on it. Each entry will have spoilers up to the chapter covered in that day’s column.
Please keep in mind that many other readers are also first-timers. Do NOT spoil anything beyond this point in the comments!
Something I like about One Piece is that it has a certain “ah, just one more chapter” quality to it, at least in the format I’m reading it in. As I write this it’s a few minutes shy of 2AM local, and I should really probably be in bed, but I seriously want to know how this fight between Zolo and Cabaji went, so here I am, reading another chapter at two hours past midnight.
My utterly dreadful sleeping habits aren’t the focus of this column, though. Watching Zolo fuck Cabaji up is.1 And to that end, we get a really great page right near the top of the chapter here, complete with Cabaji dropping an old-timey pirate insult.
To be fair it’s not literally all about these two. Somewhere in here, Nanami sneaks off, assuring Luffy that she’s happy to team up with him….if he can get ahold of Buggy’s treasure and the map of the Grand Line, that is.
Far be it from me to criticize perhaps the most successful mangaka of all time, but what’s going on with Nami’s hand there?
But apart from that little aside, this is very much the Cabaji and Zolo show.
Buggy’s second mate leads with a bunch of crazy, vaguely “circus”-themed bullshit like this.
And Zolo counters by being a much better swordsman than Cabaji is. Eventually, Cabaji has to resort to cheating, and Buggy tries to ‘subtly’ help out his third-in-command. A classic heel move, but it doesn’t work. Luffy is still around, after all.
The trickery doesn’t help, and despite literally bleeding out the entire time, Zolo trounces Cabaji. Eventually finishing him off in what is probably the single best page of the whole chapter.
Proving that he isn’t actually an immortal sword demon and instead just fights like one, Zolo collapses from blood loss shortly thereafter, leaving Luffy and Buggy to finish the fight on their own.
And then, just as Volume II draws to a close, Buggy drops this particular bombshell.
And much as I am genuinely dying to know what’s up with all of that, it’s probably time for this old sea hag to turn in for the evening. (Besides, I’m leaning a little too heavily on screencaps, which is always a sign that it’s probably time to stop here for the day.) Before I do though, now that we’re two volumes and a couple weeks deep, I just wanted to ask how you’re all feeling about the project so far. Please sound off in the comments (or on my Retrospring) about any thoughts you might have; positive, negative, whatever they may be.
I look forward to hearing from you. See you tomorrow for the start of Volume III, pirates! 🏴☠️
1: A danger of late-night writing: I forgot the “is” in this sentence when I first wrote it and only noticed it later. This would be a very different kind of column if that were what happened in this chapter!
One Piece Every Day relies on reader support even more than most of my columns do. Please consider sharing this article around if you liked it!
Also 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.
One Piece Every Day is a column where I read a chapter of One Piece every single day—more or less—and discuss my thoughts on it. Each entry will have spoilers up to the chapter covered in that day’s column.
Please keep in mind that many other readers are also first-timers. Do NOT spoil anything beyond this point in the comments!
Alright, so I accidentally lied yesterday! Today’s chapter is less about the fight between Buggy and Luffy—presumably, that’s still to come—and more about the fight between Zolo and Buggy’s third-in-command Cabaji, who we met yesterday.
There is a little bit of Luffy-centric material, though. Especially when Nami freaks out about his balloon stunt from yesterday’s chapter. (And hey, to be fair to her; I would too.)
But yeah, mostly this chapter concerns the locking of blades between Zolo and Cabaji.
Despite Cabaji’s ‘noble blademaster’ posturing, he’s as dirty as the rest of Buggy’s crew, and he spends a lot of this chapter deliberately trying to re-open Zolo’s wounds.
But if Cabaji thinks that doing so will even out the fight, or even make Zolo an easy target, he’s sadly mistaken.
Live Buggy Reaction
Zolo actually does the rest of Cabaji’s job for him, deliberately injuring himself, just to prove that he doesn’t need to be on level ground with Cabaji to take him down. This kind of hot-blooded vainglorious nonsense is exactly what makes manga like this worth reading.
This pic goes hard, feel free to screenshot.
Once again, this chapter is mostly action (and that looks like it will continue to be the case for at least a little while longer), so I don’t exactly have a ton to say. But certainly, it’s a good chapter; solid, entertaining, and pulpy, exactly what you want out of your weekly comics. (They’re daily for us, but we’ll ignore that little foible.)
For lack of anywhere else to put it I do also want to mention the impressive opening sequence where Buggy uses his crewmen as human shields. Why do they like him again? Oh, but it is such a cool page. Maybe that’s why.
Tomorrow: The two swordsmen battle on!
One Piece Every Day relies on reader support even more than most of my columns do. Please consider sharing this article around if you liked it!
Also 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.
