Girls’ Last Tour – 06 [Takeoff]

by SuperMario, posted in Currently Watching:, Girls' Last Tour

Some might say futility is an essence of life. That we spend our life wasted away for complete nothingness. And some might argue that what their life worth is based on how much they contribute to the society. Not here in Girls’ Last Tour, the world where the concept of society is long vanished, ultimately what do the surviving people all live for? That question is more relevant here this week with the introduction of another additional character to this minimalist cast. Unlike Yuu and Chi-chan who survive for the sake of being survival, both Kanazawa from episode 3 and Ishii this week have their own missions. For Ishii, she determines to build an airplane based on old records so that she can fly to another city. For the reason she builds it, unlike Kanazawa who regards making map as his purpose of life, she does it to escape the hopelessness of this dying city (“you’ll just end up dying along with this city”).

And if you still haven’t caught on with what I just described, hopelessness is the main theme of this episode. We see in the world of Girls’ Last Tour, where food, fuel and electricity are all scarce, the human left in this ruin barely survive the day. Wherever they go, they will likely end up with more, and more wasteland. The very act of making an airplane, as a result, is as nonsense and hopeless as it can get. It’s the plane that she self-designs based on the scattered blueprints within the base (which mean there’s a huge risk), it takes her a large amount of time to finish, and eventually the next city over might have been worse than the one she lives in right now. Yet she does it because she doesn’t lose hope. True hopelessness, after all, is not having anywhere to go. Ishii also wants the girls to serve as witnesses for the actual take-off (“If someone is watching, then I’m sure it will become a history”).

Although I love the inclusion of Ishii as she’s a wonderful inclusion for Girls’ Last Tour, I feel the pacing is too rushed at times. We don’t spend that much time watching them making the airplane, for example. With this episode, we also get a hint of the overall world-building of Girls’ Last Tour. Apparently, the girls only travel in one big abandoned industrial city with multiple levels as of now, the more they go to an upper level, the more food (hopefully) and electricity they can receive. Will they ever make it to the next city? It remains to be seen.

As staying true to the down-to-earth nature of Girls’ Last Tour, Ishii’s plane flights steady, and then crashes and burns. It was all pipe dream in the end. But Ishii feels relieved, and smiles to her heart’s content. It’s not the destination, but the ride that worth spending time for, and I’m quite sure that she will survive wherever she falls. And when you did your best and still failed, all you can do is just accept it.

3-gatsu no Lion – 25/26 [June/Ladybug Bush/Feelings]

by SuperWooper, posted in 3-gatsu no Lion

During the bizarre cold open of this makeshift two-parter, the thought flashed across my mind: are we getting one last bit of frivolity before the other shoe drops, or is wackiness the new normal for 3-gatsu? Over the last couple weeks, we’ve witnessed a lot of exaggerated behavior from characters like Hiyashida-sensei, Nikaidou, and even Rei himself, and as much as it pleases me to see everyone enjoying shogi and loving life, I’ve been waiting for the series to take a dramatic turn. I’ll even confess to experiencing a sinking feeling as Rei’s self-proclaimed rival engaged in his usual hysterics during “June,” wondering if the rest of this season was going to be more of the same. But if you’ve seen both of these episodes (which you almost certainly have, since this post is weeks overdue), you already know that my worrying was in vain. From the moment Akari opened that door to reveal her sister’s mismatched shoes and teary eyes, this show put me through an emotional wringer as powerful as anything from its first season. 3-gatsu, I’m sorry I ever doubted you.

Apart from the inherent injustice of Hinata’s circumstances, what makes her story particularly effective is how strongly Rei can relate to her. He’s been bullied for a good portion of his life, whether it was being labeled a robot on the class chalkboard, having a classmate refuse to sit next to him on a field trip, or getting cans full of rocks chucked at his head. As a quiet, introverted kid, made more quiet and introverted by the death of his biological family, Rei was a perfect target for bullying by exclusion. The show even refreshes our memory on the subject just before telling Hina’s story, so it’s easy to identify her withdrawal at home as a symptom of bullying. When the truth finally comes out, Rei is horrified to realize that the pain he once felt is now being visited upon someone who has always supported him. And when Hinata bolts from her house, filled with shame and self-loathing, there’s no question of who will follow. The only thing he manages to say before sprinting after her is, “I will.”

