There’s no way to describe the plot of Hanasaku Iroha 23. It moves forward, but in little ways, different characters, different scenes. As usual, most of these scenes are spot-on, gentle humor undercutting when things are about to get too maudlin. What I found most interesting was Ohana’s new, fumbling relationship with a woman who, rather to the surprise of both of them, is now her aunt. There’s plenty to dislike about Takako, but, as Ohana finds out when she body-slams the deadbeat director (with the lovely touch of the cellphone playing a tinkling “Ride of the Valkyries”), she has some admirable points. I’m less thrilled with the whole Ko situation; I thought the two of them would have moved on already, but I’ll grant that the scene of Ko and Ohana’s mother watching the “movie” footage was touching (and again, undercut with humor). The encounter at the footbridge was a bit much, though the evening lights coming on (Ohana’s favorite time of day in Tokyo) was another lovely touch.
I long ago lost track of what happens in each timeline of Steins;Gate, or what the alpha or beta lines signify, or who is whose dad. And I don’t understand why Okabe had to see Kurisu die first. As for all those failed attempts at rescuing Mayuri, I guess he had to undergo that to get to where he is now. Maybe. This takes away a little of the interest for me, but only a little. For over half the season now the show has really been about Okabe trying to save the people he loves. And now he might actually have a way to do it. His triumphant mad scientist declarations and laughter at episode 23’s end was wonderful to watch after so much failure and dread. So I don’t care if the finale won’t make any sense! Go, Hououin Kyouma! Proceed with Operation Skuld!
Ikoku no Meiro Croisée takes the idea of things being there because you want to see them and presents them through Yune’s eyes in two ways. One is the fabulous slide projector and moving picture toys Oscar finds in the storeroom which not only amuses delights Yune but Alice and a store full of locals as well. I’ll ignore the fact that certainly Alice ought to have seen one of those before—I’m a little surprised she doesn’t own one. The other use involves Claude and his father, sadly gone, and Claude’s inability to compare his work to his. We see the father through Claude’s eyes, and through Yune’s, another thing you see because you want to. So the metaphor goes, and so the episode.
One thing I’ll say about Kamisama no Memochou 9: at least Alice’s Eddie Gaedel tactic wasn’t the reason they won the game, I mean, just give up first to a tiny girl who can’t run that fast, or rather, to the cheerleader who pinch-ran for her. Instead they gave us an A.J. Pierzynski which, er, is almost as stupid. Naruma knowing that the 21st pitch would be a forkball was almost as bad.
The Idolm@ster 8 feels like a movie comedy. It starts with mistaken identities and a valuable ring, adds goons, sidekicks, strangers, zoo animals and an oil tycoon, throws in searches and chases and ends with a stampede before everything gets sorted out. It could have gone farther with the craziness but as it is it’s pretty fun. This show is no masterpiece but it it continues to entertain above its roots. And once again, Makoto shows herself to be the coolest girl in the series. Watch her kung-fu on a ladder! Swoon as she slings ham and flings crockery!
Yuru Yuri takes some of the girls to Kyoto on a school outing, where they stay at a Japanese style inn with a hot spring. It’s mainly Kyoko running around like an idiot while Yui acts as the straight man, Ayano as the angry bystander, while Chitose nosebleeds a lot. Points deducted for not covering the following hot spring inn clichés: ping-pong, drinking milk, vibrating chairs and ghost stories.