One Piece Every Day is a column where I read a chapter of One Piece every single day—more or less—and discuss my thoughts on it. Each entry will have spoilers up to the chapter covered in that day’s column.
Please keep in mind that many other readers are also first-timers. Do NOT spoil anything beyond this point in the comments!
Once again, today’s chapter is very simple. Spare a thought for poor Mayor Boodle, though, who comes out of it looking a bit silly.
He opens the chapter up by continuing his blustering demand to fight Buggy. We return again to the ‘what is treasure?’ question here, and both Boodle and Buggy make their very different opinions on the subject extremely clear.
Initially, Buggy’s third-in-command, one Cabaji the Acrobat, offers to take care of the old man, but Buggy is having none of it.
Not one to respect other people or their wishes, Buggy zoops his hand down to strangle Boodle without even leaving the deck of his ship. The only thing that saves him is Luffy and the gang finally catching up with him.
Even after this, he still wants to fight. But Luffy isn’t going to let that happen. Understandably, he doesn’t really want to see an old man waving a spear around get himself killed, pride or not. So, in something he usually reserves for the villains, Luffy knocks him out cold. (There’s a fun parallel here between neither Boodle nor Cabaji ‘getting’ to fight. I wonder where, if anywhere, that’s going.)
He then insults Buggy’s nose, this time very much on purpose. Buggy’s crew launch a cannonball—sorry, Buggy Ball—at him in response, only for Luffy to do….this.
It’s a bit grotesque if I’m being honest.
The chapter basically ends mid-faceoff. I feel a little silly for complimenting Oda’s ability to make every page count just a few days ago only to now be dealing with a chapter that very much just feels like 18 pages of scene transition, but hey, if that’s all it is, it’s still a pretty good one. I like the strong contrast drawn between Boodle, who is physically weak but morally principled in his own way, and Buggy, who is powerful but doesn’t care about anything but gold and jewels. Bits of characterization like that prevent any chapter of One Piece from feeling truly inessential.
(Which of course, isn’t to say I’m not eager to see the actual fight, but that’s tomorrow’s chapter! Probably.)
Tomorrow: The Straw Hat Kid vs. The Clown Prince of Piracy
One Piece Every Day relies on reader support even more than most of my columns do. Please consider sharing this article around if you liked it!
Also 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.
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 includedMacross 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 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 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.
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.
One Piece Every Day is a column where I read a chapter of One Piece every single day—more or less—and discuss my thoughts on it. Each entry will have spoilers up to the chapter covered in that day’s column.
Please keep in mind that many other readers are also first-timers. Do NOT spoil anything beyond this point in the comments!
After a few chapters in a row where quite a bit happens, today’s is refreshingly straightforward. There’s only two real events that occur here; Mayor Boodle decides to take the fight to Buggy, and Nami allies with—although she’s very hesitant to use words like “join”—Luffy’s crew.
Boodle has a decent motive for wanting Buggy & Co. out of town; he helped build the place!
To me, this entire sequence raises tons of questions, and I’m not sure if they’re questions One Piece is interested in answering. This patch of land is one thing, but in general, where did these people come from? Where have they arrived at? Is this a “Europeans crossing the Atlantic for the first time” situation or something more innocuous? Are there natives? If so, where are they?
Many, many questions, and few answers. Maybe One Piece will eventually answer some or all of these questions, but it’s far from a certainty. For now, at least for me, they’re just something I will keep in the back of my mind.
More importantly, there’s a pretty funny sequence earlier on in the chapter where Mohji, stumbling back aboard Buggy’s ship, tries to warn his captain of the “rubber man”, but passes out halfway through his sentence. This leads to some misunderstandings.
And the chapter also establishes that Chou-Chou is fine. In fact, him ending up back at the shelter tips off the townspeople that their mayor has gone and done something reckless. They are absolutely correct about this, as previously established.
Boodle’s situation would probably be hopeless did he not have some backup; namely, Luffy and a newly recovered Zolo.
And even Nami, in her own way, offers something like support.
And just to not leave anyone out; the mayor himself is no slouch. I haven’t really talked much about Boodle because as someone who’s not even quite 30 yet, the whole “spending 40 years building a community only to have it destroyed” motive is a bit abstract to me. But it is executed well, and that means that at the end of the chapter, when he has a dock-to-ship stare-off with Buggy, he earns being drawn in that classically sketchy shonen style that conveys that someone is about 90% burning justice by volume.
Tomorrow: Luffy’s crew and the iron-willed mayor vs. Buggy the Clown and his circus on a ship.
One Piece Every Day relies on reader support even more than most of my columns do. Please consider sharing this article around if you liked it!
Also 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.
Hi folks. A bit low on energy as I write this, so I’ll just cut right to the chase for you. That’s the important part anyway, right?