Bullying in Japan is often characterized by its intensity, and the scope with which it’s carried out. Entire classrooms can ally themselves against individuals in the name of conformity, and even teachers may be complicit, as they are in this case. Though Hinata’s sensei refuses to acknowledge the abuse occurring just under her nose, kind-hearted Hina could never abandon a friend, so she sits with Chiho during lunch and sticks up for her in class. But Chiho eventually changes schools, and the bullies shift their sights to the closest remaining target. After Hinata recounts all of this to her family, she begs through her sobs for Akari to tell her what she ought to have done to save her friend. But later, as she confesses her fear and sorrow to Rei on that bench by the river, she starts on the long journey of putting herself back together. With big Ghibli tears dripping down her face, she raises her voice and screams in defiance of her classmates, teachers, and culture that what she did was right.

That was the moment where I lost all control. How could Hinata, who never goes anywhere without a smile, be reduced to this scared and angry state? How could the incompetents running that school allow any of this to happen? The girls who stole her shoes could work their whole lives and still fail to pay for the hurt they caused her. I was furious – but Rei, despite all the bullying he’s endured, had a different reaction. His promise to Hinata, to stay with her and to spend the rest of his life paying her back for her kindness, closely resembled a marriage proposal, and his commitment felt just as strong. He even got down on one knee before making his big declaration, which I’m sure was a conscious decision on Umino-sensei’s part. When Rei described the feeling of being saved by Hina’s courage, it struck me that both of these characters are uniquely positioned to help the other. Hinata’s good nature allows her to extend warmth to people who dwell in dark places, and Rei’s familiarity with that darkness enables him to lead others out of it. This episode, more than any other, has convinced me of their suitedness for one another, and of my love for this series. May it continue for years to come.

 

Some other thoughts about these episodes:

– Though Rei’s initial reaction by the river is one of dedication and compassion, he later thinks to himself that he wants to rip Hina’s tormentors limb from limb. Episode 26 even closes with him wracking his brain for a way to improve her situation, so we haven’t reached the end of this story yet.
– The symbolism behind the ladybug in “Ladybug Bush (Part 3)” was a stumper for me, perhaps because of the language barrier. I did a little Googling, and it turns out that aside from the general superstition of ladybugs bringing good luck, they can also represent impending happiness, or the idea that one’s troubles have come to an end. Hinata would welcome either possibility, I’m sure.
– Someji’s commendation of his granddaughter’s courage warmed my heart (and what a fantastic lesson for little Momo), but even more moving were the contents of the dinner that Akari prepared for her little sister: deep-fried chicken, potato salad, and cream stew, all of Hinata’s favorite foods. The fictional moments that touch me most are always the ones where people are good to each other.

Inuyashiki – 5 [Yuko Shishigami]

by Lenlo, posted in Finished Series: Adventure/Fantasy/Science Fiction, Inuyashiki

Welcome to another episode of Inuyashiki! This week we head back into the Inuyashiki/Shishigami conflict and get to see new sides to both of them. Lots to talk about this week, so lets jump in.

Continuing the parallel theme going on between our two main characters, we see new sides for each of them this week. However the clear star of this episode was Hiro. We finally see a different side to him, showing he does have people he cares for. To me, this made him a more real character, and a tad more terrifying. To the first point, I found it difficult to believe that Hiro would have nothing left of his life before becoming a cyborg, so seeing his family made him more than just Hiro the Murderer. As for being more terrifying, we saw how deep his devotion to his mother ran. Right now he murders to feel something, with no impetus for anything bigger. With his mother however, it’s clear she is being setup for some terrible event that will push Hiro to greater evils.

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Ballroom e Youkoso – 17/18 [Performer/Competitor No. 13]

by SuperWooper, posted in Ballroom e Youkoso, Finished Series: Sports

It’s a good thing I didn’t go back to single episode reviews, as I promised last time, because these two didn’t leave me with a whole lot to talk about. Much of “Performer” was spent bringing Tatara and Chinatsu back together after their spat from the previous installment, but since I didn’t buy into that conflict in the first place, it ended up feeling like more of a hangout episode (with plenty of fanservice and shipping to boot). We got some uncommon character pairings, too, like Chinatsu/Mako and Tatara/Shizuku, the latter of which is a rarity these days. And while these sorts of cast shake-ups might have delighted me a couple months ago, they seemed rather utilitarian here, given the need for our main couple’s big breakup to be reversed. Thankfully, the chill-inducing conclusion to “Competitor No. 13” justified the show’s clumsier machinations – but we’ll get to that soon enough.

