A quick goodbye to Bakuman, and hello new season

Bye guys.  Keep working!
Bye guys. Keep working!

A quick note to celebrate the ending of Bakuman after god-knows-how-many episodes. The finale was what I expected, about half of it covers the Reversi premiere (looks like a show I’d drop quick, to be honest) and the other half gives us Mashiro trying to get the words out of his mouth. Well, there’s a delightful twist at the very end. And it all mostly covers what I liked about the show. Our boys’ greatest rivals, who have been trying to surpass them since the beginning, all sit down to watch the premiere with smiles on their faces. Their rivals are also friends and admirers, and vice versa. Later, Mashiro and Takagi show Hattori their newest work, because the work goes on. That’s the overriding feeling of this series; there’s hardly an episode where we don’t see everyone working their butts off for their dreams. Sometimes the show felt a little routine because of that, but for most of us hard work is our daily routine. This is a show that celebrates that routine that all of us undergo to achieve our dreams.

And now on to the new season, apart from RDG, which I already covered. First up is Dansai Bunri no Crime Edge, an odd combination of teen love, thriller and an odd fetish. Episode one isn’t bad.


We got Kiri, a boy obsessed with cutting hair, who hears about a ghost in a white house with long hair. Naturally he goes to check her out, approaching through the back way, scissors in hand, seeing the girl through a window … and I’m thinking that the way he’s stalking her this feels like more than an innocent hair fetish and more like a murder taking place–and then Kiri thinks to himself exactly the same thing. It’s nice that Kiri knows exactly how creepy he comes off as; in fact, his interest in hair at school has given him a mild notoriety which he has no problem with. It’s one of the little things the episode does well. Kiri apparently isn’t ashamed of his obsession.

The opposition.
The opposition.

Meanwhile, Iwai, the hair girl, has no problems with him, either. They hit it off immediately and he’s quickly invited into the house (well, I think the hair opened the door rather than Iwai), where we learn that her long locks are uncuttable. The two guardians of a sort enter and toss them out, like I would have done if I came home and found a boy alone with my charge. Turns out they’re murderers, or the descendants of murders, and they have “killing tools.” It is made clear that Kiri is risking his life by messing with this hair goddess. But Kiri is obsessed, and returns with his own killing tool to cut Iwai’s hair.


Interesting stuff here. The word “Killing” is used in odd contexts, as is death. Iwai longs for it. They talk about killing her hair. Kiri’s killing tool is a pair of hair scissors originally used to slice up bodies, but he wants to use them for their original purpose. In contrast, we get simpler, cartoonish character designs that look too cute for a show like this. Iwai is especially adorable. And the scenes where they’re together are oddly, straightforwardly romantic. But there’s some worrisome stuff, too. The incredible coinkidink that Kiri just happens to have killing tools of his own, and why didn’t he try to use them the first time he visited? And judging from what I’ve read about it, this might turn into a straight slasher story. Still, this show is off to a good start.

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