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Konosuba S1E1: The Self Proclaimed Goddess and Reincarnation In Another World Exclamation Mark (blind)
This anime review was commissioned by @Suzu. She's only asked for the first episode, but since I need a new project after JoJo, well...let's see what this is like. I have no idea what this show is about, how well or poorly regarded it is, what genre it's in, or whether Suzu tossed it my way because she thinks I'll like it or because she wants to see my head explode. Probably the latter. Anyway, I've literally never heard of this show before, so this is as blind as a Let's Watch can possibly be.

In we go.

...


We see a nighttime sportsball field, and then an animu computer nerd in his bedroom with two giant monitors turned up bright enough to ensure complete loss of vision by the age of 40. His internal monologue informs us that he rarely goes out at night, but he needs to be early to get the limited first edition of some nerd thing, so a-camping he must go.



After a five hour round trip bus ride and who knows how much time waiting in line, he has the nerd thing in hand and is on his way back home from the bus stop. The camera does an odd thing, randomly cutting to close ups of plants, tadpoles swimming in a nearby ditch, etc as he goes about this. It's very prettily drawn and animated; I wonder what it's foreshadowing. Well, hopefully no frogs will be punched in this anime.

As he makes his way home while cowering from that mortal enemy of his people, the sun, a girl from his high school passes by with her nose in her smart phone. It kind of says something about how low my expectations for anime have been set that I'm relieved he doesn't tag along drooling behind her. Just as he's passing on by, he sees a truck coming up the road while she absentmindedly crosses it, eyes still glued to her screen. She doesn't hear his warning, so he does the only thing he can think to; drops his nerd prize, and dashes up to push her out of the way.

His final thought is musing about how out of character for himself this action was.



Well, I can't say how correct that self-assessment of his is, due to having seen so little of the kid. Maybe he was selfish and cowardly up until now, maybe he wasn't. Regardless, he saved this girl's life at the cost of his own almost without thinking, and that kind of has to say something about who and what he is.

We're only one minute into the show, so I'm not completely surprised when he finds himself sitting on a chair in what I imagine is the afterlife. There's a table with a book on it, and another empty chair by that table, so I imagine someone is going to come by to judge his soul momentarily. Let's see just what kind of wacky Christian-Shinto hybridization we're about to get!

Unsurprisingly, when his judge arrives, it turns out to be a mild mannered blue-haired woman with a weird cloth/energy/something effect hovering around her and a penchant for getting the camera stuck in her microskirt. Guess this is still an anime after all.



She informs him that he is, in fact, dead. His first question is whether or not his sacrifice was worth it; did he succeed at pushing the other kid out from in front of the truck before getting hit himself. When the microskirted psychopomp assures him that he did, his relief is palpable.

I can understand that. Imagine if you sacrificed yourself to save someone you barely even knew, and then it turned out that you didn't even succeed and your remaining time on earth was traded in for nothing, not even virtue to be its own reward at least in effect. On the other hand, learning that there is, in fact, an afterlife would mean that "death" doesn't actually exist, but that's sort of an overwhelming concept to get your mind around and the kid was literally just hit by a truck.

She also names him as Satou Kazuma. Cool, we have a name.

On the downside, apparently his sacrifice actually was in vain after all, because that vehicle would have stopped before it hit the girl even without him pushing her out of the way. But. Wait.

He pushed her out of the way. It sure looked like he was standing in exactly the same spot that she before he pushed her when the vehicle did, in fact, hit him. So...the driver was prevented from slowing down by him jumping in front? Somehow?

And...wait, he actually points out a totally different contradiction himself. It was a TRUCK he pushed her out from in front of, not a tractor. Okay, what the heck is even going on here?

...oh god.

According to Micropomp, the truck actually shot by right past himself and the girl without hitting either of them. A second later, a tractor came out of nowhere and screeched to a halt inches away from him after he pushed her out of its path. He died from shock when he felt the wake of the truck wash over him.



That. Wow. That got such a cringelaugh out of me. Well played, show.

Micropomp can't help herself, and starts laughing hysterically. She's been judging souls for a very long time, but this is the most inane death she's ever run across. Kazuma is understandably less amused than she is. She even makes a point of telling him that the doctors AND HIS OWN FAMILY laughed at his ridiculous death.

Fucking hell, this lady...

Anyway, she finally finishes laughing and says that she's now done "venting her stress." Is she a pillarwoman or something? A little small for that, but who knows. As he growls and steams, she introduces herself as Aqua, the psychompomp of those who die young. She then offers him two choices; either he can be reincarnated, or he can move on to a heaven...where he can, and I quote, "carry on like an old man." She then goes on to insist that the non-physical existence that awaits in heaven actually sucks and he shouldn't go there if he knows what's good for him, while squishing her boobs out at him and riding up her microskirt enough to let the camera all but bury itself between her cheeks.

I'm starting to get a gnostic vibe. Is this bitch an archon? I suspect that this bitch may in fact be an archon.

Except...then she tells him that reincarnation is also going to kind of suck, having to go through birth and infancy again. Instead, if he's willing, she'll offer him a third option: there's another world that's being invaded by demons that are slaughtering its human population, and since none of them are even remotely willing to be reincarnated onto such a shitshow planet the population is plummeting twice as fast. So, the powers that be are offering to send the dead from other worlds to that planet and letting them manifest in fully mature young adult bodies with all their memories intact.



Kazuma's expression communicates my reaction to this scene better than any amount of text ever could.

The speech ends with the dramatic spotlight just kind of fizzling out and Kazuma continuing to stare blankly at her until she gets back into a normal person position and tries to save as much dignity as possibly by switching back to a conversational tone. In order to assure that he can actually make a difference against the invaders instead of just instantly getting killed again, she's letting him incarnate with a divine boon of his choosing. Any one piece of equipment of perfect quality, or any one skill that he'll have complete mastery of. Kazuma proves himself sharper than most by asking her if he'll automatically know the language of this world he's being sent to, and she...has to check her notes.

After which she confirms that as an added benefit his cognition will be hyperstimulated when he first arrives, so that he can learn the local languages and life skills quickly. Though there's a small chance that this surge of divine energy might annihilate his soul permanently. When he asks her for more information about that, she denies that she ever said it and won't let him turn the subject back.

Never mind, Aqua isn't an archon. She's GLaDOS.

She keeps demeaning and teasing him on the one hand and encouraging him to pick a glorious boon to build a heroic legacy with on the other, until he finally decides he has just had it with this and says the one thing that's guaranteed to wipe that fucking smirk off her face; the one thing he wants to bring into the demon infested world with him is her.


Another angel immediately shows up to take over Aqua's job while she's away, telling her that the supplicant's choice is valid within the framework of the offered contract, and that Aqua is therefore obligated to comply. Aqua completely loses her shit as she screams, begs, and rages against this fate. The newcomer calmly assures her that everything will be fine without her, and that they'll send someone to recover her in the event that the demon king is defeated and the purpose of the boons no longer extant.

The other angel seems awfully happy about this. I can't say I blame her. She and the rest of her coworkers are probably throwing a party the instant Aqua is gone. Kazuma gloats and lets out a truly epic supervillain laugh (seriously, his VA really went the extra mile here) as he's sent to the demon invasion world with her dragged along with him.

Then, they manifest in their destination. Once again, with odd camera zoom-ins on some nicely animated water with sunlight gleaming off of it. A caption informs us that the archaic village that they've found themselves in is literally called "The Town of Beginning Adventurers."

...

This was probably a hilarious parody of isekai when it first came out in 2016. Just two and a half years later, and its literally indistinguishable from the real thing.

I fucking hate humans.

...

Holy shit, the town actually has a real name as well, I just couldn't see it at first because of some questionable sub placement. Axel.



So, conceivably Axel could have just been a normal town without any name besides that one until the rain of confused Japanese teenagers started showing up, at which point it earned the longer title. This actually has MORE care and attention paid to it than some modern isekai that are meant to be taken unironically.

Anyway, Kazuma is excited to start a new and hopefully more meaningful life in this primitive world. From the degree of cleverness and self-aware humor the show has demonstrated up until now I was half expecting him to be sad about losing his family, but then I remembered that they literally laughed at his death (I suppose Aqua could have been making that up, but the fact that he believed her indicates that his relationship with his family wasn't exactly great either way). Aqua is not excited.

A very weird thing happens when she briefly tries to strangle him. The video pauses for a moment, there's an eight bit sound effect, and the caption "pause: press start button" appears. There's some kind of videogame joke going on here, obviously, but I don't quite get it. It's immediately followed by another videogame joke that I do get, when Kazuma says they should find an adventurer's guild or something to get the lay of the land, and Aqua looks stunned and asks how a shut-in otaku like him could have learned how to handle situations like this. Indicating that she has no idea that this world they've been sent to is coincidentally near identical to earth's fantasy RPG's.

...

Once again. Brilliant satire just a few years ago. Today, indistinguishable from the thing that it's lampooning.

...

They go off in search of such a guild, which she has no supernatural ability that could help them locate. The camera keeps creeping up under her microskirt, which strikes me as just your usual juvenile anime titillation rather than any sort of irony, oh well. They eventually find their way to the very grandiose murderhobo guildhall (turns out that this town is actually more of a small city), where a burly man with a familiar voice (I need to check the VA: I'm pretty sure I've heard him in multiple other things) helps them to the admissions desk. Aqua seems to be gaining a lot more respect for Kazuma due to his virtual experiences making him so adept at navigating this world, and asks him why such a smart guy turned out to be such a worthless NEET in his last life.

Kazuma points out that he was, in fact, in education at his time of death, and that she should shut the fuck up.

It turns out they need money to register for guild membership, though, and Aqua doesn't have any power to create or find it. In fact, so far she hasn't seemed to have much in the way of powers whatsoever. Kazuma begins to realize that he might have dicked himself over as a side effect of dicking her over; instead of one person with a useful skill or item, it's just two people with no useful skills or items.

They mope off to a tavern that they can't even buy anything at. Aqua goes back into her default bitch mode now that one of his gamer assumptions turned out to not hold up (I guess this world is only coincidentally 99% identical to an MMORPG rather than 100% as it appeared until now), and they go back to arguing about whether or not he meets the definition of NEET. Finally, she tells him that she'll try and get them some money her own way, walks over to an elderly priest sitting in the corner, and tells him that as the goddess Aqua she must be obeyed by the faithful, which means giving her whatever cash the guy has on him.

This actually goes much, much better than I'd have expected it to. The priest doesn't believe that she actually is the goddess Aqua herself, but he apparently has heard of her, and is dedicated to another goddess who is considered subordinate to her. Since he's impressed by the quality of her Aqua cosplay, he gives her a few coins and just chides her not to take her performance to the point of sacrilege.


I started typing about how disappointingly illogical it would be, within the satirical framework that the show seems to be setting up, for the natives of this world to somehow have accurate knowledge about the actual multiversal gods when the natives of Earth do not. I also wondered for a moment if there was a problem with the sub, because Aqua seems to only be a "goddess" by technicality at best and certainly not someone who would have divine underlings. But then it hit me.

This world has been having awkward young Japanese boys isekai'd into it for some time, and some if not all of them were probably sent here by Aqua with their memories of interacting with her intact. So, it would be the most logical thing in the world for the natives, after hearing remarkably similar stories from all these newly arrived heroes, to begin worshiping the entity who sent them here and massively overestimate her power and importance.

Maybe I'm putting too much thought into this. But based on the kind of humor the show has been doing so far, and the cleverness of the writing, it would definitely fit. Especially if that means that the people will eventually be faced with the fact that their goddess of heroism who's been sending magically empowered people to defend them from the demons is actually just a bottom-rung divine pencil pusher and also kind of a stupid jerk. I hope it'll be something along these lines.

And, well. Aqua's reaction to a mortal actually thinking of her as something that should be worshiped definitely suggests that it's not something she's used to.

They come back to the adventurers' guild just as its closing up, and the camera zooms in on the registrar lady's ass as Kazuma approaches her. Once again, I'm not sure if the cheesecake is trying to be ironic or not, but if so I don't think it succeeds, as there's nothing subversive about it or even anything to distinguish it from the usual anime foreveralone bait. Anyway, she issues each of them an adventurer membership card that displays their level, experience, and stats in a manner identical to a videogame HUD. Again, it's kind of sad that there's literally no way to successfully parody modern isekai. She runs them through a hand scanner device that somehow determines what character class you can start as, and apparently Kazuma's high intelligence, decisiveness, and luck but relative lack of physical ability makes him more useful as a merchant or something than as an adventurer.

You know, in Kazuma's place I think I'd be pretty okay with that. If this world actually is under threat by a devil king (though to be fair, there's been basically no indications of this since they arrived. Everything seems very relaxed, prosperous, and well ordered, and there's certainly no sign of a war. I suppose Axle could be on the opposite side of the planet from the place the demons are invading from or something), then logistics are going to be pretty damned important. An arms merchant or quartermaster could make easily as much of a difference as the spiky yellow haired guy with the oversized heart-shaped greatsword who shoots lightning out of his dick. But, Kazuma really had his hopes up for being a dashing adventurer like in one of his Japanese animes MMO's, so, he resolves to level out of this NPC class as soon as possible.

Aqua's stats are the opposite; she's low intelligence (no shit) and very low luck (surprising, given the encounter with the priest. The only misfortune she's suffered so far was entirely of her own making), but the rest of her stats are astronomical. I guess being a goddess or angel or whatever she is does have SOME innate benefits. She chooses to be a priestess, probably because it's the closest option to "goddess," but according to the lady these are DnD style clerics who are mostly good for healing and support.

Aqua did mention that she had a minor healing ability of her own, I believe, back when she was getting tossed out of heaven after Kazuma. But choosing to develop and focus on helping other people when she has other options feels a bit out of character for Aqua. Dunno. At any rate, everyone in the entire guild cheers for her, because it's always such a hard time finding someone who will play healer.

Kazuma isn't thrilled about her, of all people, getting what he wanted for himself.

I begin to wonder if the lady mixed their stats up. So far, it's consistently been Kazuma with the awful luck. That impression doesn't diminish as the following montage - with heroic, inspiring music playing over it - shows Kazuma comically struggling with manual labor around the city. And also with having to sleep in a stable due to not having money.

It's not clear if this is the only "merchant" work available, or if he's just doing this by choice to put some points into strength. Also, it looks like they're working to reinforce the city walls, which is the first visual indication of a war we've seen so far. I guess this supports my earlier suspicions; the enemy is on the move, but still a long way off, and so the locals aren't panicking yet but they're building up their defenses.