Ballroom e Youkoso has devoted what seems like a dozen monologues to the ideas that 1) Tatara is a poor leader, and 2) he and Chinatsu aren’t a good fit. There’s a glaring issue with this constant hammering of the same couple points, and it’s one I’ve tried not to mention too often, since it’s such a widely repeated criticism of the show. Maybe this episode was the straw that broke the camel’s back, though, because I’m compelled to bring it up: the dancing direction isn’t strong enough to communicate the same messages. We hear it verbally, but we rarely see Tatara failing as a leader. What we see are a lot of still shots, anguished expressions, and reactions from judges or crowd members. Moreover, Ballroom hasn’t properly shown its audience what successful leadership looks like in motion. We’ve just been trained to equate confidence with skill, and as anybody who’s ever played a sport knows, they’re not the same at all.

Without the choreography necessary to convey Tatara’s failures, the show falls back on dialogue to destroy and rebuild his new partnership. A lot of Chinatsu’s grief seems to stem from jealousy, which comes to the surface after she learns about the past Tatara/Mako partnership. I felt really proud of Mako for keeping her patience with Chinatsu, even after the older girl implied that dancers with consistent partners led breezy, carefree lives. Mako’s maturity aside, however, this scene boiled down to Tatara’s leadership being verbally praised, and Chinatsu deciding to give him a second chance as a result. The Tatara/Shizuku scene involved even more lip service, but was somehow less convincing – if Tatara is capable of impressing a veteran like Shizuku, why is his lack of leading ability constantly being harped on? As this scene played out, with one of Japan’s best amateur dancers calling him “a mystery,” I couldn’t help but think that Tatara has always been portrayed as an open book.

Alright, that’s enough criticism of the show’s visuals. As important as they ought to be in a show about ballroom dancing, the characters are the main attraction, and they really came through in the second of these two episodes. Being in a competitive setting once again, Tatara and Chinatsu really seemed to be click, despite their occasional bickering. The appearance of the dancers’ family members was a lot of fun, as well, especially Mine-san’s wife and child, from whom he kept his continued dancing a secret. But the thing that really sold me on the start of this arc was the final scene, where Tatara’s intensity started to overtake Chinatsu, represented both by smoke and by blood cells entering her body. Ballroom pulled out a couple of neat dance sequences for the start of the Metropolitan tournament, but taken alone, those wouldn’t have been enough to convince me of Chinatsu’s sensation. This show tends to hit a home run whenever it uses visual metaphors this way, so I’m glad it went back to that well. It’s no small task to convince your audience that someone as stubborn as Chinatsu would give control to another person, but the creative team took a good first step with this episode.

Juuni Taisen – 06 [Even a Champion Racehorse May Stumble]

by SuperMario, posted in Currently Watching:, Juuni Taisen

Like what I predicted last week, halfway point and we have multiple deaths this week and the betting is officially kicking into gear. Unlike what I predicted last week, it’s not two but three players are leaving the game. One of them completely takes me out by surprise, not in a good way. For the main reason is that the three death warriors are respectively: Monkey – Goat and Horse; and that falls neatly to the reverse Zodiac order AGAIN. As for now, I pretty much think the death order is intentional, but I can’t see the reasons behind that. Why follow the same pattern? Why make it predictable? Why those who have a brief background end up taking the short straws? Honestly, I am disappointed, and a little pissed since Juuni Taisen killed off my favorite character, Monkey. Granted, Monkey might not be gone yet (again with rule number 1: nothing is certain unless you see the dead body), but I’m still a bit curious to see Monkey in her zombie form and what her role remains in later events, because I still see her pacifist attitude can still be relevant as the show reaches the climax. One thing I come to certain now: Rat is likely to win after all, both because he’s the least favorite to win (everyone loves an underdog), and because his role is getting more and more significant now. A modern Death Reaper, perhaps? Comes to signal the death of fellow warrior and then vanishes into thin air?

