Eizouken ni wa Te wo Dasu na!‘s final episode runs the way the entire series has. Another crisis, this one having to do with the sound, one I don’t understand. How could they not know the sound was completely wrong for over a week? Anyway, it takes another all-nighter and more Kanamori dealings (I’d love to know what “data” she was handing over) to secure another line of CDs … and then they’re done. After that it’s mostly denouement, selling the CDs at “Comet A,” followed by a look at the film, an incomprehensible tale about two sides blowing things up, which sets up the last great hallucination on the part of the viewers, and some final talk. Nothing much is added except a resolution to the story, and it felt rushed. It seems much more formula.
That’s the interesting thing about this series. It really did follow a formula. There were three films made, so three acts to the story. There were difficulties along the way of course, personal and work-related, but in the end the film was made. However, the stories were just bases for what the show was really about, making animation, and the wild ambition of three kids whose imaginations were allowed to run free for us at home to watch. Mostly, everything else was there just to give us those moments of things blowing up or little lessons on how things move. That’s more fun than any story … well, I don’t know about that, but the story was just enough to serve its purpose.
We also learn about the three girls without the show wasting too much backstory–the exception being Mizusaki and her parents, and that was tossed aside soon after her parents learn about her love for movement and animation. And the show didn’t need to do more with the characters; it was too effective with dialogue, body movement, and facial tics to need more. No, it was the kids and their crazy thoughts that we came to expect, and we got it. My favorite had to be in the “sound hunt” scenes with the bells and the loudspeakers, with Doumeki playing around with visible sound waves, but I’m sure everyone has a favorite. And I didn’t even talk much about the finished films and reaction they had on their audience. Artist imagination, viewer imagination. Well done. By far my favorite show of the season.
Oshi ga Budoukan Itte Kuretara Shinu finishes with an almost overemotional episode, but I guess that can’t be helped. They developed some things that needed to be taken care of. Reo meets her former group-mate, who says some cutting words that nearly shatters her self-confidence, but the other girls heap love on her and she gets a hold of herself. Maina steps on stage and gets overwhelmed by the size of it all, but she snaps out of it once she hears Eripiyo call her name, maybe the best emotional moment of an episode full of them, and in the end they perform well. As for the Eripiyo/Maina angle, apart from that moment nothing much happens. Eripiyo doesn’t embarrass herself during the handshake, and both declare their care for each other, with the table separating them.
That was probably the worst thing about the series–there was no progress in their relationship. It’s exactly where it was in episode one. Granted, Eripiyo’s antics helped cover for it. She was fun in just about every scene she was in, even when the gods of comedy would interfere by sending in a wild boar or something to complicate things, but when I realized the relationship angle was going to spin its wheels some of the fun was lost. How many times can we see Eripiyo pratfall or otherwise hurt herself, or bungle her handshake moments? Oh well, I enjoyed it anyway. It was a nice view of both idols and wotas and the bizarre relationship they have in what is essentially a money-making venture, with little cynicism. Everyone involved knows it’s about, and the respect and kindness they show to the other side, and to each other, was quite often touching. Even without the story advancing I’m going to miss this show.
Meanwhile, Toaru Kagaku no Railgun T has shown up again. I had almost forgotten about it. It’s mostly two infodumps, the main one being between Misaka and Shokuho, the latter being more than happy to explain almost everything, I’m not sure why unless it’s because she can’t hide any more. I also can’t figure out the logic of her trying to keep Misaka out of the loop by manipulating her friends’ memories, or keeping her out of the loop at all … Well, she can’t read Misaka’s mind, so she can’t fully trust her, and she figures Kuroho, et al. would be be in over their heads, rather arrogant of her but that’s what she is. So while those two are infodumping and arguing we have Kuroho and Saten trying to track down liquid-metal girl, joined by a recovered Uiharu, and dealing with the guilt of acting with manipulated brains, safely out of the fight which Misaka and Shokuho are headed, and while one of this franchise’s main themes is that you don’t go into battle alone, it’s probably better this way, not that I have much confidence in the bickering Misaka/Shokuho team either, especially when they decide to split up.