Seasonal Anime
Birdie Wing
The news felt tragic when it was handed down. “Birdie Wing will have only 13 episodes.” These days, single cour anime are by far the norm, so it wasn’t too surprising to learn that Birdie Wing would have only a single episode more than the standard twelve. Still, for a show that seemed to be pivoting into ever-more absurd iterations on its central sport, it cannot help but be the tiniest bit disappointing. Part of me wanted Birdie Wing to run for dozens and dozens of episodes just to see how out there it could get.
On the other hand, this is the proverbial fire under Birdie Wing‘s ass. This week’s episode was the eleventh, putting the series just two away from completion. Every minute counts in a single cour anime, and never more so than in its final few episodes.
The question, then, that Birdie Wing asks you as it enters its finale, is how much can you care about golf? Not how much you do care about golf, mind you. I care about the actual sport very little and I’m sure the same is true of a fair number of people who are watching it. But like anything, Birdie Wing‘s first major obstacle to overcome as a story and a piece of entertainment is to make you care about it. It has a lot of tricks up its sleeve in that regard; Eve’s rainbow bullets, its plethora of absurd courses, the ludicrously high stakes involved in many of these matches, its once-present class commentary that seems to have largely just faded into the ether, etc. But at the end of the day, a key part of forcing your suspension of disbelief is to make you care about this thing you might otherwise not give a damn about. Birdie Wing, in what I think is probably its greatest overall strength, is really good at that. This time it uses a more conventional, though no less effective approach; a compelling but brief arc for a side character.
Part of this episode stars Kinue Jinguuji (Mai Nakahara). Jinguuji is the president of Eve’s adopted high school’s golf club, and over the course of the episode she puts Eve through some pretty intense training. (Yes, this episode is a Golf Training Arc. No one should be surprised by that at this point.)
One would correctly guess, then, that she’s a strong golfer herself. Over the course of this episode, Coach Amuro sets upon her the task of “polishing” Eve, who he describes as a diamond in the rough.
But, Birdie Wing makes a key distinction here. Jinguuji is a very good golfer; she has technique and intuitive course knowledge and all the sorts of things that make one actually good at the sport both within Birdie Wing and in real life. If this were Sorairo Utility, 2022’s other anime about girls golfing, she’d be the strongest player on the course by a mile.
But this is not that particular short, and it is also not real life. Jinguuji being a very good golfer is not enough to elevate her to main character status, something she is keenly aware of.
Instead, Jinguuji falls into the old archetype of someone who is deeply passionate about something, and is even quite skilled at it, but cannot compete with natural talent. This is a character type that has recurred many times throughout the course of the medium, usually in contexts far more “obviously” dramatic than this one. But Birdie Wing playing the trope completely straight, and managing to actually do so fairly successfully, is amazing. If it winked for even a moment, the illusion would collapse in a heap.
There is a real case to be made for Birdie Wing as a truly effective piece of camp theater, and arcs like Jinguuji’s (or earlier in the show; Rose Aleone’s) are great supporting arguments. Is it actually all that funny that Kinue literally breaks down and cries during her flashback because she can’t play golf anymore?
As a non-golfer, sure, it can seem silly. But in her own mind—and that of a sufficiently attuned viewer—it’s genuinely tragic that her dreams are forever beyond her reach. The episode’s very title is “No Matter How Tall a Weed Grows, It Will Never Reach the Sun”, a hard-truth proverb that some people are simply better than others at things for reasons well beyond anyone’s control. Wanting to do something is not the same as being good at it. It’s a tough lesson, and it’s not one everyone handles with terribly much grace.
Kinue at least, has found her answer. Unable to compete in the tournament (or by the sounds of it, much of any golf, at least for now), she passes her dream on to Eve and Aoi. I will fully admit that it’s strange to say this, but, as someone for whom criticism was perhaps a third or fourth-chosen life path, I actually related to this super hard, and I think Kinue might be my favorite member of Birdie Wing‘s secondary cast. In my mind, there is validity in seeking to uplift others’ dreams if you can’t truly attain your own.
Eve and Aoi have no such problems, of course, and inevitably, it’s them who are chosen to represent their high school in the doubles tournament. This, presumably, will form the show’s final arc.
Birdie Wing will not appear in this column again. I intend to review the series, and at this point I should focus as much on the big picture as I do individual episodes. But single cour though it is relegated to, Birdie Wing has been, and continues to be, an incredible ride, and I am happy to have gone on it with all of you.
Summer Time Rendering
There are a lot of things that are surprising about Summer Time Rendering. One is simply how popular it’s been despite the fact that a certain streaming service is still holding its English release in proverbial prison. Unofficial releases float around anyway, of course, and via a heavily-dialectical fansub (based on the manga’s translation), many people have found one of their Spring favorites regardless.