It’s Horse episode this week so naturally we learn a bit about him. All the flashbacks pointed to him training his body to become a human armor, with the current situation serves to explore his psychology. That bit is still one of the factor that I’m digging in Juuni Taisen: various warriors have different personalities, fight styles, and their game philosophy towards the Zodiac War. For Horse, it’s all about defence. He’s great of defending himself; his main ability, likewise, is “stirrup”, the ability to allow him to increase the toughness of his body beyond that of normal human limits. After losing confidence over the one-sided fight with Bull earlier, he holes himself up into well-guarded bank vault, and that ultimately is how he loses his life. Rat criticizes Horse method of “doing nothing but surviving” is no better than death itself, since the world that everything stands still is basically a dead world. He might not be the great warrior or has high chance to win the race, but Horse’s role and his philosophy still adds up considerably in Juuni Taisen.

In another battle, Tiger proves herself to be a badass with her drunken fist style… boy, I love how messy and ridiculous she often behaves, but when it comes to action she does a quick and clean job. Bull basically just walks around, looking goofy. And like how Rat describes the Zombie headless Snake, he comes as more alive and threatening than most the players out there, especially his twin-brother counterpart, Dragon, who still nowhere to be seen at this moment and still managed to be in the top 6. Geez, I don’t like that kind of one character per episode focus. We will have a two-part episode next week, which is rather appropriate since the next episode will focus on the Snake – Dragon dynamic, and I’m 80% sure now that after it ends, Dragon will be the next to die. As of now, I still enjoy the Juuni Taisen’s solid set of characters, but in the grander scheme my interest has waned quite a bit. Don’t even care who will win the race for one thing (but let’s hope it won’t be Zombie Snake, or better yet, Zombie Monkey).

As of now,

Deaths: Snake, Boar, Dog, Chicken, Monkey, Goat, Horse

Favorites to win: Rat, Bull, Rabbit

Fate/Apocrypha – 18[From Hell]

by AidanAK47, posted in Currently Watching:, Fate/Apocrypha

I won’t say that blogging is a hard job, really the only thing truly troublesome about it is the amount of time it takes, but sometimes covering a show can be a painful experience. With great shows the trouble comes in that there is only so many ways you can praise something and eventually you start nitpicking at any flaw you can find so that you can have something to say that isn’t gushing compliments. With a bad show it’s similar but in opposite as you attempt to find something worthwhile in a dung pile. However what I truly find painful to write about is when a show has so many good ideas and shows potential in the beginning. Only to have it slowly squandered over the course of it’s run. That is Apocrypha in a nutshell. By which I mean that I really like the ideas in this episode. Jack the Ripper being a bundle of curses from all the children that died pitiful deaths on the streets of London is something I can really get down with. It’s not outlandish for the world of Fate and it fits with the lore of Jack the Ripper in general. Though no matter what I cannot justify the dominatrix stripper outfit, even the rag she wears in this episode is a better alternative.

I really love how they connect Jack to Atlanta who feels the most for the children due to her own trauma of being a child abandoned by her parents. But her change of heart and development is just far too sudden that it’s hard to truly get a grasp on whether these are her own feelings or if she is being manipulated by Jack. And Joan, who takes the role of executioner. Understanding that the cursed children that form Jack can only either continue as a curse on humanity or be cleansed into oblivion. It truly connects to her nature of adhering to the greater good while showing that even if she knows it must be done, it’s still weighs on her. But Atlanta can never accept it and thus vows to kill Joan. Again, there are good ideas here. Nay, great ideas. But it all just falls so flat because the characters are not developed, these conflicts feel forced and staged, the animation is too crude and the general plot feels like lost opportunity. I spoke before about a scenario in which Avicebron’s defeat could have been made so much better and there are plenty of ways this episode could have taken better turns. I even at one point considered Sieg turning into the main villain after Jack exposed him to the evil in this world and having him turn into a Kiritsugu like figure of resorting to any means necessary to remove suffering from the world. Sure it likely wouldn’t fix his character but god it would be at least something.

Instead we go the boring route and have Jack the Ripper defeated by compassion. Or more that Joan gave her a bit of a lecture and Jack just gave up. There is a reason as to why sappy “Love defeats the villain” type ends are often so weak a conclusion. The virtue of it may be right but it doesn’t stop it feeling trite and cliche. In truth we all know what happens when we attempt to get a wrongdoer to see the errors of their ways and appeal to their compassion. After all, we have all gotten into an internet argument at one point or another and the sad truth is that people will always do everything in their power to avoid admitting they are wrong. So seeing someone as childish and psychotic as Jack just give up is not only out of character but utterly absurd. I could rationalize it somewhat if it was because she wanted to join her master in death but that doesn’t even seem to be the case. For some last notes, I am still not on board with this whole JoanXSieg ship and goddamnit can we give Shakespeare something to do?

