I thought Tatsuya was going to use the powers of creepiness and rub the guy’s face. Which probably would have made the rest of the series turn into a show about Ichijo’s elevated obsession with Tatsuya. Makes me wonder if that short-lived vibe was intentional, because there’s plenty of ways to reconfigure and redirect this scene to be less.. fabulous. But we all know everyone enjoys such shows. Just remember Star Driver. Or don’t. Because sometimes people can’t handle the kiraboshi.
I’m behind on the Mahouka blogging lately, with which I’ve started to wonder why it’s ended up being the show for me to regularly write about. Perhaps, sometimes I just want to write about a show that’s a bit more flawed, flashy, and fabulous, than a show that seems to hit more nails into the planks of stability and quality. Consider it a contrast to shows that take a serious effort towards storytelling, pacing, and very controlled swells of emotions. Mahouka is like that strange corner shop with that weird tasting soda pop and two arcade machine with dilapidated joysticks, iffy button response, and a Start Game button who’s label text is ghost of its original print, pigments lost to millions of hands slamming their anger into repeating the hallway of death that was 90s arcade goodness.
I’m waxing nostalgia while writing about a show that’s in the future. Yep. I’m late one episode, so I’ll probably end up combining the next two.
For a while, I thought this season was going to contain three trap anime (e.g. Love Stage!!, Himegoto, and Sword Art Online S2). Then I remembered that Love Stage!!’s trap phase is already over, since it covered the (or uncovered, depending on you-might-know-what) commercial plot bit.
Mahouka continues to be somehow boring and interesting to me at the same time. On one hand, it’s pacing is now jumping around a bit, and things are looking spotty in the pool of motivation that everyone is no longer standing in. Also, a new arc is jumping in after the terrorist one sort of just disappeared after Mr. Eyeglasses got his arm cut off. That’s probably where the issue is. But I have been saved by Erika’s bloomers, Nakajou Azusa’s round head, and Leonhard’s interesting inbetween frame that looks like it belongs in a Studio 4C film. I’m surprised they drew the individual teeth.
And then there’s the first picture I’ve placed to the left. That’s a guy, right? His character design can obviously allow for a masculine jawline and eye shape. Just look at the other characters. Hell, look at Tatsuya or muscle man Juumonji. (Jumanji.) But no. They gave him a face that is just so feminine.
I’m not going to harp on the “badness” of this show just for the kicks. Besides, you’ve got several other blogs doing that for you. The one bad thing that glares out to me that this show is doing, is letting Tatsuya be this badass without even a mote of explanation nor hints. Only Miyuki — and presumably all the persons and professionals that surround the Shiba/Yotsuba family — knows why Tatsuya is the way he is. Without due exposition, everyone is going to keep calling Tatsuya a Gary Stu. For all I know, perhaps he’s supposed to remain as a Gary Stu.
Oh well. I prefer Tatsuya more than SAO‘s Kirito, whose legacy to me is merely his declaration of “penis hearts”.
It sure didn’t take long for the fan art to depict the Shiba siblings as Kyousuke and Ayase from OreImo. I’m fairly certain that anyone who reads my site already knows who the VAs are, but in the case you don’t know, the seiyuu connection is Nakamura Yuuchi (Kyousuke) and Hayami Saori (Ayase).
Mahouka has been quite enjoyable for reasons unrelated to action. While there’s a quick scene of action when Tatsuya and Miyuki visit a temple, the action is in the tension that’s been slowly building around the school. For some reason, it’s always been easy for me to swallow stories that are about discrimination and societal themes. It feels ambiguous enough from most interpersonal drama I suppose. Sometimes I really dislike it when I do decide to watch a show that’s clearly about character drama and that other factors that attracted me end up riding in the backseat. It’s always been that way. I simply don’t like character drama unless the execution and the script line up to provide some modicum of equal element. This is a weird place to acknowledge it, but in this respect, that is why Silver Spoon ranks quite high on my list, where character development was well done mostly when it needed to be and had no high-speed combat action to get in the way.
The plot seems to be slow for now, despite what seems to be happening in episode 5. The main other reason I’ve been continuing to watch has been the consistent art. At least it hasn’t abused dutch angles to the extreme like Togainu no Chi does. The 3-episode test also works fine here. I don’t understand how 2013 had the most series I had to watch past the 3rd episode to see if I want to continue. Must’ve been a fluke, because everything in 2014 has returned to normal.
As a result of things normalizing this year, I’m very disappointed in Black Bullet. I’ll continue trying to watch and cover that show, but holy cow its been hard to watch. It’s pacing is bad. Very bad. I have to admit defeat. I was suspicious of Hitsugi no Chaika, and excited for Black Bullet.. and by episode 5, it’s reversed directions and gone one hundred miles. I love Chaika to bits, and Rentarou is a bad person. So bad. As in poorly-written bad.
Sorry. I just haven’t had this strong of quality whiplash in a while.
In other news, Nakamura Yuuichi is doing another season of Tokyo Encounter with Sugita Tomokazu this month. Fuck yeah.
My desire to pat Nakajo Azusa on the head has reached its zenith. There’s simply no way a secretary should be allowed to have such a cute haircut. Too bad her screen time is horrendous.