We do see Kazuma's determination and decisiveness in action, though. He isn't deterred by hardship or difficulty, or even by humiliation when he fails to measure up to his coworkers. As the montage continues, this...well, despite the obvious and deliberate silliness, it actually manages to be legitimately heartwarming and inspiring as well. Kazuma and Aqua get used to each other, and start drinking milk together every morning to boost their bones. We see them start to be able to afford better food as they get better at their new jobs, and import blankets and so forth into their stable to turn it into a little apartment (instead of just renting an apartment, because lol). There's also some rather baffling stuff, like Aqua painting walls instead of, erm, healing people, and also some repeated shots of her puking out a fountain of rainbows after getting drunk in a Gravity Falls gnome kind of way. After a few weeks, they both get swole, and also seemingly cool with each other.

The episode ends with them deciding that there are too many isekai'd heroes in this region, which means no monsters to kill, which means no leveling up. Okay, that explains why Aqua hasn't been doing healing work instead of construction. I guess you can still get swole the old fashioned way in this world without having to kill things for xp, which is nice. Anyway, they leave Axel with whatever money they've raised to go try and level up so they can kill the devil king so that Aqua can go home and Kazuma can do...idk whatever I guess, he'll get a wish supposedly.


So, thoughts.

The first half of the episode was definitely stronger than the second, with the seemingly serious and poignant start leading into the hilariously subverted "hit by a truck" isekai plot device and then the solid gold that was the afterlife scene with Aqua. Once they actually got to MMOworld, the jokes continued to be funny, but they also got less biting and subversive for the most part (Aqua not realizing that earth video games are impossibly similar to this actual parallel world was an exception). It also felt off to me that Kazuma and Aqua got over their initial antagonism basically offscreen, during that montage sequence. It feels like we missed out on something there.

I guess my biggest concern about Konosuba is that it could easily just turn into an unironic example of the thing it's supposed to be parodying. With most of the really subversive jokes about the isekai genre kind of done already, the show might just be a pretty bog standard (if better written and much more beautifully animated than usual) isekai except with lots of meta jokes. I'm not sure that this will happen, of course. And even if it does, I don't think that it would become a bad show, per se. But it seems likely, and even if that doesn't make it bad it would still make it less interesting at least for me. Reading a Shield Hero liveblog while doing this really opens my eyes to how damned hard it is to effectively parody this genre in the first place. So, perhaps I should just be impressed that Konosuba has done as well as it has up to this point.


Anyway, I have several more commissioned reviews on the way. I'll give the next episode or two of Konosuba a watch just to assess it for myself, but from what I've heard from patrons since first writing this review it sounds like it might not be meaty enough to provide material for a longrunning LW. The next item on the agenda might be more promising in this regard.
 
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Black Mirror S3E4: San Junipero
Okay, here's another commissioned review, this one courtesy of @Aris Katsaris


For those of you who don't know, Black Mirror is a British-made dystopian science fiction series that's been running from 2011 until the present. There's no continuous narrative between episodes, or even a persistent world. Rather, each hour long episode is a standalone short film that posits some kind of social decay or technology run amok that could conceivably happen in our near-ish future. The subject matter often involves new applications of data storage, social media, and communications technology, but not always.

I've seen the first season of Black Mirror on my own. It's hard to make many judgments of the show as a whole, since each episode is an entirely unrelated and self-contained work with only some vague thematic connections to the others. The best episodes of this show that I've seen were some of the most haunting and thought-provoking near future science fiction I'd had the pleasure of reading or watching. The worst episodes I've seen were just really, really fucking stupid. So, the particular episode I've been given to review, S3E4 "San Junipero," could turn out to be absolutely anywhere on the quality spectrum.

Let's get to it!



The episode opens, very usually for this show, in 1987. Most Black Mirror episodes avoid giving the audience any specific dates, content to simply let us imagine a near future timeline of our own that leads to the events of the story. So giving us a date, and one in the PAST at that, is very much unexpected. Maybe this episode will be about time travel, rather than the usual infotech related Bad Ends? We shall see. Anyway, we're in a town that looks like it could be in southern California or somewhere in that general vicinity, presumably the titular San Junipero. A nervous looking young woman with glasses is standing in the busy nighttime street, people-watching with a sort of melancholy purposefulness. She starts paying attention to a passing couple who are having a conversation in which the topic of running out of time is prevalent, definitely not foreshadowing a time travel plot. Glasses watches after them for a moment before following them into a crowded nightclub.



Eventually, she wanders over to a Bubble Bobble machine, puts in a coin, and plays until another glasses-wearing individual walks up and asks her if she knew that Bubble Bobble was the first videogame to ever have multiple endings (I already knew that myself, btw. #genuinegeekgirl).

He says it WAS the first game, past tense. Either they're both time travelers, or this is actually a 1980's themed historical amusement park where the youth of 20XX can play pixelated arcade games, listen to dad rock on FM radio, and watch recycled decades-old newscasts on grainy TV screens with an authentic atmosphere. He tries to impress her with his vidyagaem history trivia for a bit until she walks away, prompting him to turn away and curse angrily for that classic Nice Guy flavor. After sitting down at a table, Glasses is approached by the couple she followed in a little while ago, who are still arguing about how to make the most of their limited time here.

...actually, never mind, Glasses has never actually met these two. The other woman, Kelly, was just pretending to be Glasses' friend so she could get rid of her nagging boyfriend for a little while. Annoying, clingy guys seem to be a recurring motif of this episode. Glasses names herself in return as Yorkie, a name which Kelly finds at least as unusual as the audience is expected to.


Ignore the Hebrew subtitles, they're just there for Bunny's benefit.
Kelly and Yorkie chat for a while. Yorkie seems ignorant about things that Kelly expects her to know about, including a mysterious something called "the quagmire." Yorkie is also uncomfortable and seemingly confused when Kelly buys her a drink and starts getting a little flirtatious. Kelly asks her why she's still wearing her stupid glasses, and Yorkie stammers for a bit before telling her that she actually needed them back when she was a kid and now the cosplay version just comes very naturally to her. She also is unused to alcohol, which Kelly also finds peculiar.​

Okay, I'm calling it. This is a 1980's theme park in the future, but Yorkie is actually from the 1980's. Either she got yoinked forward in time, or she's been in a coma for however many decades. In either case, I imagine that the San Junipero park might be a favorite hangout of hers, even if the other people are really just cosplayers rather than members of her own temporal culture. And, I guess the legal drinking age has changed, or something.

...

Also, "Walk Like An Egyptian" is playing in the background in this scene. This improves my enjoyment of it, as I've been conditioned to associate that song with a sense of gratitude and relief.

...

Kelly eventually drags Yorkie onto the dance floor. Yorkie insists that she can't dance, and subtextually protests that she doesn't ladies. Kelly insists that she'll be happy to teach her how to dance, and subtextually is confused by this whole "straightness" concept. Based on the way the camera treats Kelly's dance moves while being clearly angled from Yorkie's POV though, I'd say Yorkie most definitely would ladies were it not for her homophobic twentieth century upbringing.


Pictured above: the hetero female gaze.

Eventually, the hetero gets to just be too much for Yorkie, and she ditches Kelly to go sulk outside in the rain. When Kelly follows her outside, it turns out that Yorkie actually does ladies, but is very uncomfortably expressing this in public where she's been conditioned to expect pitchforks and torches. She also tells Kelly that she has very controlling parents who shelter her, which is why she's never danced before either, to Kelly's disbelief. Either that sort of conservative right wing parenting is no longer a thing in 20XX, or Yorkie is actually a robot or some shit and her "parents" are actually her creators.

After some back and forth, Yorkie tells Kelly that while she'd like to, she "can't" into ladies with her right now, and babbles about a mysteriously absent fiance named Greg who she may or may not have made up on the spot. Even the offer of a ride home to get out of the rain isn't enough to bring Yorkie back.



Cut to one week later. Yorkie is in her convincingly 1980's looking bedroom, listening to period appropriate music on tape, and practicing her dance moves. Ranging from old fashioned and stodgy, to much more modern and sexually suggestive. She's also wearing cosplay outfits from some of their music videos as she dances to the songs. That weekend, Kelly comes back to San Junipero, and is approached again by clingy boyfriend...who turns out to not actually be her boyfriend at all, but a hookup with delusions of attachment who she's been regretting ever since it happened. While shrugging him off, he mentions something about San Junipero locals who are "like dead people."

...

Hmm. I don't think this is a Westworld type setup, with robots. Everyone who talked to Yorkie seemed to expect her to be familiar with modern things, and were surprised by her authentic eighties-ness. That also means it probably isn't a time travel tourism thing either. But then, who are the "locals" who are "like dead people" in this theme park-esque little resort?

Some weird retroculturist sect who decided to cling onto the twentieth century and built their own little city on the hill for it? Why would a group like that be catering to tourists from outside who trample all over their traditional values, though?

Yeah, I don't know what's going on here. Interesting puzzle plot. Which is another type of story that I haven't seen Black Mirror do before, by the by; usually it gives you the premise up front and then spends the rest of the episode looking at the consequences of it. Of course, I've only seen season one until now, so maybe their storytelling does get more diverse in general in the later seasons.

...

Kelly goes back into that nightclub, and is approached by another random boy who starts boring her within minutes if not seconds. This episode is weirdly antipathetic toward men. So far, every single male character has been portrayed negatively, often without it seeming to serve any real purpose for the story. I wonder if this is some misguided attempt at "wokeness" by the writers. Anyway, it's the one weird and kind of uncomfortable detail in an otherwise very captivating episode so far. Kelly is rescued by Annoying Clingy Boy #3 by the sight of Yorkie, who's been waiting for her in a slightly less boring outfit than she had on during their first meeting. I'm getting the impression that Kelly isn't used to being turned down, and Yorkie doing so has given her a kind of mystique and excitement for Kelly. When they meet again in private, Yorkie begs Kelly to "help her." Neither I nor Kelly know what she means, exactly, and I think she herself might not know exactly either. Kelly invites her out for a drive, and Yorkie gladly accepts. In the car, we learn that Kelly has been in San Junipero for a couple of months, which makes me wonder what's up with the talk of limited time up until now that's been measures in hours. They almost have a car crash, which is a bit of a bonding moment for them. Then, they go to Kelly's San Junipero apartment.

Yorkie says that Kelly's place is "just like where (she) grew up," but also that it's surprisingly large. Hmm.

Anyway, they kiss, then go into the bedroom where Yorkie asks Kelly to teach her how you into ladies. Skip ahead to the pillow talk, which has Yorkie admitting that she's never into gentlemen either at least in practice. This was her first time being practically into, period. Kelly is more stunned by this than she's been by anything else about Yorkie so far.



Kelly asks her about the fiance she mentioned, and Yorkie just tells her that "it's complicated." Which may be an honest answer, or it may just mean "okay fine I made him up." No idea which of the two is more likely at this point.

Then the topic turns to attraction to women, and how long they've been aware of it. Kelly says that she was married to a man for many years, meaning she's older than she looks, and that she truly loved him and was monogamous despite being conscious of her own bisexuality. There's some very ominous back and forth, then, about how much time they each have, how long they'll be staying here, etc.

Then the clock strikes midnight, and the universe blinks.

When the blackness ends, we jump one week forward again, with Matrix-esque digital font captions to tell us so.

Well, it looks like I've been wrong all along. This isn't time travel OR an amusement park. This is a virtual reality. And I'm pretty sure that the people are all simulations too. Perhaps the digitized consciousnesses of actual humans. And they all seem to know it, though there's something more serious going on than just posthuman minds playing around in a retro Americana sim. The constant talk about running out of time. I'm beginning to suspect that each of them is only going to be simulated for so long in San Junipero before being deleted, or something.

So, one "week" later, however literal that is in this simulated world, Yorkie is back in that nightclub again. She asks around looking for Kelly, but is having trouble finding her. I guess the Seaside Partytown Matrix doesn't include such 1980's conveniences as telephones. Eventually, the bartender advises her to try looking for her at the Quagmire, which has been mentioned before as a place that a) has lots of hookups take place in it, and b) Yorkie has never heard of until meeting Kelly. She heads out to the Quagmire on foot, and it turns out to be a vaguely Mad Max looking structure just up the highway from San Junipero.


Just walk away, Yorkie.

Inside, the Quagmire is basically a much darker, rowdier, and dirtier nightclub/sex dungeon with over the top goth aesthetics, including people with horns and fangs. It's not clear if they're wearing costumes, or if they've actually had their digital "bodies" modified into that shape, assuming the people are all indeed sims. She runs into Kelly's annoying not-actual-boyfriend, who tells her that he hasn't seen Kelly here in a long time either. According to him, Kelly is a serial ghoster, but I'm not convinced, and neither is Yorkie. He also says that if she reeeaaally is desperate to find her, maybe she should look out a ways, say the earlier nineteen eighties or later into the nineties or even aughts.

This retro sim world is turning out to be much more complicated than it first appeared.

One week later, in 1980, Yorkie walks into a more disco-y version of the usual nightclub, still looking for Kelly. The other awkward clingy guy is still there by the arcade machines, which this time consist of OG Pacman, Pong, and not much else. One week later still, in 1996, Alanis Morissette plays over a dingier, more modernist nightclub scene where the guy is playing an early rail shooter, and Yorkie looks for Kelly in the clubs and in her beachside condo, still to no avail. A week after that, an appropriately longer-haired Yorkie searches a 2002 nightclub, and finally finds Kelly playing Dance Dance Revolution with a new boy she's picked up.

It's the arcade guy. Huh.



Kelly is significantly less excited to see Yorkie than the reverse. When Yorkie catches her alone in the bathroom, she just looks irritated and asks why she's chased her here. I think we're seeing the other side of the story with her "boyfriend" from before, aren't we? Kelly seems to not be very good at communicating these things to people. Anyone can have a hookup that doesn't get the hint happen to them, but if it happens multiple times in a row then I think it's moooooost likely that the problem is you and not everyone else.

Yorkie calls her out on this, and on, you know, taking advantage of emotionally vulnerable people in particular for this stupid fuck-and-fuck-off hobby of hers, before storming off. Kelly angrily punches the bathroom mirror, forming a cheeky visual allusion to the Black Mirror logo, only for her hand and the mirror to both repair themselves as soon as she looks away and back again. This show isn't known for being subtle with its symbolism, so I'll take the most obvious reading of this and say that the lifestyle this simworld encourages is one of constant, wild indulgence with the consequences being hidden away with the constant reboots and temporal hideouts. But, while the people in this world might be as virtual as the mirror, their feelings aren't as easily reconstructed. Evidently feeling remorse, Kelly runs out of the building to chase after Yorkie, and finds her standing on the roof, as if considering a jump. She climbs up to her and begs her to at least turn her pain slider down to zero if she's going to do this.