Mahoutsukai no Yome – 5 [Love Conquers All]

by Lenlo, posted in Finished Series: Adventure/Fantasy/Science Fiction, Mahoutsukai no Yome

I am torn on this weeks episode of Mahoutsukai no Yome. On one hand there we have stunning art and animations, while on the other pacing issues and odd character choices. Lots to talk about this week, so lets jump right in.

Lets start positive, with the animation and general art. Most everything here was great. In particular I enjoyed the background/scenery, with forests and the beautiful field of blue flowers at the end. More than just being beautiful though the scenes did a great job of showing rather than telling. The inside of Matthews shed, with a single lantern flame and the cats hanging from the ceiling, looked great. Could have been lighter in places so we could see some more details, but I understand why that wast the case.

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Houseki no Kuni – 05 [Return]

by SuperMario, posted in Currently Watching:, Houseki no Kuni

So… Phos got new pair of legs. Not only that, they make a Forest-Gump leap that not only they can walk properly with the new legs, they can run like a wind. Although we’re still at the introduction phase of Houseki, it becomes apparent that Phos’ starting to move away from an ordinary Gems, first learning the Admirabilis’s language, now literally fuse with their hard shell into Phos’ own body. One main underlying theme Houseki has explored so far is the role struggling of these Jewel people. Cinnabar sees themselves as a step child that no one wanted, even the enemy. Dia feels weak and useless amongst Diamond rank, and especially our protagonist Phos keeps finding themselves to one trouble to the next. Now, in this episode, Phos ends up as a bait for Ventri to trade her bother back from the Moon people, then nearly get kidnapped again before gets sent back ashore, with a barely functional body. Phos’s losing an eye and their legs speak volume how pathetic and weak Phos’ current situation is, and yet Phos can’t bring themselves to hate Ventri for betraying them.

This first half centres around Phos and Ventri in a dark cloud of the Lunarians. I have to admit that it was a sloppy job from the Moon people who want more than they agreed on, then breaking the deal, attacking Ventri, releasing Ventri’s brother Aculeatus, managing to break him free and getting themselves all killed. What? It makes no sense at all and it was a mess of writing if I ever see one. I agree with Phos that Acule’s admirabilis form is kawaii, even if he finds Phos is nothing but… delicious food. His humanoid form is a great contrast to his sister’s in term of design and somehow they really complement each other, but I can’t get behind his stupid pride. At the same time at land, all the Gems prepare themselves to go under the sea to find the trouble gem. As much as they don’t really care for the good-for-nothing gem, the extend they go in order to search for Phos, at the expense of their own exhausting bodies (it’s at night so they can’t absorb any light), and their willingness to help Phos to get used to the new legs, are something to behold.

Cinnabar again has a very solid development despite always lurking in the background. When you think about that, Cinnabar is a pretty miserable character, in a sense that they despite themselves to the point that a single promise from someone else could mean a lot to them; and Phos does take the promise seriously. I like the newfound chemistry between Dia and Cinnabar, arguably the only two gems who care deeply for Phos, in their own different ways. Cinnabar also has a great moment with Phos, when the latter washed ashore, felt beaten and lost all purposes. Phos apologizes to Cinnabar that once again they fail to find the new job for the Toxic Gem, even out at sea and experienced the backstab from their talking snail friend (but it was true, Phos went out the sea to look for Cinnabar’s new job). Another solid development is when Ventri decided to bring Phos back because she says she wanted to be different from the Lunarians, but in truth because she also comes to care to Phos.

While this episode is obviously in the early stage of Houseki, I’m glad that Houseki’s successful at  providing many well-grounded chemistries and developments from the cast, and I also have to give the attention to the gorgeous score of Houseki that fit the show like a glove. My only concern is the same with Mahoutsukai no Yume in that those shows nearly reach half of the cour and they’re still in an introduction stage. Mahoutsukai will have 24 episodes, so that’s not really its problem, but the same can’t be said to Houseki since they might never receive a second season, meaning that this intro chapter might be the only adaptation we’ll ever get, and honestly it would be a crying shame. For next week with the title of “the First Battle”, along with Phos’ newfound ability, let’s hope everything going alright for our protagonist this time. But whatever situation Phos find themselves into, just remember: “Run, Forest Gump Phos, run”.

