W 11, Koyomi 10-11, Gate 23, Teekyuu 81

... through a lousy plot device.
… through a lousy plot device.

Dimension W 11 starts with the aftermath of the Loser/Chrysler fight, and now Loser has all the numbers and is probably invincible or something. Meanwhile, Lwai fills Kyouma and the rest about how he’s actually a robot controlled by what’s left of himself back home, and he’s fine with that. So is Kyouma, so the show makes a point to tell us, and I suspect it’s supposed to be a touching, breakthrough moment for him, but the show never really established his issues, because the big final story arc depends on him not knowing their source …

... and spawned another dull, predictable villain.
… and spawned another dull, predictable villain.

A little disappointed that so much of the backstory is made via a memory shared by Loser which everyone is forced to watch. Too convenient; this show has proven it can do better than this if it wants to, but there’s only one episode to go so maybe it was a timesaving decision. Worse, the memory also had a lot of pseudo-scientific bullshit about possibility factors mixed in before Seanmeyer got all evil and started killing people. The memory didn’t really tell us anything we didn’t already know. Loser lost his wife, Seanmeyer is evil, and Kyouma was there. What I’m afraid of is that they’re going to take all those weird possibility theories and toss them around, with light shows, while Kyouma gets his memory back. No, wait! I forgot that we’ll probably start with Loser meeting his lost wife, now a gigantic octopus thingy.

Araragi up top ...
Araragi up top …

Koyomimonogatari 10 brings us Yotsugi, in search of something that can’t be found by searching for it, not only an interesting riddle but one you’d expect from this show. The conclusion, brought to us by Hanekawa again, was a pretty clever one, even if I had sort of guessed it midway through. While I wonder at Yotsugi’s motives for doing this (WHY was she looking out for Araragi?), the idea that she was in the first place was kind of nice, reinforced as it was by Araragi’s comment that people who have unfettered moments might have people looking after them to thank.

... and at the bottom.  Wonder if there's significance in this.
… and at the bottom. Wonder if there’s significance in this.

#11, maybe the weakest yet, has Araragi asking Yuzuru (after she beat the crap out of him) about Yotsugi. Land one punch and she’ll tell you, and the show spends the rest of this short time with Karen figuring out what Yuzuru actually meant by that. That it means a refusal to answer Araragi’s question I can understand, but Araragi’s attempt at going through with the fight out of some courtesy I can’t figure out. But the episode DID have Araragi and Karen in a bathtub full of puddings, so that’s something.


Gate 23, with its triumphant 11.5 hour raids on the capital and the Jade Palace, is not as fun as it could be. We see the JSDF prepare and implement their attacks, and apart from a few moments when they appear outnumbered, nothing goes wrong. They secure gates, they paratroop, they launch missiles on dragons, while Zorzal looks more flabbergasted by the second. The only interesting bits are Tyuule’s advice,” where I have to remember that she’s not on his side, nor the JSDF, but working purely out of revenge against the empire. I wonder how the show is going to treat her next week?


The raid on the Jade palace is a little better because, for me at least, there was more at stake. I wanted to see Bozes and her troops defeat the imperial troops, or at least survive. That they do, thanks to the JSDF, in ho-hum fashion, but Bozes then spices things up by galloping to the capital to rescue Pina, and nearly getting killed. As for Pina, she’s still stuck down in that cell, hopeless and useless as ever, and our heroes, Youji and the fantasy-fetish girls, are still riding in that jeep.


Finally, Teekyuu! 81 slips badly to an SPG of 3.75 as Yuri accompanies Annenkov to a mixer full of monks and encounter a vengeful bathroom spirit. Maybe too much time setting up the scene.

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