Hah, cute. Of course you can't actually die in this world, or at least, if you can, it's not doable by bashing your virtual body against virtual cement. Not sure what this "suicide" would actually do to Yorkie, but given that nobody in the street below seems more than passingly interested in the sight of her poised up above I'm guessing nothing that serious or longterm.

Yorkie asks Kelly how many of the people around them are "dead." Kelly asks her how many slices of bread she's eaten if she means "full timers," and estimates that probably around 80% of them are. So, that's what the talk of residents versus visitors earlier on was about, and the residents being "like dead people." Some of these people still have meat bodies that they're plugging themselves into the simulation from, while others have abandoned theirs (voluntarily or otherwise) and moved on to a completely posthuman existence as digitized intelligences. The topic turns personal again, and Kelly apologizes for what she's done, saying that she'd told herself she "wouldn't do feelings" in here, but admitting that she's been depriving herself of the chance of a connection she could really benefit from.



The two go back to Kelly's condo and spend another evening together. As midnight and the "one week later" reboot approaches, they start talking about who and what they actually are, but the conversation raises as many new questions as it answers. Yorkie says that she's marrying her fiance next week, and that she won't be coming here anymore after that. She also says that her conservative family doesn't approve of him, and that San Junipero was her way of living and loosening up a little in a safe environment before plunging herself into actual freedom IRL. Kelly's story is a bit more baffling. She says that she has three months before the cancer spreads throughout her body and kills it, and that - like her late husband, who she still loves, she won't be taking up residency in San Junipero after that point.

However, she also says that the husband in question "won't even visit" San Junipero because of his philosophical beliefs. I suppose that could mean that he refused to visit it back when he was alive, but something about the phrasing, and the fact that Kelly says she'll be "joining him" in the context of a world where reunion after death isn't necessarily just a religious flourish, I'm not sure if he actually is dead dead. Maybe he is, and its just confusing wording, and Kelly is planning to let herself die completely when her body gives out. But it could also mean that most of transhumanity has just evolved into something totally alien and inhabit a less hedonistic and more productive virtual realm, with those who stay behind in worlds like San Junipero permanently being afraid or lazy or whatever. I dunno. Could be a lot of things.

Kelly then asks Yorkie about her non-virtual self. Yorkie is reluctant, and tells her that she'd never be able to like her at all if they met in the flesh. Aw, and here I was starting to wonder if Yorkie was actually the world's first non-transhuman AI or something. Maybe she is, and her physical body is a giant robot skeleton with missile launcher nipples or something. I'm sure that that's exactly it, it would be a perfect tonal fit for the story thus far. Eventually she yields, and gives Kelly her meatspace address. The clock strikes midnight, and the universe blinks, but this time we don't get a Matrix font telling us it's "one week later." Instead, we see Kelly waking up the next morning in her assisted living facility and taking a self-driving electric car to go meet Yorkie.



I was imagining Kelly as being in her fifties or thereabouts. Guess I undershot it, though the cancer might be making her look older than she is. Also, the world outside looks reassuringly green and healthy. I was seriously half expecting a polluted hothouse wasteland. Maybe this is only a slightly tinted mirror rather than a black one after all.

Anyway, she rides to another hospital-like facility, where she's shown to Yorkie's room. Yorkie appears to be even older than Kelly, and bedridden, unable to speak but (we're told by a doctor) able to hear just fine. She introduces herself as Kelly, and they have a touching, if one sided, moment.



As Kelly and the caretaker who escorted her are leaving the hospital, they are approached by Yorkie's fiance, Greg. He tells her it was very sweet of her to come and do this, and that he'll make sure to tell Yorkie that he caught up to her in time to thank her on Yorkie's behalf. According to Greg, Yorkie's own family stopped visiting her a long time ago, and besides him there's not many who do interact with her physicality. He also says that they're going to be getting married when she "crosses over."

Interesting marriage, they've got planned. Greg looks young-ish and fairly healthy, aside from being overweight. Is he planning on shedding his perfectly serviceable physical form to be with her in a simworld after she has the plug pulled on her as well? Or, is he going to keep living and working in meatspace, and then "going home to his wife" by plugging himself in every afternoon? Maybe she'll download herself into the giant robot missile-nipple terminator to accompany him in meatspace every now and again? That nipple warbot skeleton is canon now, by the way. Greg and Kelly sit down for coffee before Kelly heads back to her own hospital, and he fills her in on the story that Yorkie had trouble telling her in person.



As I mused back in part one, Yorkie is native to the late 1980's or early 90's...but only sort of. She hasn't been in a coma since then, but she's been quadriplegic and unable to speak unassisted ever since a failed suicide attempt at age 21, after her parents disowned her when she came out of the closet (and as she's aged, she's lost the ability to speak or move at all). She's been in assisted living for over forty years since then, and the only life experience she's gained has been being wheeled from one room to the next and interacting with therapists and a steadily declining number of visitors. The advent of true virtual reality was a godsend for people like her, and she's been spending as much time as possible in San Junipero both to resocialize herself, and to test the waters before having her body euthanized and becoming an upload. This explains why she was so uncomfortable about being into ladies where anyone can see, for sure. It also explains why the near car crash she and Kelly had was such an emotional moment for her; got to have brought back some trauma.

It also turns out that her "marriage" is a sham. Yorkie was never even theoretically into gentlemen. He's just a hospital orderly she's become close friends with over the years, and they're marrying so that he can get the legal rights to pull the plug on her away from her parents, who have thus far refused to do it.

...

Okay, I'm really liking this episode in general, but this detail is just idiotic.

The reason that there are legal battles over the right to pull the plug on someone is because that someone isn't in a condition where they can weigh in on the subject themselves, or aren't legally adults and therefore have limited decision making power under the law. If Yorkie is able to communicate thanks to this VR technology, then why does she need someone else to sign off on her euthanasia? She's legally an adult, obviously. She was even a legal adult at the time of her attempted suicide, not that that should even matter.

So yeah, this makes no goddamned sense, and I'm not even sure why it's in the episode because I don't think it's actually necessary for the plot.

...

Upon hearing the story, Kelly asks to be allowed to interface with Yorkie for a few minutes. Greg tells her that that's not allowed, and here we finally get the answer to this whole midnight/one week later mystery. Spending too much time in a simworld leads to addiction, disassociation, and general dysfunction, and eventually neurological problems. Consequently, realms like San Junipero with its various servers/eras are legally accessible to the living for only five hours per week. Generally, everyone logs on for that same evening, 7:00-11:59 virtual time, for the big party night, while the uploaded dead live there full time and perceive the visitors as basically a weekly mass tourism event.

Does that mean that Yorkie blew one of her five precious hours a week trying on cosplay outfits in her virtual bedroom? Eh, as a quadriplegic patient she might have extra privileges. Maybe just access to a limited virtual space isolated from the network, like that one bedroom.

Anyway, she manages to get him to let her and Yorkie log onto San Junipero for just a couple minutes. They materialize near Kelly's condo. Both are enchanted to see this bit of coastline in the sunlight, since its only been evening and nighttime visits for both of them thus far. Yorkie confirms everything that Greg said, and then Kelly gets down on her knees and proposes.



Well, it looks like she changed her mind about joining her husband. And, yes, it's confirmed now that Kelly's husband is Dead dead. He's not uploaded into some kind of other more abstract virtual realm where people joylessly save away trying to reverse entropy 24/7 or the like. He's just dead, and she was planning on dying with him when her own body is no longer able to stay alive.

Yeah, Kelly was in a pretty bad place emotionally alright. Good to see she's coming around.

The next thing we see is Yorkie marrying Kelly, rather than Greg, during the latter's coffee break at work (he still gets to be the best man at their wedding~), and being euthanized literally minutes afterward. Cut to San Junipero, where she frolics on the beach, experiencing the sunlight, air, and water with a sensual potency and realism that only a virtual consciousness can experience them with. She leaves her glasses on the sand behind her as she sets out for a swim, finally having let go of all of her reservations, fears, and limitations.



During the next tourist party night, Yorkie and Kelly meet up. Kelly's come to their favorite stretch of beach in a wedding dress and a festively decorated car. Yorkie uses her new transhuman server privileges to transform her own outfit into a similar dress on the spot. The two frolic for a while, and then Yorkie asks Kelly how long she's still planning to wait before "crossing over" herself.

Kelly tells her that she isn't. She's still planning to die for real in a couple of months.

Apparently, she thought that marrying Yorkie was just a nice gesture that she'd appreciate, and a final token of her regard. She also, in her typical Kelly way, didn't think to FUCKING EXPLAIN THIS TO HER AHEAD OF TIME. I swear this woman is the worst communicator in human history, and she so persistently crushes other people emotionally by being so while refusing to admit fault.

So, there's a much more srs bzns repetition of the rooftop scene, this time with the audience in possession of all of the facts. Yorkie asks Kelly wtf. Kelly is confused by Yorkie being so emotionally invested in this, and its even more bizarre than the last time given the circumstances. Kelly then tells Yorkie about how she lived with and for her husband for so many decades, and that they experienced the death of their thirty-nine year old daughter together; the reason he refused to upload himself is because he didn't want to live if their child who they both loved couldn't, and so now Kelly wants to die because she doesn't get to live if neither of them do. Then, she starts projecting like a radio tower and accuses Yorkie of not showing any interest in her own life story, despite it always having been HER who insisted on keeping distances and guiding any and every conversation away from herself. She then has the gall to tell the woman who's been disowned by her family and subsequently paralyzed for forty-one years that "you're not the only one who's suffered." Dear fucking god.

Kelly also makes it clear that, perhaps unlike her late husband, she isn't herself religious; she doesn't believe in any sort of afterlife, or that she'll be reunited with her family in it. She's just planning to be obliterated and become nothing, like them, and won't let anyone talk her out of it.



When Yorkie tries to reason with her about this, denouncing the virtual life as empty and vulgar, and describing the people whose company she's been persistently seeking out as "soulless fucks" condemning themselves to meaninglessness and burying the absurdity of their existence in grotesque ever-escalating hedonism.

Remember. Kelly is the one whose been rejecting anything meaningful offered by any other person in San Junipero in favor of empty pleasure seeking, often hurting them with her apparent emptiness in the process. This is like, some goddamned death star superlaser level projection now.

...

Also, it looks like that wasn't fake-woke misandry, earlier on in the episode. Just Kelly manipulating our perceptions along with Yorkie's. The existence of Good Guy Greg also helps to dispel that misconception.

...

She flees Yorkie, and drives her car into a barricade, throwing herself through the windshield in a symbolic embrace of death. Only symbolic, though; she reluctantly pulls herself out of the sand in a very undignified heap a minute later, looking lost, physically and emotionally pained (I'm thinking she didn't turn her pain slider down for that crash), confused, and utterly drained.



However, when we cut to her material self a moment later, she also looks thoughtful. Even as Yorkie sulks her way back from the beach and to try and make a new life for herself in the simworld and Kelly goes about her final days in the hospital, the thoughtful look remains.

Then, she tells her caretaker that "it's time to go all in." Either she's just going to euthanize herself for real now, or she's changed her mind.

Cut to Yorkie driving her car along the San Juniper coastline. She puts in a cassette, and starts listening to Belinda Carlisle's "Heaven Is A Place On Earth" as she approaches the beachside condo she's spent two nights at, and calls out for Kelly.

And Kelly emerges from the condo with a smile.



We watch Kelly's body soak up poison through an IV, and her body being interred in a cemetery. As the song continues, Kelly and Yorkie return to their favorite night club, eager to spend their first night of eternity together.

The final shot is of a huge facility, full of countless millions of data storage chips plugged into vast computer banks and being carefully cleaned and tended to by robots. The implication being that virtual reality eventually expands, and humanity in its totality becomes a race of software entities.

The end.



That was an experience alright.

To get my more critical points out of the way up front, I think this film (and I really think it should be thought of as a movie rather than an episode. It's only an hour long, but it made efficient enough use of its time and packed in enough content to feel like a meaty feature film) had incredible substance, but was let down in quite a few ways by style.

As a product of 2016, it really dates itself with the downright pathological obsession with 1980's nostalgia that pop culture just now seems to be finally starting to fight off. The story made that work for it to a degree, by having Yorkie's last able-bodied life experiences be from that era and therefore make it reasonable she'd ease herself into a simulation of it before anything "futuristic" from her perspective. But the production leaned into that way, way harder than the story called for, with the emphasis on retro music and so forth throughout the entire runtime, and it was also the creators' choice to have Yorkie's suicide attempt be in that time period in the first place. American homosexuals were being disowned and subsequently killing themselves all the way through the nineties and 2000's, and it still happens to this day albeit in thankfully much smaller numbers.

It also suffers from a kind of myopia that's long frustrated me in virtual reality scifi, especially in the cinematic medium. Virtual worlds always end up being a generic looking town, city, or piece of countryside in whatever country the writers are from. And come on, ask yourself; if you were creating a virtual paradise, would that really be the best you could do? I understand the needs of the medium require a lot of focus on just the important concepts, and that exotic elements be minimized to keep the story grounded in something the audience can recognize. But...I'm still starting to get tired of it. There were a few places in "San Junipero" where they easily could have hinted at there being more to the virtual world than just a party-hardy American beach town. When Kelly was ranting about empty hedonism, that would have been a good place for Yorkie to point out that brilliant scientists and artists are using this world to continue their work from beyond the grave in a more appropriate sim environment, or that some adventurous transhumans are using it to explore perfect replications of deep sea or extraplanetary environments fed back by probes, or that religious orders are exploring new kinds of spirituality as only bodiless "spirits" can, etc. In the ending montage, at least, it would have been nice to see glimpses of some much bigger and more impressive virtual world whose people have more ambition than the onscreen population of San Junipero. Or, perhaps, an indication that the robots we see maintaining the servers at the end are being piloted by transhumans rather than automated, which would imply that we're still doing important and meaningful things and maintaining some self-reliance from within our artificial heaven.

I did a little bit of poking around, and it turns out that this is very much a bug rather than an intended feature of the work. Apparently, the first few drafts of "San Junipero" were going for a much more typical Black Mirror ending, with heartbreak and broken people and technology destroying all we hold dear and eating our souls. The head writer had a spur of the moment decision relatively late in the game to completely change the genre by giving it this new ending. So, I think a lot of the issues I had with the portrayal of virtual reality throughout the episodes are vestiges of those earlier concepts, when virtual immortality was going to be a bad thing, and San Junipero was meant to be a hollow and decaying limbo of a world that clings uselessly onto the past.