Girls’ Last Tour – 05 [House – Nap – The Sound of Rain]

by SuperMario, posted in Currently Watching:, Girls' Last Tour

Although Girls’ Last Tour can be described as a dark moe, there’s no denying that the show is the most comforting, healing anime of this season. What Girls’ Last Tour achieve flawlessly so far is its appreciation for small happiness in life, for little magical moments in an otherwise bleak and empty world. Episode 5, even more so than previous episodes, depicts those magical moments on screen, something that they haven’t done before. Case in points, remember last week, the girls crashed into one of the stone statue (they are the only vehicle left in the world, I must add)? That moment played mostly for slapstick humor, but this episode when Yuu hits Chi-chan in the head (to see if her head is empty, my my), there’s colorful sparkling symbols out of her head. Or when the two sitting comfortably in the chair and imagine the furniture they want to fit in the room or most noticeably during Chi-chan’s dream sequence; these moments are brightly, almost too cartoony, something that contrast with the natural, wash-out world Girls’ Last Tour has established so far. Yet, those moments somehow never feel out of place. I suspect they get away with those moments because they never intend to be real. Those are happy thoughts, quirky dreams that again speak to the “enjoy the little happiness” theme without betraying the bleakness of its world.

Again, Girls’ Last Tour is succeeded on addressing the most mundane everyday questions, but because they live in the world where those concepts have lost its meaning; their topics, therefore, are simple but straight to its core. This week, the girls find themselves a “house”, a cozy room where people used to live in. A room with a view, with sofas, functional water, and most importantly, with a door and a roof. They imagine themselves living in the place; and fill in whatever they want into the room. A bookcase for Chi-chan, a pantry for Yuu, a bunk bed for both. That moment really drives it home for me because it what “house” really is: a place to return to, a place to settle down, where they can sit down and relax. But in this vast place of nothingness, the only mean to survive is keep on going, and the girls know it. The last section, music, plays out equally impressive. Music is always considered as an expression of emotions. As the music grows more complex and layer, sometimes we forget that it can come from some something so natural and simple: the sound of rain, the sound of random noise from bottles. It’s not the arranged set of sound, but rather it’s the music for those who have keen ear for natural sound, and the music is the music of their hearts. I’m ashamed to say this consider how much I love dense, complex and progressive music, but the sounds the girls manage to capture right there is music in its purist form.

I have to say that the manga by itself is a pretty formidable beast. After all, asking many deep, philosophical theme in a casual manner like this is a hard string to pull, and yet Tsukumizu (not sure about the gender of the mangaka, anyone here has any idea?) manages to pull it off. But the direction of this anime not only keep the right spirit of the source, they also enrich the manga with the advantage of visual and sound. This episode, once again, speak to that strengths that make this anime even more impressive compare to the manga. I read the manga chapters where this episode adapted from, and one thing I noticed is that with the lack of visual flare (like in “Nap” chapter) or sound (in “the Sound of Rain” segment), the manga can’t come off as alive as in the anime. That ED song in the end, for example, is a great addition to the source and it really captures the magic and ends the chapter in a literally high note. The colorful, playful visual in first and second chapters, in addition, strengthen the magical feel of the show. Girls’ Last Tour has received a top-notch adaptation from White Fox, who obviously love every moment of making this show into something so comforting, yet consistently great. I really have no complain whatsoever with Girls’ Last Tour at this moment.

Inuyashiki – 4 [Samejima]

by Lenlo, posted in Finished Series: Adventure/Fantasy/Science Fiction, Inuyashiki

This week on Inuyashiki, we get a self-contained story about the growing heroics of everyone’s favorite old man. Its filled with outright evil yakuza, a brave salaryman and some disturbing questions, let’s jump right in.

Our story this week focuses on a young couple, Satoru and Inoue, and their run in with the giant Yakuza Samejima. This isn’t Inuyashiki’s episode, this is theirs. As a whole, this episode appears to be a one off. A separate story from the main one with Shishigami, meant to show Inuyashiki’s evolution as a hero. The main parts worth talking about here are Satoru and Inoue, clearly, Inuyashiki and finally Shishigami. That last one may surprise you, since he never actually showed up in this episode, however I believe that Inuyashiki and Shishigami are much more alike than we initially thought. We will get to that in a bit though.

Continue reading “Inuyashiki – 4 [Samejima]” →