SEASONAL PRATTLE
Osamake is now an experiment, the series has effectively deteriorated into a test of mental fortitude as its ability to churn out creatively bankrupt text and banal characterization is evidently, only getting stronger. Episode five exceptionally exemplifies how horribly drowned in cliches all the girls stuffed into the story are, simply dissolving into an unsavory slush of hackneyed exchanges and plotting early on once Midori and her sisters meet Momosaka and never recovering from there. The amnesia angle that was alluded to last week turns out to be just as dumb in practice as anticipated, Kuroha and Shirokusa are still following the established etiquette of harem – having all the definition and character development as a plastic bag from Walmart, and Tetsuhiko’s “Ultramarine Channel” gives the series promise for crude Youtube-like actives moving ahead.
Osamake is easily on the fast track to being synonymous with something that is brown, yet absolutely isn’t chocolate.
Fumetsu no Anata (5)
“Easily palpable in isolation and a rather suitable addition when considered in the bigger picture of the narrative”
Pleasantly surprised by this week’s Fumetsu no Anata e, which offered a close return to the thoughtful articulation and emotive potency that underlined its premiere. Episode five’s ability to sell its own drama should be highly commended: March has been nurtured to the extent that the close reading on her feelings both near-death and post-death, complete with expressive sequences of emotional anguish and tidy knots on her character threads, is easily palpable in isolation and a rather suitable addition when considered in the bigger picture of the narrative. Because of that, five has a rather effective core to work off of that makes buying into basically any of its related facets from Parona’s staggering feelings to Fushi’s well-earned lesson a smooth transaction. I know not every episode can be like this but it would be great to see more like it more often.
Vivy: Fluorite Eye’s Song (8)
“Being poised in just about everything it sets out to do”
Vivy: Fluorite Eye’s Song sailed further into favorable territory with an eighth episode that’s rather well rounded, being poised in just about everything it sets out to do from the moody sequences alluding to Ophelia’s depression to the bolder music performance that takes advantage of Wit’s aesthetic sensibilities. While episode eight does a lot right, the big highlight here is just how seamless it spins Ophelia’s character thread into a very tangible twist all without disconnecting any of the personal or societal implications of her character. It’s always a joy when shows have a level of handling like this, and even more so, when the reveals it’s attempting to deploy are tightly woven into the base nature of the narrative. Well done.
Shadows House (6)
“A variety of frames and directorial tics that keeps it portrayal lively and the associated snippets of narrative relevant”
As with basically anything that’s pleasingly developed, it’s taken a lot of care and a mixture of effective elements to get here. Shadows House offers a sixth episode that clearly keeps up the positive streak of performances that the series has been churning out, finding itself fitted with a firm craft effort that offers just as much functionality as beauty – walking viewers through the garden labyrinth with a variety of frames and directorial tics that keeps it portrayal lively and the associated snippets of narrative relevant. And that’s not all, the chunk of story we received is nicely told too: Shadows House has an inherent curiosity when delivering the practical mechanics of our dolls solving the immediate steps of their test, in addition to rummaging through the journey to their shadow masters. It makes for an intriguing follow, and one that has enough flexibility to be easily satisfying.
Super Cub (6)
“Demonstrates enough polish on its collection of SOL traits through this showing to end up as satisfying”
After a less than desirable entry last week, Super Cub snaps back in place with a more suitable performance – better synching back up with all the narrative cues and design elements that make the series a suitable genre piece than seven days ago. There’s not too much to praise here in episode six beyond the usual suspects: Most of Koguma’s Kamakura exploits are either narrow or not particularly endearing and episode six on a whole is widely a repacking of tones and commitments that the series has emphasized for quite some time now. However, Super Cub still demonstrates enough polish on its collection of SOL traits through this showing to end up as satisfying, gleefully looking ahead to offering its low-drama ways next week.
86 (6)
“Voices roughly the same conversational points and channels that through all too familiar routines”
This week’s 86 is a strange one to qualify. It’s good enough, sure. Six rides on more dedicated, charming segments to humanize Shin’s unit that ends up being pretty efficient, and the visual DNA that makes up a variety of scenes in the episode is just plain pretty. But what it tries to sell at times can be a bit hard to buy. A large amount of content here is built around setting up and knocking out Daiya’s death – which is all too telegraphed and his character, not nearly established enough, to pull the emotional lever the episode appeared to be aiming for. And a bit of a problem with repetition is starting to emerge. Lena and Shin’s night calls are becoming a stagnant loop, where the series just voices roughly the same conversational points and channels that through all too familiar routines down to Lena getting flustered. It’s nothing categorically “bad” but it’s not like it’s compelling enough to close the episode out with either.
Higehiro (6)
“Whenever a creative is able to keenly cultivate a desired gut reaction, no matter how revolting, it’s testament to their abilities”
Good turnout this week from Higehiro, being a better-positioned piece emotionally than what it does in outright craft. While easily the most frustrating element of episode six, Yaguchi’s involvement and handling is actually well done here and deserves its share of praise. Whenever a creative is able to keenly cultivate a desired gut reaction, no matter how revolting, it’s testament to their abilities: Yaguchi only consumes about half the episode, but the way he is causally contextualized and the sexual material he’s attached to all but ensured his sequences would soak up most of the attention, and rightfully so. His scenes are played out as direct pressure on Sayu’s vulnerable, immediate past and some of his digs at Yoshida are pretty relevant and grounded in reality. He may not be likable, but in terms of narrative he’s a success; Yaguchi dramatically impactful with little effort and a meaningful force that ultimately pushed both our leads along in their relationship as they confront some of the debilitating aspects of their life. That’s basically what you want out of a character like this and Higehiro got it.
Mashiro no Oto (7)
“Just going through the motions of the competition rather than trying to seed any real drama or tension”
Mashiro no Oto checks in with an okay episode, doing its part to slip by and not much else outside of that. In more general narrative terms, episode seven works as its role intended. The Matsugoro Cup has to start somewhere and all the introductory bits from highlighting key competitors to keep an eye on to knocking out some of the opening performances has to be completed – and seven fulfills those needs. On the other hand, the actual execution of it all is honestly bland and at times, felt like it was just going through the motions of the competition rather than trying to seed any real drama or tension to take advantage of in the future. Making matters worse, Shin-Ei Animation isn’t really up to par on this one visually, and the opening steps to the inevitable encounter between Setsu and Mai just weren’t framed as all that poignant or interesting. Perhaps next will be better put together and more impactful.