Well, with those issues out of the way, let's segue into the positives. Which, I'm glad to say, easily outweigh the above.

The writer's anecdote about deciding to change the episode - and in so doing defy the entire genre, concept, and most consistent messages of Black Mirror as a whole - makes me wonder if writing this story caused him to undergo the same change that Kelly did. Realization that rejecting what transhumanism could potentially offer was, rather than wise pessimism or educated cynicism, just a blind worship of death.

Rejecting, not death itself so much, but the perversely deeply rooted human love and craving for it, seems to be the biggest theme of this story, after all. The antagonist of this story was Kelly's desire for annihilation, and the various other sicknesses of the mind that stemmed from it. She came by that desire as a result of social pressure from her husband, and of survivor's guilt over outliving her own offspring. Her pain not only made her self destructive, but also turned her into a vector for that pain, a carrier of that same nihilism and self-destructiveness in her influence on others. Yorkie's rooftop suicide attempt might have only been symbolic, due to the virtual environment, but I think it was symbolic OF something quite a bit more consequential. She explicitly was testing the waters before deciding to upload herself, after all. Having such a negative experience when she's at her most vulnerable could easily have led her to decide to just die herself. Perhaps after convincing a few others to do the same. Just as Kelly was convinced by her own husband.

Kelly's cancer was spreading throughout her body. I think the choice of words there was quite deliberate on the part of the writers. Nihilism is something infectious, expansionist, and malignant.

This ties in with another unusual (for Black Mirror) theme of this episode, which is its very frank anti-religiosity. We're never explicitly told that Kelly's husband was religious, but her wording in a few dialogue scenes heavily implied that this was a factor in his decision to eschew San Junipero. Religious conservativism - and the limitations it causes human beings to place on themselves in particular - destroyed Yorkie's life and put her in this situation to begin with (and that same religious conservativism kept her chained to her life of suffering in the hospital; her marriage to Greg was in order to get her free of her family's religiously motivated anti-euthanasia policy so she could escape to techno-heaven). I don't think it's religion in general that this story is attacking, but more specifically religious beliefs about the rightness of the divinely ordered natural world, which are always packaged with a belief in an afterlife that can make all our suffering in this world worthwhile. Heaven really is a get out of jail card for any creator god who is meant to be seen as benevolent. It's right that we suffer. It's good that we die. It's a justification for everything bad that happens to us. This all lets us get to heaven. If this is happening to us, it must be for a good reason. God really does care about us, honest, it's our fault things are so bad right now, not his, and one day...

If God is our anthropomorphization of the world around us, then heaven (or karma, or olam ha'baah) is the Stockholm Syndrome we've developed in response to this character's abuse.

The story treats Kelly as basically another form of Yorkie's abusive and life-denying family, once you get under the sexy, fun-loving outer layers of her. While she provides some important life-affirming experience in dragging Yorkie out of her shell and allowing her to finally accept the sexuality that got her all but killed the last time she tried to be open about it, she also tries to shut down any attempt at actually LIVING in a genuine, fulfilled way. Following Kelly puts Yorkie in a car going off the road, just like her parents did. Kelly helped Yorkie start along the path to salvation, but after those first couple of steps it was Yorkie who had to drag Kelly - kicking and screaming - the rest of the way.

Kelly's own car crash at the end...well, the symbolism there is more complicated, I think. On one hand, it might have finally allowed her to empathize with Yorkie. Until then, she'd been so wrapped up in her own misery that no one else's capacity for suffering even registered to her. Reliving part of Yorkie's experience (fleeing a hard emotional battle in a car and crashing it), in some form, could have let her start seeing the world from a different perspective. Just as Yorkie seemed to have gotten over her desire to die after not being killed in the crash, being thrown through the windshield seemed to get Kelly to finally do some self examination as well. On another level, I think the indignity of Kelly's slow, pained rise from the sand after the crash was supposed to be a lesson in humility. Embracing death isn't glorious. It isn't romantic. It's just stupid and pathetic. There's also some rebirth symbolism in there; the part of Kelly that wanted to die acted on that desire, and destroyed itself while fortunately letting the rest of her live on.

Ultimately, I'm not sure how long Yorky and Kelly are actually going to be able to be happy together. Kelly's obviously getting better, but I can't imagine she's going to be an easy person to live with for a long time yet. Well, even if they get divorced, they both have potentially billions of years to move on and grow beyond that misfortune.

Setting aside the pro-transhumanism and anti-deathism text, "San Junipero" is a good exploration of the nature of suffering, and of what it turns people into. How much of humanity's baggage, I wonder, is just down to recycled trauma? Miserable people making other people miserable out of whatever combination of self-absorbed negligence and deliberate spite. Not wanting to see anyone else happy, because that would get in the way of their own hardened pessimism. Turning them into more miserable people, who create even more miserable people, who shape entire civilizations of misery. Forget about death, specifically. Things don't have to be bad. You can let yourself appreciate and enjoy things. Caution is wise (and to this episode's credit, it acknowledged some possible dangers and missteps along the road to transhuman heaven; the risks of addiction and brain damage to healthy users during the first few decades of the technology's existence. And, the problem is dealt with via responsible rules and limitations being placed on its use until the bugs can be sorted out, in the five-hours-per-week limit), but it can all too easily become spiteful negativity.

And, well. That's how we got a full fledged techno-optimist piece out of a show like Black Mirror. I like my dystopian hellscapes and dire warnings as much as the next scifi fan. But I also think it was a really good idea for the show to take a break from that after a few seasons and put in a very self-aware reminder that pessimism itself can be the problem, and we can have a happy ending if we let ourselves. Sometimes, just once every few seasons, it's the pessimists who break the mirror, and technology that lets us fix it again.


 
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Mob Psycho 100 S1E1: Mob Psycho S1E1: Self-Proclaimed Psychic: Reigen Arataka ~And Mob~
This review was commissioned by @Alitur. I will also be covering the second episode some time later, when their payment is complete.

Mob Psycho 100 is a name I've heard being tossed around a lot in places where anime gets discussed, but all I know about it is that it's popular. I assume that it's about a psychopath who works for the mob, but titles can sometimes be deceiving.

Speaking of possibly deceiving titles, actually, the name of the first episode "Self-Proclaimed Pychic: Reigen Arataka ~And Mob~" sounds pretty damned Engrish. The close proximity of "psychic" and "psycho" to one another, in particular, makes me wonder if one of them is actually just a mangled attempt at the other. Of course, it's also possible that this isn't the case, and that this anime features a psycho AND a psychic, or perhaps a character who is psychic as well as psychopathic. There's only one way to find out!


We start in a spooky, near-monochrome forest, where a lightshow of sparks and fireballs precedes the rocks and trees all being covered in the ghostly faces of the damned, and a mass of gelatinous shadow and scraps of bark or paper rises from the chaos to form itself into a demonic humanlike figure. We're off to a promising start, I'd stay, albeit not the one I'd expected from the title.



The shadow demon is almost immediately confronted by an assortment of other apparitions, whose bodies are equal parts bone, machinery, animal parts, and psychedelic pastels. It defeats the lot of them after a short, chaotic, and visually and musically impressive anime fighting magic battle. I wish I could share a screenshot from this fight, but its so fast paced and almost abstract at times that a still image wouldn't really communicate much, and likely wouldn't even make sense out of context. As the fight goes on, the landscape itself breaks apart into a starry black void full of shattered rocks, floating blobs of color, and even more titanic demons for Shadow the Hedgehog here to vaporize.

Every now and again throughout the battle, we also briefly flash to a computerized counter, ticking upward. I think it's recording Shadow's kill count, but it's hard to tell. This implies that either Shadow has some technological support for his battle, or that this is all some kind of computer simulation. More likely the latter, I think.

As the opposition grows larger, stronger, and more tactically cunning, Shadow starts getting overwhelmed. The timer shoots up toward 100 (not a kill counter then, I guess) and Shadow turns into a figure of blazing white light, forcing me to rename him already, the jerk. Lidow struggles against a monster that's grasping and crushing at him in his light form, but the counter finally hits 100, and he explodes, taking the enemies with him and leaving a hole in reality where he once was. Then, we have the title drop.



Well. I have no idea what to expect from this show, based on that intro. If the pilot episode just ends up being twenty more minutes of acid trip heavy metal cartoon monster fights, then...well, then...um...then I'll fucking enjoy it a shameful amount, fine, I admit it, are you people happy now?

That isn't what follows though, as it turns out. Instead, after a brief explanatory sequence about how our world is secretly haunted by evil spirits from beyond the realm of science and our only protection against them is the handful of people who are blessed with psychic powers, we go to an extremely melodramatic redhead accepting an employment offer.



Apparently, Arataka is a private practice exorcist, and he's taking on a job from a hysterical looking blonde woman who I suppose must be having demon problems. Arataka offers her three different levels of service, promising to remove 20%, 50% or 99% of the foul presence from your life, which each tier being exponentially more expensive than the last. According to him, spirits are kinda like poison gas; you can't really "get rid of" them altogether, you just need to reduce their concentration below a critical threshold. Also, if the spirit resurges after his exorcism, the follow up visit is 20% off.

To put this into perspective, the guy who just fixed my refrigerator offered a 100% free repeat visit if the fridge broke down again within a one year period. So, Arataka is offering some really awful deals all around. The woman is excited and grateful though, which I suppose is how the sort of people who spend money on professional exorcisms in a world like our own would probably be. The New Age industry keeps running, after all. In a world with actual evil spirits and animu fightan shadows, though? Well, I'll see how this setting actually ticks before making any judgments.

The customer's more skeptical boyfriend bursts into the office before she can close any deals, and demands that Arataka demonstrate that he isn't as much of a fraud as he looks like. Arataka sort of evades all of their questions, while rapidly changing the subject and negging the woman about her face to keep them off balance. Then, we flash forward to him accompanying them back to their apartment building.

Yeah, this guy is coming across as a pretty typical scam artist, though he's made more palatable by the tongue-in-cheek style of the animation and dialogue. Speaking of animation though, when he reaches the building he looks up at it in alarm and does this:



The art and animation style in general has turned almost 180 degrees since the pre-title fight scene. Even when they aren't making horrifying, art style warping expressions like this one, the characters all look squat, crudely drawn, and somewhat cheaply animated. Whereas, in the intro heavy metal acid trip fight sequence, everything was sleek and graceful in appearance, and majestic and fluid in motion. This could be a stylistic choice, meant to to emphasize the prosaic mundanity of the physical world as opposed to the splendor and beauty of the spirit realm. Or, it could just be a matter of the studio splurging all its budget on the spirit fight scenes and having to skimp on art and animation for everything else. Too early to tell.

Anyway, Arataka screams about how this is the most severely haunted building he's seen in years, and JoJoposes at it while monologuing dramatically about the intensity of the battle to come. That is, until his customers inform him that he's looking at the wrong building. Whoops.

He makes a quick save by telling them that, yes, now that it's been pointed out to him, their own building has a malign presence as well; its just that the neighboring structure is SO haunted that its aura overshadowed any others in the vicinity, so they should be glad they're not living in that one. The woman is impressed by this explanation. The man is not. Arataka tries to throw him off again by screaming about how a demon has just walked by in physical form: the pedestrian who just passed them by is actually a malevolent entity known as the buttchin goblin.



Believe it or not, the skeptical boyfriend still isn't convinced, and is in fact now less impressed with the "exorcist" than ever before. Gee, I wonder why?

Despite her boyfriend's steadily mounting misgivings, the woman brings Arataka into their building, and shows him a seemingly long abandoned apartment full of broken furniture, faded wallpaper, and cobweb-covered ceilings. Maybe this is the unit next to theirs, our something? It certainly doesn't look recently lived in. According to the woman, the last resident of this unit died when a cockroach startled him so badly that he jumped high enough to crack his skull against the ceiling. The angry ghost of this unfortunate individual has allegedly been tormenting her in her dreams.

Whatever the intro had me expecting, it sure as hell wasn't this.

Arataka starts emoting about the spiritual dangers innate to cockroaches while darting around the room like a maniac. The boyfriend decides he's humored his girlfriend for long enough and now its time to toss this obvious shyster out on his ass. Then, the ghost appears behind them, giving me a perfect opportunity to show exactly how different the art styles and qualities are for the living and for the spirits.



The fact that we're seeing both side by side now strongly suggests that this was an intentional stylistic choice after all.

After making its surreal and frightening introduction, the ghost is given a more shonen or video game esque intro card, being referred to as "Evil Spirit: Ceiling Crasher." He also gets, shall we say, less intimidating, at least momentarily.



He advances menacingly, threatening to crush all of their skulls against the ceiling for intruding in his lair! The woman screams that this is the horror from her nightmares, who bashes his head against her over and over and over again until she wakes up!

Arataka, clearly surprised to see an actual ghost show up (but not totally bedeviled; one gets the impression that he really has seen supernatural stuff before, but that he just wasn't expecting this lady's stupid nightmares to actually be caused by it), jumps in front and...starts flinging salt everywhere. Like, just throwing ordinary table salt blindly all over the room, at the ghost, on the clients, on himself, everywhere, while posing and jumping around and screaming out a shonen-esque battle speech. A narrator cuts in to inform us that the "throw salt everywhere" attack is Arataka's special technique against ghosts.

...

Okay, is this show actually a parody of JJBA specifically? Or at least, is Arataka that? Because seriously, he's such a perfect satire of it, down to such specific details like the poses he strikes and the more-intrusive-than-most-shonen-narrators narrator that follows him around, that I'd be very surprised if that wasn't at least one of the things being spoofed.

...

When Ceiling Crasher himself points out that you need, like, purified rock salt to repel ghosts, not just off-the-shelf table salt Arataka you moron, Arataka is forced to use his final, ultimate, most devastating ability of all.

Get out his phone and call an actual psychic.



Said actual psychic is named (or nicknamed, more likely) "Mob." So, I guess that's where the title comes from. No mafia thing. I still wonder if "psycho" is a botched translation of "psychic" though. Like, if the title is actually supposed to be "Mob the Psychic" or the like.

Mob arrives shortly, once the clients and evil spirit have all politely waited for a bit. Ceiling Crasher is unimpressed when Mob turns out to be a 13 year old boy, school uniform at all, but regrets his overconfidence when Mob raises his hand and utterly destroys the spirit in a spectacular burst of multicolored light and wind and eldritch fire.