For me, Summer Time Rendering—unusually spelled name and all, it’s a pun—is a peculiar beast. Another, at least to me, is just how well-made it is. Maybe I’m just out of touch with the genre, but I feel like there aren’t many supernatural thrillers getting made anymore. Summer Time Render does not redefine the genre, but it’s a great take on it thusfar, leaning into the genre’s strong points and mostly (though not entirely) avoiding its pitfalls.
Since a fair chunk of people are waiting for the official release, I’m loathe to spoil too much about the series, even though certain aspects of it practically beg discussion (for example, walking “wow, that’s gender” tweet Ryuunosuke). The core point is that over the course of its run so far, Summer Time Render has managed to be both hair-stands-on-end spooky and one of the best action anime airing right now. That’s pretty impressive, although OLM rarely deliver anything but top-notch productions, so maybe I shouldn’t be so surprised.
The Executioner & Her Way of Life
I have to admit, I fell behind on The Executioner & Her Way of Life for a while, which is why it’s been a bit since it showed up here. I’m glad I caught up this week in time for the finale, though. (Which will have already aired by the time you read this, although I won’t be covering it, if I do, until next week. Lead times and all.)
Since we last spoke, Executioner has turned into a full-on horror film. That’s not to say that its isekai (and more generally, fantasy) trappings have gone anywhere, but it’s rapidly become clear that the world Executioner takes place in is, if anything, even more fucked up than we thought. For its tenth episode, Executioner gave a sensible motive to arc villain Manon Libelle (Manaka Iwami, just in case I forgot to credit her before). There, we learned that Flare killed her mother before telling her that she was not worth killing. Why? Well, despite her mother being a Lost One, Manon herself is just an ordinary girl, and there’s nothing taboo or forbidden about ordinary girls, no matter who their parents are. Quite rightly, this fucked Manon up—something she actually acknowledges, in what is either the show being a bit too clever or the character herself gussying up her own backstory—and her whole plot over the show’s second half has been driven by a desire to attract Menou’s attention so the executioner will kill her as well.
We’re not actually really here to talk about Manon, though. She dies in the second half of episode 10, and the mysterious mute girl we’ve been seeing occasionally for a while now (Anzu Haruno) formally takes over as the show’s main baddie. Her name is Pandaemonium, and she is fucking scary.
Not just because of the full-on gnarly body horror the show starts deploying as soon as she shows up, although that certainly helps. There’s some arcanobabble in here about how she can’t die because she uses herself as a sacrifice to resurrect herself, a sort of Magic The Gathering infinite loop combo as applied to some truly grisly storytelling. The real reason she’s frightening—at least to me—is her cavalier attitude toward all this. She cheerily introduces herself to Menou and starts announcing her summoning a horde of demons like she’s hosting a B-Movie marathon (a term she actually uses, which raises questions of its own). All the while twisting her own head off in a way that is, sincerely, super fucking grotesque.
But of course being introduced to this total horror villain who spouts blood and cheeky metatext in equal measure is just step one. Menou has to actually fight her, too. Episode 11 only deals in part, though, with that particular fateful encounter, because there are quite a few other things going on as well. As Menou—and eventually, Princess Ashuna, as well—fight off Pandaemonium, Akari encounters her, too. There is a lot of exposition, here. The key point is the revelation that, at least if Pandaemonium is to be believed, Akari cannot actually meaningfully change her fate. Even when Akari declares that she has no desire to return to Japan, Pandaemonium taunts that she’s failed to have Menou kill her every time so far for a reason. Someone, possibly Flare herself, is interfering.
Other things Pandaemonium says about her are similarly upsetting. Perhaps the most so is the notion that Akari’s lack of desire to return to Japan stems firstly from the fact that she can barely remember it anymore—using one’s Pure Concept powers erodes their soul, including their memories—and secondly from the fact that she wasn’t treated well there. (We see only a brief flash of her being bullied, but that’s really all the context we need.)
In a way, this is both a literal advancement of the plot, but also a step backward for Executioner. As a social outcast using the other world as a way to escape the life she once lead in her own, this recontextualizes Akari as very much a typical isekai protagonist, even if the specifics are different. I’m unwilling to call this a letdown, because it’s likely that this is on purpose on Executioner‘s part. And indeed, part of the point Pandaemonium makes—and she isn’t wrong, exactly, even if she’s only saying it to get under Akari’s skin—is that Akari’s actions are inherently selfish. No world, after all, exists for one person alone. But all this is a bit of a curveball as the show heads into its finale. I do wonder if it might end up with a pretty common fate for anime that adapt still-ongoing works; ending without resolving much of anything at all.
Still, there is only one way to find out. The finale awaits.
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.
The Magic Planet 