Mob (more properly named Kageyama Shigeo, according to the narrator) has a familiar looking silhouette, and means of attack. I'm pretty sure that Lidow from the opening was actually Mob in some sort of astral projection form, attacking evil spirits on their own turf.

The narrator also claims that Mob is Arataka's student. I'm not sure what this clown is actually supposed to have been able to teach him though, since Arataka seems to lack any real theoretical knowledge of the occult as well as practical abilities. My prediction is that Arataka is coincidentally his substitute math teacher or something.

It is here, slightly before the midpoint of the episode, that we get a proper OP with a song, credits, etc. It's one of the more chaotic openings I've ever seen, with constant art style shifts, terrain, people, and creatures morphing wildly into one another, and a recurring motif of city skylines covered in billboards. Throughout the decent (not good, not bad, just decent, imo) opening song, we periodically hear someone counting up to 100, sometimes with a visual indicator. At the end of the OP, the count reaches 100, and we get a final look of Mob surrounded by his astral aura thing before the cityscape blocks everything out.

Not sure what to make of this, aside from surmising that we're going to be seeing a loooot more art styles than just the two that this episode has included up until now, going forward. The meaning of the number counter, and of the final count to the titular one hundred, remains mysterious for now.

When the episode resumes, Mob is at Arataka's office, complaining about having been summoned at such short notice and expressing genuine-sounding gratitude when Arataka pays him a tiny fraction of what he made from that couple. Arataka is getting much more unlikable, now. Being a scammer is one thing, but exploiting your employees - especially an insecure child who isn't really able to stand up for himself - is considerably harder to forgive, in fiction or in real life. As the conversation continues, we learn that Arataka has actually convinced Mob that he himself is a more powerful psychic, and that he only is summoning Mob over to deal with the "weaker" or "lower level" spirits so that he can get some practice. He even has Mob convinced that without his oversight, he'll lose control of his powers and end up rolling for perils of the warp. Yeah, this guy is just awful.

There's a brief interlude that informs us that Mob is at 22% capacity before "explosion," though. So, maybe Arataka was actually telling the truth about that one thing, if nothing else. I also guess, now, that when it reaches 100% is when he has to roll for perils of the warp.

Cut to Mob having dinner with his family, and his mother getting upset at him for yet another episode of involuntary spoon bending.




His father thinks that she should go easy on him; he is going through puberty after all. Unclear if uncontrollable power manifestations is a known thing for pubescent psychics in this world, or if Mob's dad is just so out of it that he thinks spoon bending is a normal thing for kids going through puberty in general. We also see that he has an older brother, Ritsu, who is happy to hand him another spoon. Apparently, their mother wishes that Mob could be more like Ritsu, who gets good grades instead of ruining cutlery. Because those two things are on the same spectrum of behaviors and thus comparable.

The next morning, Mob goes to school, and sees a girl named Tsubomi being surrounded by a gaily chattering coterie of anthropomorphic vegetables.



He seems to have a crush on Tsubomi. When we see her friends from an external POV, they have normal human heads, so I'm guessing the vegetable thing is just a Mob POV thing to show that he relies partly on telepathy in how he perceives people, and they're too stupid to get anything from. Well, I guess we can take this as evidence that he's attracted to Tsubomi for more than just her looks.

As the schoolday proceeds, we see that Mob isn't a very good student or athlete, for all his mystical power, though that doesn't stop this one redheaded girl from crushing on him from the background (he doesn't appear to notice). In the middle of PE or recess, he gets another call from Arataka telling him to come over right away. Mob reluctantly goes, and the explosion meter goes up to 25%.

This next job has Mob and Arataka riding the bus to some famously haunted highway tunnel, which I guess someone hired Arataka to de-haunt. This tunnel was closed down and bypassed thirty years ago, apparently, after a major car accident; it isn't said whether "being haunted" was openly the reason for its closure, or if it was just the accident itself that led to the tunnel being declared unsafe. Still trying to figure out exactly how known and taken for granted the supernatural is in this world. Anyway, a few ghosthunters and adventure vloggers have gone there since it was closed, and some of them didn't come back.

Arataka is confident, in his usual parody-shonen-y way.



When his affected overconfidence leads to Mob concluding that his "mentor" has the situation under control for now and staying outside to watch some ants, Arataka comes running back out in barely concealed fear calling for his "student." He slips up a bit when calling Mob out on his alleged laziness.



Mob seems to still be taken in, unfortunately, despite this pretty blatant Freudian slip. In fact, he's just impressed by how fearlessly Arataka first marched off into that tunnel, given the overwhelming power and evil of the spirits within that any psychic would have felt just coming near it.

Arataka manages, just barely, to hide his consternation.

He leads Mob into the tunnel, explaining that he'll take point and let Mob support from the back while making sure to not actually pull ahead of him as they go deeper in. The ghosts - at least eighteen of them, surround the pair, and Arataka instructs Mob to handle the "small fry" while he turns to handle the most powerful ghost of the lot. By tiptoeing back toward the tunnel entrance while Mob's back is turned.



Unfortunately for him, after accelerating away from the psionic battle once he thinks he's out of earshot, Arataka just so happens to actually run into the ringleader spirit. A hulking blue fellow with the word "boss" captioned across his forehead by way of exposition. Arataka isn't even to see it until it chooses to reveal itself. Mob nonchalantly warns him over his shoulder that he thinks he detects the raid boss over in that way alright.

If this ended with Arataka's death, I wouldn't exactly be displeased. But, I'm pretty sure that he's going to stick around for at least a season. Hopefully his downfall will be satisfying when it does come; he really perfectly strikes the "love to hate him" note for me.

"Boss" explains that he was the leader of a violent motorcycle gang in life. He and his twenty riders were passing through the tunnel when the guy ahead of him slipped on a banana peel that someone left in the road, crashing his motorcycle, tripping up the ones immediately behind him, and starting a slapstick chain reaction that resulted in the entire gang dying in a gigantic gory mess of bodies motorcycles, and burning gasoline. The Boss' ghost has swollen to much larger than life size with the power of its frustration and anger, and its spirit form combines the features of human and motorcycle into a towering dieselpunk-cyborg horror.



No word on why he's blue, though. Maybe it was just his favorite color in life or something.

Boss follows up on his autonecrography by using a big pyrokinetic attack on Arataka, but Mob manages to find a free moment in his battle with the twenty other ghosts to put up a shield. I'm not sure why he thought Arataka needed the help if he's still buying his bullshit, but okay. Arataka then punches Boss with a fist full of salt. Still just table salt though, so it doesn't do much. A moment later though, Mob - who has finished with all the others by now - hits Boss with an attack that all but annihilates him, reducing him to a tiny, comical blue specter that looks more like a miniature version of the genie from Disney's Aladdin than anything else. He begs for his undeath, and tells them that he and his gang were actually just slaves of a much more powerful evil spirit that has ruled this mountain for hundreds of years. This ancient demon is responsible for all the human deaths that have taken place on this ground since it claimed it, with the exception of him and his gang; that banana peel really was just a coincidence.

Arataka is skeptical (as a lifelong purveyor of bullshit, he knows when a story sounds like bullshit) but then Mob asks him if he has any alternate theories on why that powerful evil aura is still coming from deeper inside the tunnel. Mob then goes off to find the source of it, and runs into...whatever the hell this thing is.



I get the feeling that this is an actual demon, rather than a ghost. It was never human.

Boss tells Arataka that if he values Mob's life in the slightest, he'll call him back right this second. Awww, I'm really starting to like Boss, I hope he sticks around as their sidekick or something.



To Arataka's credit, he does call for Mob to come back, and does seem legitimately upset at the prospect of him getting killed. That might just be because Mob makes him a lot of money, but there may be some genuine human concern in there as well. Regardless, Mob doesn't even have time to register the warnings and instructions before he's destroyed the worm demon with a psychic blast. The tunnel caves in ahead of him, and decades worth of broken cars, debris, and rubble fall from the ceiling.

Damn, that demon was serious business.



Mob asks if that was really it, since it seemed so weak and everything. Clearly, Arataka's constant insistence that he's only letting Mob handle the "minor" spirits has given the later a skewed perspective on how their power actually scales. He also recovers a photograph of Boss' gang, and seeing it frees their spirits to move on to the afterlife at peace.



Aw, I was really hoping Boss would be a recurring character.

Anyway, Arataka convinces Mob that the reason he didn't do anything himself was because he realized these spirits weren't as tough as they had thought, and so he opted to let Mob get some more experience. When Mob ashamedly muses over how he's really nothing and nobody still, Arataka tells him that that's not true at all; he's a student of the great exorcist Arataka.

They bus back to the city, and Arataka buys them dinner, but makes sure Mob's meal costs less than his does. Mob's explosion meter rises to 27%. End of pilot episode.


I didn't know this when I started watching, but I started to suspect that this was based on a ONE (of "One Punch Man" fame) work when I saw how Mob was drawn in some scenes (very, very reminiscent of Saitama in his "lazy" art style mode), and I had it confirmed for me while I was finishing up the review. I would have been sure of it by the end myself anyway, I think. The sense of humor is pretty much the same as what "One Punch Man" delivered, and by the end it wasn't just the humor but, really, the entire premise.

Just like in One Punch Man, we have a world full of silly-but-also-kinda-scary-looking supernatural threats that pop up out of nowhere to menace humanity, and an unassuming protagonist with a lazily drawn face and an appropriately narrow range of expressions who is sort of apathetic about being the most powerful entity in the world. Mob Psycho was written after One Punch Man, though, and the author's greater experience definitely shows. I quite enjoyed OPM for the most part, but MP100 is superior on pretty much every front, delivering the same style of subversive, lighthearted parody while also improving on the former's meandering pace and sometimes weak secondary characters.

The most important difference is in the central conflict. Both are man-versus-himself stories, but while OPM is about Saitama dealing with the ennui that comes of being invincible, MP100 has Mob being crippled by his self esteem and alienation issues and consequently unable to appreciate his power for what it is. This premise enables a lot of the same jokes, but also keeps a more poignant and sympathetic core and encourages the audience to get much more invested in Mob, despite all the surrounding silliness. It also, I think enables the show to be about much more than just making fun of tired shonen and superhero cliches. Being too powerful to know what to do with yourself is amusing to watch, but its not something most of us can relate to. Being held back from reaching your true potential by some combination of your own insecurity and the malice of others? That's something that almost all of us can relate to. I suspect things will also get at least temporarily less silly when Mob reaches 100% and loses control of his seemingly infinite power.

Another difference is that Mob Psycho's conflict is at least somewhat more externalized, as Arataka is around to encourage Mob's inferiority complex so he can continue to exploit him. I'm not sure if Arataka is meant to be a kinda-sorta sympathetic jerkass, or if we're just intended to loathe him and want to see him destroyed. The episode seemed to be signalling both at different points. Personally though, I've met enough Aratakas in real life and seen their effects on other people - myself included, but others much more severely - to be left with little to no ability to pardon his kind. Even if he's funny and fun to watch.

On a lighter note, the jokes are also just funnier, on average. We haven't gotten to anything that tickles my funnybone to quite the extent that the revelation of Saitama's exercise routine did, but I've only seen the first episode. Gag for gag, Mob Psycho is outperforming its predecessor, and I expect it to have a higher high at some point going forward.

So, all things considered, I'm giving this show a strongly favorable rating based on its pilot episode. I have one more episode of it commissioned, which I'll be reviewing in a few weeks when the payments have gone through, but there's a very good chance I'll continue watching it afterward. I'm not sure how well it lends itself to an extended review series, though.
 
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Fullmetal Alchemist: Brotherhood (S1E1: Pilot)
This review was commissioned by @Aris Katsaris.

Full Metal Alchemist: Brotherhood is probably one of the most critically and publicly acclaimed anime series ever made. At the very least, I have not heard a single person who I know that watches anime shut the hell up about this series for several years now. So, either it actually is good, or I've fallen completely into the Upside Down a long time ago and am just now starting to realize it.

I've managed to stay fairly spoiler-free about this anime, the manga it was based on, and the previous, apparently less successful attempt at adaptation. All I know is that it involves state-sponsored alchemists in a magitech fantasy kingdom, there's a main character named Alphonse Elric, and that a little girl gets turned into a dog at some point.

The pilot episode is just called "Fullmetal Alchemist." Straight and to the point. Let's begin!


In a glimmering and geometrically elaborate magepunk city, a grumpy looking man with a hair noodle is chalking a magic diagram on the floor of an alley. We learn moments later that this man is a very dangerous wanted criminal known as the Freezing Alchemist. A young military officer named Colonel Roy Mustang is being assigned to hunt down and neutralize this rogue alchemist who has recently snuck into the city, and that a young boy named Edward Elric - an alchemist himself - will be at the Colonel's disposal. Cut to the young man in question posed on a rooftop next to his powered armor wearing brother, Alphonse, whining about how Colonel Mustang is a slave driver. At least, I assume that Alphonse is wearing a suit of armor. He could also be a robot, in which case Edward calling him "brother" and them sharing a last name could indicate that he was either created by Edward's biological parents and raised as another child, or that there's some kind of fantasy transhumanism thing going on.

Roll intro. That was probably one of the most succinct, efficient, and visually well executed intros I've ever seen. Not just for an anime, for anything.



The OP is quite good, though there's no one thing about it that calls a particular lot of attention to itself. A sensitive, melancholy-sounding prog rock song, over the Elric brothers and what I assume will be future companions of theirs traveling across the countryside, exploring the urban jungle, and staring morosely off into space. There are a coupleof very suggestive visuals, though. One of a younger Edward and another boy who I assume is Alphonse sans-power suit being locked in a room together. Another is of a rural farmhouse burning. If those two are supposed to have happened in immediate sequence, well, that might explain why Alphonse needs a golem suit to walk around anymore (Edward presumably must have escaped the blaze some other way).



Toward the end, the song speeds up, and we see people being mutated or disintegrated, the Elric brothers fighting monsters, and Colonel Mustang and his superiors being framed villainously against darkness and flames. I kinda suspected as much, based on the "slavedriver" comment and the general "punk" vibe of the art style. Also, Mustang referred to his commander as "fuhrer," which doesn't exactly have positive connotations in the modern era where this cartoon was made. Even in the context of a seemingly Germany-inspired setting with characters named Roy Mustang and Edward Elric.

After the intro, we cut to the Freezing Alchemist escaping from the alley and blasting a pair of cops who were unlucky enough to find him there with, as the name implies, an eruption of magical ice. Two more guards (wearing vaguely nazi-esque uniforms, now that I think about it) try to cut him off as he rounds the corner, pulling archaic pistols on him in the process, but he flash-freezes one and boils the other's blood before they can fire, while muttering about how rapid temperature change in either direction is a property of alchemical water. So, I guess "the freezing alchemist" is somewhat misleading. He's a hydromancer, and rapidly freezing water into ice is just one of several favorite tricks. Before completing his escape, however, an electrically charged javelin nearly strikes him, cluing him in to another alchemist entering the fray. She comments on the grotesqueness of the carnage he's made. He responds with that ever-popular bad guy sentiment:



Ah, the classics.~

Anyway, this exchange does a good job at establishing for the audience up front that however evil and nazi-esque the authorities might be, this guy is probably worse.

Also, it turns out that "she" isn't actually a she at all. Edward Elric just has a very feminine sounding voice.



Our waterbending mad scientist friend begins to counterattack, but it turns out that Alphonse is much stealthier in that mechsuit than one would expect, and has been sneaking up behind him all this time. A short, but tense, battle ensues, with the Elric brothers parrying Freezy's martial arts attacks and various elemental magical effects going off when his glyph-inscribed gauntlets parry their own limbs. Alchemy seems to use some elements of traditional magic, like the "alchemical circles" that we saw Freezy inscribe on the alley pavement and on his own gauntlets, but as the name implies it mostly involves chemical components and machinery. For such a short fight, this scene really does a lot to explain what "alchemy" looks like, how it works, and what it can do. I'd point to this scene as an instructive example of how to visually communicate a magic system clearly and succinctly to a fresh audience.

As the brothers defeat Freezy and seal him in a mass of alchemical wood (Chinese elements, apparently, not Greek), his final attack burns off Edward's right sleeve, revealing a cybernetic arm beneath. Upon seeing this prosthetic, Freezy recognizes his assailant as Edward Elric, the "Fullmetal Alchemist." That could be an actual title for alchemists of a certain power level or ability, or it could just be a personal nickname for Edward, we'll see (just going by their appearances though, Alphonse is the one who appears to be "full metal"). And then, after the title, there's a weird temporary art style shift as the brothers fight over which of them is the actually famous one (apparently, people assume that the hulking armored figure is the famous Fullmetal Alchemist and that the boy at his side is the little brother assistant, rather than the reverse), and then Edward flips out at Freezy for being derisive about it.



I guess this show has some levity to it, though I think the degree of the visual shift here is a bit too much. Kinda overshoots funny and verges on the bad kind of wtf.

Anyway, the police thank the brothers for their assistance, and start leading Freezy away in chains. However, he turns out to have had an extra alchemical glyph inscribed on the palm of his hand, and as they wade through a puddle he collapses onto the ground and strikes the water with his glyph, electrifying it and killing or disabling his captors. Before the brothers (who have walked away in the other direction for a short distance by now) can react, Freezy is out of sight.

Cut to the brothers being chewed out by Mustang for letting their target escape custody. It didn't look like it was their fault to me, unless they specifically had orders to escort Freezy to jail in person, but it makes sense that the kids would get blamed for an adult screwup (of course, its possible that they DID have such orders, in which case Mustang is right to be pissed at them. Although...even without their oversight, I think those cops fucked up on their own by not taking more care with their murderous wizard captive. You'd think knocking the perp out before bringing him in would be SOP for arresting alchemists...). Mustang accuses them of not paying enough attention to their mission briefing about Freezy, and so repeats the important bits of it for their and the audience's benefit.

Freezy, birth name Isaac McDougal, was once a military alchemist in service to the state. After fighting in a conflict called the Ishvalan War of Extermination (it isn't said which side was trying to exterminate the other, but given the locals' nazi-lite aesthetic I can only assume the worst), McDougal went rogue and joined some sort of dissident movement. So he isn't just a mad scientist then, he has a political ideology he's serving. Surprising, given his earlier dialogue; maybe he actually isn't such a bad guy after all. Since then, he has become one of the most wanted men in the country. Ideally, the state would like to capture him alive and get information about his organization, but killing him would still be a big step in the right direction as far as they're concerned, and increasingly it looks like lethal force might be the only option. Edward protests here; apparently, killing is one job he will not accept.

Mustang takes this retort in stride, saying that capture is fine too provided they can actually make it stick next time. He then, rather snidely, asks if the brothers have made any progress in "restoring their bodies back to normal."



Hmm. The brothers earlier referred to Mustang as a "slavedriver." In their interactions since then, it kind of seemed like that might just be childish resentment, as Mustang seemed to be fairly patient and reasonable when dealing with their failed capture attempt (again, assuming they actually did have more specific instructions that they failed to act upon; if not, he's just a dick). However, him passive aggressively trying to discombobulate Edward by mentioning his apparently unhappy cybernetic state, and Edward's following accusation, definitely paint Mustang in a less favorable light. Even aside from the maybe-nazi framing that he and the rest of his organization have going on.

Before Mustang can answer this accusation, the door bursts open and a very exuberant fellow named Lieutenant Colonel Maes Hughes comes in, bubblingly eager to meet the great Fullmetal Alchemist who he promptly mistakes Alphonse for.



Elric is unhappy about this mixup, as per usual. Mustang, meanwhile, is unhappy with Hughes' existence in general. It turns out that Hughes came to invite the brothers to stay with his family overnight. Apparently, they haven't found or been given any local accommodations yet, and they're a big enough deal in the alchemist bounty hunter scene that having them over would be an honor. They accept, we meet Maes' wife, Gracia, and six or seven year old daughter, Elicia, and the three of them are adorable for a while. Hughes comes across as a real family man and a great father, despite also being a high ranking maybe-nazi. At dinner, Alphonse and Edward have to quickly invent some unconvincing excuses for the former to not remove his helmet and partake of the meal. So yeah, Alphonse is either a paralyzed, burned up little Darth Vader-esque husk being barely kept alive by magitech and nothing else, or there's nothing under that suit at all and he's just a ghost piloting a robot. In the latter case, that golem body had damned well better have rocket launchers built into its nipples. I have standards when it comes to transhumanism.

Cut to a resistance safehouse, where Freezy McDougal and his companions have captured another rogue alchemist named Kimblee, who sometimes goes by the Crimson Alchemist. McDougal apparently fought alongside him in the war. Kimblee asks what they want from him, and McDougal tells him that after the atrocities that "Bradley" ordered them to commit against the Ishvalans, he's been wanting to bring the local military junta down, and that he knows that Kimblee feels the same way. So, he'd like him to join the resistance. Kimblee refuses, though; apparently, he didn't go rogue and kill a bunch of officers for ideological reasons, but rather because...the officers in question had annoyed him. The maniacal grin he recounts this story with indicates that he's either a psychopath, or pretending to be one to dissuade McDougal and doing a pretty convincing performance. Disappointed, McDougal leaves him in his cell and...



...ah, I seem to have mistaken the situation. The resistance didn't capture Kimblee. The authorities did, and McDougal broke into the jail to make a recruitment attempt. So, he ends up just leaving Kimblee in jail surrounded by dead guards. That also explains McDougal's outfit in this scene; he must have stolen a uniform and used it to infiltrate the building.

Back to the Hughes residence. Maes and Gracia muse about how state alchemists are referred to as "the dogs of the military," and that it bothers him that two young children would be given that status. Odd. Alchemists seem like they ought to be pretty damned valuable and respected. Wonder what's up with that? Meanwhile, in the guestroom, Alphonse tells Edward that the quiche at dinner looked as good as the kind their mom used to make, and that he's adding it to his list of things that he needs to taste once his body has been restored. Edward tells him that he can't wait for him to get to try it, but has a heartbroken look on his face that suggests that he's given up hope at this point but doesn't have the heart to tell his brother.

I'm also getting the impression that Alphonse is significantly younger. Like, if Edward is around 12 or so, Alphonse seems like...8? At most. Just going by his personality and voice.

Well that just hits you right in the damned feels, doesn't it?

The next day, the city guard are in an uproar over the prison break in, and Mustang announces that everyone should now just shoot to kill McDougal on sight, don't even bother attempting capture. I'm starting to getting V for Vendetta vibes. McDougal is basically Magitech V with the amount of damage he seems able to singlehandedly do to the regime. We then see the brothers' horrified reactions to the scene of another failed capture attempt, in which McDougal superheated an officer's blood and killed him and four others in the resulting steam explosion. This guy is brutal in combat, regardless of the rightness of his cause. A moment later, we see McDougal in a nearby alley, inscribing another of his glyphs onto the floor, when he is attacked by Armstrong; a very shonen-villain-esque state alchemist who melodramatically bursts through a nearby wall and charges McDougal amid a hail of earthbending attacks that leave statues of his face all over the stone walls in their wake.



I can just hear Jotaro Kujo good griefing.

The loud melodramatic fight gets the Elric brothers' attention, and they come running to the scene of the battle, but McDougal is prepared for them this time and uses a steam grenade to cover his escape the instant he finds himself outnumbered by enemy alchemists. Armstrong and the brothers recover quickly, and immediately begin to coordinate the search. They seem to be familiar with each other, and have a mutual respect. However bombastic Armstrong might be in battle, he's one of the few so far who hasn't given Edward any shit about visibly being a kid, at least onscreen. They drive McDougal up onto the roofdrops, where he is cornered by Mustang and a squad of soldiers just as dusk descends.


I guess not all state alchemists are considered "dogs of the military" after all; it turns out that Colonel Mustang is one himself, and he seems to be a pretty powerful and influential guy. Mustang and McDougal actually fought side by side in the war (I'm getting the impression that pretty much all the state alchemists who are older than the Elric brothers did), and according to Mustang they even had some camaraderie (though McDougal denies it). Mustang apparently has a fire affinity, and tries to fry McDougal with a flamethrower like attack, buuut that's not really the best element to go up against a water guy with. Mustang, there's a lady named Azula you might have something to bond over with. McDougal easily nullifies the attack and escapes; he may or may not have also killed Mustang and his men as he does so, the camera angles and cuts make it (probably deliberately) unclear.

I get the impression that McDougal was their best soldier, or one of the bests at the very least. This guy's almost unstoppable. I suppose he may have also been putting himself through constant hellish training in the years since the war, while his former colleagues were sitting back and enjoying the fruits of victory (assuming they won, which has been pretty well implied). That could have also made a big difference. He returns to the alley where he was working on his glyph, and starts resuming whatever he was doing with it, when Edward walks in on him. The Elrics suspected that he'd try to sneak back to this alley to finish whatever he had been doing in it when Armstrong interrupted him.


Unfortunately for them, McDougal has completed his task. Since infiltrating the city, he's been inscribing these alchemical circles at carefully selected locations around the city, forming the shape of a huge macro-glyph with the capital building at its center. He activates it, and the entire municipal water system freezes, huge walls of ice exploding out of the pipes and tearing through the pavement and buildings above. Edward and Alphonse try to seize him, but he leaps atop one of his own rising icewalls and rides it up out of their reach. Aghast, Edward whispers that he must have a legendary Philosopher's Stone in his possession; that's the only possible way that one man could cast a spell of this scale. They and Armstrong try to impede the ice walls (the latter ranting about the power of the alchemical arts handed down through the Armstrong family for generations, because of course he is), but they're just too massive and too fast-moving. It also quickly becomes apparent that the walls are expanding in very specific directions, bringing all their mass together toward the capital building with enough force to overwhelm whatever defenses it might have.

This isn't a terror attack. This is a decapitation strike. Presumably, the culmination of years' worth of preparation and investment by the resistance.


The brothers tell Armstrong that he and whoever else he can rally on short notice should try and find and destroy the rest of these glyphs to see if they can stop the ice movement, while they use their superior durability to try and climb up after McDougal and try to confront him directly. Armstrong stops his shonen-esque challenge speech almost midsentence to acknowledge the wisdom of this plan, and complies immediately. This guy really is way smarter, cannier, and more humble than he seems. Meanwhile, McDougal, riding his assault glacial toward the target, gleefully looks forward to ridding the world of King Bradley, the Fuhrer who resides within.


...

So, the fuhrer who we saw Mustang taking orders from at the beginning actually was THE fuhrer; its not just a general-equivalent rank here, it means exactly the same thing that it did in Nazi Germany. Judging by the way McDougal recounted "Bradley" being the one who ordered the atrocities of the war in a very personal way, I get the impression that he wasn't yet king at that time, but rather a mere general or warmaster.

I'm guessing that after the war, the victorious general Bradley staged some kind of coup and put himself on the throne, turning the nation into a military junta in the process if it wasn't one already? I guess we'll find out soon enough, but that's the vibe I'm getting.

...

The brothers reach McDougal before he can smash the palace, and they begin their rematch. When Edward asks McDougal wtf he even thinks he's trying to do detonating a magical WOMD in the middle of a major city, he says that this nation must be stopped now for the good of the world, and that crushing a few thousand rando citizens and rendering a few thousand others homeless is worth it. The Elrics, who probably haven't seen any of Fuhrer Bradley's atrocities but have experienced kindness and generosity from a local family, understandably disagree with that calculus.

During the fight, McDougal blasts Alphonse's head off with a steam bomb, to reveal nothing at all beneath the helmet. Just a hollow suit of armor with its interior inscribed with alchemical glyphs. Alphonse doesn't seem to be so much as inconvenienced by the loss of his "head," continuing to move and speak unimpeded.


McDougal is phased by this, but only for a moment. After that, he gleefully announces that he's figured the Elric brothers out. They must have attempted Human Transmutation, the ultimate taboo of the alchemist order, and ended up a pair of disfigured cyborgs to different extents. Edward and Alphonse both react with clear emotional pain to this presumably correct pronouncement.

Cue a brief flashback of Edward in that farmhouse, kneeling in front of a huge, flaming glyph and screaming in anguish at having accidentally disintegrated his little brother. He himself is missing an arm and a leg, both stumps neatly severed and visibly smoking. Then, we see him inscribing more glyphs in his own blood on a metal frame, desperately trying to bind his little brother's freshly disembodied soul to a synthetic body, and apparently succeeding.

Back in the present, Edward doesn't react well to having this past trauma thrown in his face, and charges. Sufficiently enraged to knock a full grown martial artist war veteran over with just his (admittedly, partly cybernetic) child body. Alphonse follows up, and they manage to knock McDougal off of the ice wall, slowing its advance and giving Armstrong and the evidently still alive Mustang and his men time to reach some of the glyphs and destroy them. The ice stops moving, and the existing walls begin contracting themselves down into inanimate room temperature water. McDougal is forced to use his own blood to fight off the Elric brothers before fleeing madly into the rent walls of the capital complex on foot, injuring Edward but also wounding himself badly in the process.

Inside the complex, things shift into monochrome, and we see that King Bradley himself has run to the breach to confront the attacker. McDougal charges him, but the Fuhrer moves faster than the human eye can even track, sidestepping the alchemist's attack and cutting him down with his sword in the same motion.


I'm calling it. Bradley is the result of a successful human transmutation experiment. If the Edward's attempt had succeeded, he and Alphonse would have been turned into whatever Bradley is instead of a pair of deformed biomechanoids.

So, as it turns out, McDougal accomplished nothing good. He racked up the civilian death toll and property damage, but didn't kill the dictator or meaningfully impede his genocidal empire; he made the sacrifices, but no great things were accomplished. History will remember him as a madman and a monster, rather than the hero he would have been. And, its all thanks to our two lovable scamp protagonists, Alphonse and Edward Elric.

We also see him drop a tiny red crystal which breaks apart as he dies; presumably, this is the Philosopher's Stone that he used to amplify his powers by an order of magnitude or more.

Anyway, the Fuhrer congratulates the Elrics on their performance, and they're honored. Mustang gets a bunch of credit for stopping the plot that he doesn't deserve. Armstrong visits Edward in the hospital, gives him a nice bunch of flowers and get well card, and tries to cheer him up by showing off his muscles and offering to let him touch them (um...creeeeepy?).

Then, we cut to a crimson filtered tower in some other city, where an evil lady with glyphs on her skin muses on what a waste this was; McDougal would have made a good sacrifice if he hadn't gone and gotten himself anticlimactically killed, and overused his philosopher's stone to the point of it failing him. As she speaks, some humanoid monster thing named "Gluttony" chews on something unseen at her feet. She then says that things are going well in the land of Liore, and that "it will begin very soon."


It seemed like she was disappointed in McDougal's failure, but if Liore is the country we've been watching so far then...well, she still feels that she came out ahead, I guess? We'll find out what her deal is, I guess.

...

I'm also about 99% sure that this is one of the things RWBY was unsuccessfully trying to ape. The season 2 finale in particular. I think the two most important differences are:

1. RWBY had a huge problem as far as the evil fiery red lady's choice of minions went, and how they were portrayed. The White Fang played into every single racist trope about uppity coloreds being used as muscle by communist atheist banker Jews, whereas McDougal came across as a man with a legitimately righteous cause (ruthless methods, sure, but if you sent me back to 1938 Berlin with a briefcase nuke in my hand I'm not sure I'd do any differently) who was being tragically taken advantage of. And, the narrative expects you to root against the target of his attack, even as it makes you root for the pair of child soldiers who have gotten caught up in between them.

2. FMA:B has earned my confidence when it comes to character decisions making sense, plot points being followed through on, etc. Thus, when its evil lady says something that sounds contradictory about whether the outcome of this big terror attack was favorable or not, I'm inclined to be curious about what her angle actually is. Whereas with RWBY, I just assumed (and was completely justified in doing so in the following season) that the writers had no idea what she was actually trying to do and were just making her say the mouth words that an evil lady is supposed to say after a big attack is thwarted. That said, I tend to dislike this sort of mysteeeeeeerious foreshadowing on principle, so even if FMA:B's red evil lady does turn out to make total sense as I expect it too I'll be annoyed if the show takes a long time to lay it out for us.

...

So, that's the pilot episode of Full Metal Alchemist: Brotherhood.

I've got to say. After most of the shit I've been reviewing, it's pretty damned refreshing to be reminded that actually GOOD anime exists. Like, not just "witty and kinda fun" like Konosuba, or "has its high points along with the low" like JJBA: Battle Tendency. Actually, no-holds-bared good.

The high quality of the characterization (of the brothers in particular, but also of Isaac McDougle. A case could honestly be made for him being the tragic Greek antihero of this episode, with the brothers being supporting characters for him) and the extremely tight and efficient pacing and storytelling came together perfectly. The former, I can only assume, is inherited from the original manga. The credit for the latter must go to Funimation, at least in large part. Adapting a story to a different medium doesn't always create a lot of work for writers, but it invariably creates a ton for directors, and these ones knocked it out of the park.

The worldbuilding...well, I'll have to wait and see. This story was pretty much focused on this one local event and a handful of individual people at the center of it, with everything beyond that left hazy and out of focus for now. We have some idea of how alchemy works and what its limitations are (and how having a Philosopher's Stone removes most of those limits, which also explains how McDougal was nearly able to V for Vendetta this place to its knees. V had unique bioaugmentations, McDougal had a legendarily rare alchemy amplifier), but not in any great detail. We know that there's one kingdom (probably called Liore) at what looks like an early twentieth century + magitech level of development, and that it's recently gotten its Nazi on and started genociding someone, but we don't know anything else about its history, neighbors, or victims. And, well, that's okay. For all its political backdrop, FMA has pretty clearly telegraphed itself as a personal story about a few select people, so worldbuilding can take it slow and ease us in gradually while the protagonists keep the spotlight.

One thing that I admire in particular is the combination of levity with tragic irony. The cutesy art shifts are a liiiiittle too much for me, but I'm still able to appreciate what they do, and how their cartooniness keeps this otherwise depressing world from feeling too "real." The irony of the likeable underdog child heroes getting their Well Done Son speech at the end from literally fantasy Hitler (with them none the wiser for this being the case) is...well, bitter. Really, really bitter. Again, were it not followed up immediately by Armstrong's WTF ridiculous hospital visit, it might have been too depressing. The comedy is used very effectively to season and and encapsulate the tragedy without softening or undermining it. It remains to be seen if the Elric brothers will eventually be awoken to the truth about their patron state and turn against Bradley and his officer-aristocrats, or if their story will be more tragic than that.

Of course, it could also turn out that the nazi aesthetics are a total red herring and McDougal was just a lunatic. "War of Extermination" does sound bad, but he's the only one to tell us about any actual atrocities, and we don't know how reliable he actually is even without the final revelation that he was being used as a pawn by some kind of diabolical witch lady who considered the fruitless loss of life he caused to be a good thing. For all we know, the war could have been about Leore defending itself against extermination rather than committing it. It's unlikely at this point, but still possible.


Next week, I'll be watching the second episode of FMA:B. So far, this is shaping up to potentially be one of my favorite animes, but I'm going to have to see more than just the pilot to make assessments of quality with any real confidence.
 
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Fullmetal Alchemist: Brotherhood S1E2: The First Day
Pedal to the metal! Bowl to the full! Alchemist to the shmalkafist! It's time for the second episode of what so far appears to be a truly excellent (if at times bizarrely emoted) anime.


This episode starts with an overview of what alchemy is, from an in-universe perspective. It's apparently a broader field than I realized; alchemy is the art of "understanding, decomposing, and reconstructing matter." In the previous episode, we saw people cause matter to change states, and seemingly energize it to produce fire and electricity, and it was also revealed that alchemy can bind a human soul to an animated battlesuit. However, I don't think we ever saw anyone decompose or reconstruct matter, exactly, with the possible exceptions of Alphonse's original body and some of Edward's limbs. I guess maybe they get the energy for the fire and lightning by dissipating atomic charges or something? Well, we'll see. During this speech, we see visuals including the kabbalistic Tree of Life (complete with English and Hebrew captions on each sphere) and what looks like a simplified depiction of a chromosome, suggesting that genetic engineering is also within the grasp of alchemists. I guess that explains those monster things we see the boys fighting in the OP.

We're also told of some of alchemy's limitations. Conservation of mass is still inviolate (and so, I would imagine, is conservation of energy, which makes me wonder again if they're creating those fire and lightning blasts by disintegrating tiny amounts of matter and harnessing some of the released thermomass. Like a very small scale magical annihilation reactor). There's also something about reciprocity of value; to create something, you need to sacrifice something of equal "value," though what definition of value we're talking about here is unclear. Finally, we get to a brief repetition of the taboo against human transmutation, and then the OP.

I get the feeling that either this is going to be a flashback episode, or we'll be getting a few of these little infodrops throughout the show to gradually fill us in on some more of the worldbuilding and on the Elric brothers' backstory. Hopefully the former. I tend to dislike non-diagetic exposition in situations where that information can be easily worked into the main narrative. Anyway, actual beginning of the episode now.

Two things are immediately established. One is that this episode is not a flashback to pre-disintegration Elric brothers. The other is that Liore is apparently NOT the place we've been seeing up until now; the brothers are taking a train to there now, to meet a priest who is supposedly one of the world's greatest alchemists and who can hopefully help restore them.



The red lady's monologue makes much more sense now. Things are going well for her plans in Liore, but went off the rails with McDougal's failure in that other place. Bit of confusing exposition, unless the nazi-esque country was explicitly named onscreen and I just missed it.

We then have an explicit flashback, but not all the way back. The brothers are sitting outside in some pastureland. Edward is wheelchair-bound, and hasn't yet gotten his prosthetic arm and leg. Alphonse is still a robot. Edward is going through an alchemy tome and researching the philosopher's stone; the alchemical amplifier that we saw McDougal use in the previous episode, and which has apparently been given many names throughout the known world. Then, flash back to the present, with them back aboard the train hoping that the priest will turn out to finally be the one who can fix them. Then the title drop. Then an explicit flashback to ten years earlier.


I'm going to be sort of mad if it turns out that the train scene is ALSO actually a flashback to slightly before the pilot episode, and Liore actually is naziland.

Anyway, the 4-6 year old Elric brothers are messing around in their alchemist father's study, with books strewn everywhere, babby Edward trying to draw a glyph on the floor, and organic babby Alphonse trying to read a book nearly as big as he is. They're cute, but since we already know they're going to end up blown up and turned into partial or full-body replacement cyborgs and forced into a child soldier/bounty hunter roll in service to Fantasy Hitler, I'll try not to let myself feel too protective.


Their mother catches them, and is angry at first, but when Edward successfully reshapes a chunk of floorboard into a bird-shaped statuette and reveals that he taught himself how to do it just by reading daddy's book collection, she becomes proud and impressed. That seems...sort of unwise of her, considering how dangerous alchemy seems to potentially be. You definitely don't want little children trying it without any supervision whatsoever. But, she comes across as pretty ditzy in general in this scene. The boys definitely get their smarts from dad's side of the family.

The following summer, there was a major epidemic, and ditzy mom Trisha Elric was among the fatalities. Alphone is too young and innocent to really understand what's happened, at least at first, as they sit in front of her grave. Edward, however, is old enough to understand it much better, and is channeling it into rage at their father who can't even find time to come home from work to attend his wife's funeral and comfort his sons in the wake of her death. And, honestly, I think Edward's right to be furious at this guy's absence as a parent in general. When Trisha asked them if their father had taught them the beginnings of alchemy, Edward had innocently asked how they could possibly learn anything from a man who is never in their presence. The fact that he not only didn't do anything about their unsupervised experiments, but also didn't bother to tell his wife not to let them perform those experiments, suggests that, while we haven't had a look at the man yet, I'm starting to imagine him as a sort of idiot savant. Sort of along the lines of Felix Hoenikker, from Cat's Cradle; just this utterly self absorbed scientist for whom nothing exists besides his work.

Just to rub in what a shit job he's done at keeping his children safe from his own possessions, Edward declares that he and Alphonse are going to find a way to use alchemy to resurrect the dead, and since human transmutation it's going to have to be a secret from everyone. Again, these kids are both younger than ten.

As they discuss this extremely poorly advised course of action, another kid named Winry shows up and ineptly tries to cheer them up.



Winry is the granddaughter of the old woman who's taken the boys in, presumably on their perpetually absent father's behalf. Alphonse remains friendly with Winry and their new parental surrogate, but Edward pushes everyone except his brother away as he sinks deeper into his anger and obsession. He continues to covertly study and practice alchemy, dragging Alphonse along with him, and keeping it a secret from everyone including their new foster family.

They do at least get an actual goddamned alchemy tutor at some point though, so that part at least is an improvement.



Something I'm wondering is what makes Edward think that "human transmutation" can resurrect their mother. Transmuting a long-dead skeleton into a perfectly preserved version of its living self that can be resuscitated seems...well, the problems in trying to do this with a magic system that seems primary geared toward things like "freeze/melt water" and "convert potential energy into lightning" should be self evident. Then again, what happens to Alphonse later on suggests that souls are a thing that can be manipulated with alchemy, so...I don't know, maybe it's actually possible.

After some years, Edward brings Alphonse into their old house on a spooky autumn evening to perform his boneheaded experiment. They've collected enough chemical raw materials to assemble a complete human body, and Edward thinks he can somehow arrange them into a perfect replica of one specific human body that he's never seen any sort of 3D blueprint of as best I can tell. I think the best case scenario here is that he ends up making a big wad of meat that's vaguely shaped like Trisha but has no internal organs and maybe some superficially bone-like structures inside. In all likelihood, it'll be much worse.

The last step before performing the spell itself is inputting "soul data" by having both brothers cut their fingers and drip a little of their blood onto the chemical mixture.



I'm not sure how literal the "soul" thing is. "Soul data" could very well be a local term for the genome, in which case they might be trying to reconstruct Trisha's genetic code using parts of their own. Either that, or this is literally soul manipulation, and conjuring back a dead person's soul requires the blood of their closest living relatives or something.

They then perform the spell, and somehow manage to fuck it up so badly that the chemical pile turns into a bunch of genome/soul-seeking tendrils that go rebounding back toward the brothers and begin annihilating their flesh on contact. Alphonse is disintegrated while screaming his brother's name in terror and reproach. It looks like Edward is starting to get hit as well, but then he's in a funky white void talking to some sort of shadow god.


Just be grateful you got this guy and not Aqua, kid.

After some brief introductions, the being who claims to be God casts Edward into an even funkier dimension made of darkness, tentacles, and Madoka Magika-esque imagery that stuffs itself into his head in such quantities that he screams in pain. Edward narrates that its like all the knowledge in the universe is being forcibly downloaded into his brain. God mockingly tells him that this is exactly what he wanted. Okay, sure, I guess all the knowledge in the universe would neccessarily include the knowledge of how to resurrect his mom, so technically true.

Before he can access the knowledge of how to revive his mother (anthropomorphized as a mass of glowing digital information in the shape of his mother), creepy god thing pulls him back and tells him that access to information requires an exchange of equivalent value, and that what he's sacrificed isn't quiiiiite worth the recipe for immortality.

It gives him a really messed up Porkey Minch grin as it says this.


Then he's back in the house, missing a leg.

...

I'm not sure what exactly just happened, but in any case we've had a bit of a genre shift. Or, perhaps, a genre expansion.

My first thought was that "alchemy" isn't actually as naturalistic of a magic system as its practitioners thing, and really it's all powered by this ethereal demon like entities who make it look impersonal and scientific from the outside.

The other is that this entity actually is some sort of pantheistic world-god-spirit, and since Edward's body and soul are being vaporized and returned to the most primal and basic state of existence he's coming into contact with the "soul" of the world, fusing with it. Like achieving Nirvana in Buddhism, I guess. But access to EVERYTHING the Brahma knows would require complete oneness with the Brahma, and only part of Edward was...erm..."merged" by the accident. So, he got a look at the universe's operating system, but not every last line of code.

If it's the second one, then that means the universe is kind of a dick. But we all already knew that, so.

...

The mass of carbon, water, and trace elements in the center of the diagram actually does form itself into a nearly complete human musculoskeletal system and twitch a little bit before it dies. That's...well, Edward got much, much closer to his actual goal than I expected, really. Seriously, making a biological organism that can survive and move even slightly for a short time out of raw elements? That's fucking amazing. Nowhere near what he was actually TRYING to do, but still, holy shit.

Crying and begging, and finally realizing how reckless and selfish he's been (understandable though this might be, given that he's what, 11? 12?) Edward draws another diagram in his own blood on the interior of a decorative suit of armor that got knocked over during the accident, and tearfully offers the god-thing a pact. His arm and his heart, along with the leg he's already lost, in exchange for his little brother who he just got killed.



Apparently, the demon-god-worldmind-thing accepted the offer. Though I'd like to know how Edward survived without a heart for long enough to get a prosthetic put in. Maybe Alphonse quickly put in a spare that they had stashed away for reasons.

Shortly thereafter, the newly promoted Colonel Mustang came to check on the Elric brothers, implicitly because as the children of a state alchemist who have started showing promise themselves they're being scoped out for recruitment. Edward in particular might be on the cusp of his teens, which was considered basically an adult in many historical societies. So, hearing about an accident involving them would probably bring an officer of note to investigate, especially if Mustang also happens to know their father. After inspecting the bloody scene of the experiment, he goes over to the neighbor house that the boys have been staying at, where he finds Edward in a wheelchair and Alphonse in a knight armor body.



We're also told that Alphonse was ten years old at this time. Their mother's death was four years ago, so that would have made Alphonse six at the time and Edward probably seven or eight. Anyway, Mustang decides that these kids obviously need supervision, and also that Edward at least is REALLY fucking powerful if he was able to perform something close to human transmutation and successfully performed Soulbinding at age 12 or whatever. So, over the objections of Winry's grandmother who thinks they've had enough already, Mustang makes Edward the youngest state alchemist in national history, and Alphonse is brought along as...well, he never gets the state alchemist title himself, so I guess he's deputized in some way? It's not clear exactly what he is, officially, and I imagine there was some rulebending involved to let him serve alongside his brother.

Meanwhile, Winry makes the acquaintance of a junior officer who accompanied Mustang on the visit, a very cheerful woman named Riza Hawkeye who looks young enough to have just graduated from Fantasy Hitler Youth a couple of years ago herself. Winry hates soldiers on principle, since both her own parents were drafted and sent off to die in Fantasy Operation Barbarossa, but Hawkeye calms her down by assuring her that the Elric brothers aren't being drafted. As alchemists, they're being offered the choice of whether to enter into military service of their own free will.

Meanwhile, in the other room, Mustang is telling the two traumatized preteen boys - in the most fatherly and reassuring tone he can manage - that if they enlist, he'll get them in touch with people who can help them restore their bodies, and even hints that they can potentially resurrect Trisha. The latter is a huge longshot and he knows it. The latter is total bullshit.


Well, I don't think there's anyone who watched this show who did nazi that coming. Including Hawkeye, even if she might be pointedly denying it even to herself.

Edward accepts this duplicitous offer. The doctors tell him that he'll need about three years worth of prosthetic surgery and rehabilitation therapy before he can be ready for combat training, but he throws himself at it so aggressively and determinedly that he's up and walking around on his new robot limbs after just one. Despite not having practiced his alchemy at all since the accident, Edward's powers have not atrophied in the slightest, but rather been significantly amplified. He is now able to reshape metal - including the armor plating on his own limb prosthetics - at will, without needing any spells or glyphs. This is a benefit of his brief time fused with the knowledge of world-god-demon-thing (WGDT. Wogdat? He's named Wogdat for now), which he retained at least part of. Interestingly, Alphonse never encountered Wogdat at all despite being completely disintegrated for a brief time, or at least if he did he hasn't retained any memories of it. Curious.

What's also curious, come to think of it, is that no one seems to have expected the brothers' power to increase after their experience. Which suggests that Wogdat's existence is known of only by a very select few.

Edward is promptly recruited, and introduced to Fantasy Hitler with the backstory that he was a child soldier who was badly wounded in the Ishvali extermination war. Apparently, Fantasy Hitler meets all new state alchemists in person for their recruitment and entry test. Edward performs his by conjuring a polearm out of the floor without any need for writing materials or glyphs, and charging Fantasy Hitler with it, stopping just short of his throat.

He explains that he was basically white hat hacking, to demonstrate the folly of having the king himself present at these examinations when it wouldn't be too hard for an assassin to get one.


Notably, Fantasy Hitler is the only person in the room who doesn't react in shock and fear when Edward charges. In fact, he doesn't even flinch. I wonder if his power isn't actually speed, but rather combat precognition. He didn't move to block before the spear got that close because he can see a few seconds into the future or something, and knew it wasn't actually going to connect anyway.

Something like that, at least.

But anyway, Edward is really, really lucky they didn't shoot before he stopped. His experiences have definitely left him not all there in mind as well as in body.

Or...actually, never mind, it IS super speed. He cut the spear in half before it actually came close to him. The head falls off a second later. We just didn't get any slowmo to see it happen this time, and he's literally faster than the eye can track.



King Bradley is clever. I'm guessing he read a dossier on Edward, and knew exactly what to do and say to both a) impress him with his superior power, and b) give him a goal to work toward to further motivate him. Because yeah, showing him up with what appears to be effortless ease and then taunting him about it is exactly what I would do to foster loyalty and commitment from someone like Edward Elric.

As Alphonse and Winry have a tender moment outside, with Winry wondering if she'll ever see Alphonse again if Edward gets accepted and he goes off to join him, Edward is being given his acceptance letter and badge by Mustang. Fuhrer King Fantasy Hitler Bradley has assigned Edward the state alchemist code name "Fullmetal." Mustang seems to interpret it as a dig at the state of his body and brother. Edward, however, interprets it differently.


You are a frightening little creature, Edward.

I suspect Bradley actually meant it both ways. It's a punny complement on Edward's courage and nerves (he must have been "full of metal" and had "iron nerves" to pull what he pulled in the throne room), and simultaneously a taunt about his tragic position. Fascism is, after all, simultaneously earnest and ironic, pandering to its selectively targeted demographic and demeaning of it.

Flash back to the present. The train arrives at Liore, which seems to be the city that the evil red lady was last seen in. Okay, so it IS a different place, cool, she was assessing multiple simultaneous events in that soliloquy. Here, Edward hopes to get a philosopher's stone like their late nemesis', which might boost his already souped up powers enough to be able to restore Alphonse. End episode.


The temporal flashbacks and flashforwards could have been better telegraphed, but otherwise this was a very well told and executed story. None of the characters seem to be all that complex, per se, but they have enough nuance and depth to them to be compelling and make it hard not to be invested. Edward's fall to darkness in particular is being done very convincingly, with his childishness being nurtured and exploited by those around him in a way that prevents him from properly growing up, while he's given more and more magical and official power. Given that he's the protagonist, I'm glad that he's the most deeply explored.

Ironically, the only character who's really annoying me at this point is Alphonse. Perhaps I'm being a bit unfair to this ten year old (or eleven, now? Getting closer to twelve? He may or may not be able to mature emotionally past the age he was transformed at, of course), but I feel like being cute and innocent is all there is to him. Like he was designed to tug at my heartstrings as the story proceeds to throw bad things at him, but is only putting in the minimum effort. This was effective at first, but...well, unless Alphonse gets some more nuance and characterization than "pure and innocent victim" he's going to wear out my patience pretty fast.

I'm really wondering what the hell is up with their unnamed father. His absence is of such completeness that I'm starting to wonder if this is a Babadook type situation, where he's been dead for years and his crazy widow has just been keeping his things in order and telling her children that he's just away for a while. Either that, or he's...well, really something.

I'm also quite invested in the mystery of Wogdat, the evil red lady, and...well, everything else that seems to be going on in the greater world of Fullmetal Alchemist around the Elric brothers.

...

I wonder. Are they named after Elric of Melnibone? The whole "tragic wizard with a ravaged body" thing. It's certainly possible.

...

This is the last FMA:B episode that was commissioned. However, unless my patrons object, I think I will be continuing it as my new main animation Let's Watch. So, henceforth, I will be alternating between FMA:B and commissions every other week, unless I don't have any commissions to work on.
 
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Yona of the Dawn S1E1: The Princess Yona
This review was commissioned by @The Narrator. This is another one I've never heard of before, though based on the title and thumbnails it's set in a medieval-ish fantasy world and is about a princess who shoots arrows at things. Lets' start this.


We open to a redheaded, bow-wielding woman who I assume is Princess Yona standing atop a mountain cliff. In a ravine below her, a column of grim looking pikemen and cavalry march toward the rising sun. The camera zooms out to reveal a motley party of player characters, one of whom tells Yona that they should get moving.


Yona replies with a nonsequitor about how cold it is up here, to which the man replies that yes, it's called being up in the damned mountains. This leads to her musing on how pampered her life used to be, back when she lived in the castle, and how she never realized it could even get this cold. She meanwhile illustrates the mentality that this pampered lifestyle has left her with by just fucking standing there staring off into space while everyone is waiting for her to actually acknowledge what the other guy said.

So, these guys are rebels, the empire's forces are marching below, and Yona is an imperial princess who ran away from home and joined the rebellion? Something like that. Anyway, roll OP.

The best and most succinct description for this intro would be "low budget." The art is beautiful, but barely any of it is really animated in the OP. Just still images of characters' faces and silhouettes sliding across the frame, with a slowly scrolling map or landscape in the background. The music is nice; a moody, yet energetic, classical Japanese instrumental piece. The lack of lyrics, which most anime intro songs have, however, once again hints at budgetary restrictions. The last thirty seconds or so of it is just a rapid slideshow of character art, with a bit of cycling animation here and there. The characters are all cool looking, but it goes by too fast for me to get much of an impression of what they're all about.

So, yeah, not a great OP. The art and music is all nice, so I can credit them with having nice assets to work with to begin with, but it doesn't really come together into anything more cohesive than "this is a fantasy anime in which people will be fighting each other in a heavily forested setting." Which, considering its ninety second runtime, strikes me as pretty inefficient. If they really were trying to save money with the intro, they should have made it shorter and punchier. If they weren't, then it's just mediocre craftsmanship. Well, on to the show itself.

Princess Yona narrates that this is the kingdom of Kouka, and shows us a fairly bizarre looking castle that was once hers.

I'm trying to figure out the scale of that thing. How big are those mountaintops supposed to be? And how big are the smaller buildings clustered around the front gate? This could either be a decently sized royal palace, or an architectural monstrosity that would make Harrenhall curl up in shame.

Anyway, at the time of this flashback, Yona is just turning sixteen years old, and is the only child of the aging widower King Il. He's giving a speech for what seems to be some sort of ritual debut of hers for a crowd assembled in the very Chinese looking palace courtyard. Come to think of it, the little glimpses we saw of the castle interior, the clothing and makeup of its staff, etc, all seem at least vaguely Chinese as well.

He also mentions that Kouka is a relatively small kingdom, which much larger neighbors to the north and south whose wars often drag Kouka in, largely to its detriment. Fortunately, there's been peace for the last ten years, since the time of death of King Il's father and predecessor. The way it's worded kind of suggests that the previous king may have sacrificed himself to secure this decade of peace.

Cut to Yona, who was making such a big deal out of futzing with her wardrobe and makeup that she missed her own debut.

-_-

I...honestly am not sure how much I should fault her for this herself. She seems to be rather surprised when her father returns and tells her she missed it, which suggests that none of the servants standing all around the room told her just how urgent the timing had gotten. We've heard a few of them tell her that she needs to hurry up, but not with the sort of urgency I'd expect if she's supposed to be on stage in literally seconds. So yeah, while spacing out and ignoring people who tell her that she needs to be going places DOES seem to be a recurring trait of Yona's at this point, this particular incident reflects worse on the palace staff than it does on her.

He doesn't seem to be actually disappointed though, telling her that her appearance was just a formality. When she brushes the whole thing off and starts asking him about her stupid hair, he just fawningly complements her on her beauty. So yeah, this guy has been majorly spoiling and sheltering his daughter, and (probably unintentionally) encouraging her to care overmuch about petty shit. A blue-haired bishie boy named General Hak (awfully young general. Not unprecedented, especially in the ancient world, but still remarkable at least) comes into the room and just straight up calls Yona an idiot.

She's indignant about this, as you might imagine, but King Il doesn't seem to register it at all. I'm starting to get the impression that he's just senile.

Anyway, Hak says that someone named Lord Soo-Won is here, and that he's come with the intention of courting Yona. King Il is sort of dazed about this. Yona is excited, and goes shooting off through the hallways, knocking servants out of her way left and right, in her eagerness to meet Soo-Won. Apparently he's a slightly older cousin who she hasn't seen in several years. I was momentarily unsure if I had somehow misinterpreted the subtitles earlier on, when Hak said that Soo-Won had come to woo Yona, or if its just the historical feudal paradigm in which banging your own cousin is just normal for royals. When she crashes into him a minute later, the framing, expressions, and body language make it pretty clear that it's the second one.

Although...a moment later, he just pats her head and calls her a "good girl" before running off to talk to Il and Hak, leaving her frustrated at how he regards her as a child. So, um. Maybe I actually was wrong before, and he didn't actually come here for courtship? She just...happens to have a crush on her cousin, and it isn't requited? IDK.

Can't totally blame her though. Soo-Won is even bishier than Hak.

Flash back to their childhood, with Soo-Won comforting Yona after the death of her mother. Apparently, young Yona was under expectations to not cry (its not clear if this was actual outside pressure being applied, or just a complex of her own), and Soo-Won was the only one who encouraged her to actually vent her sorrow when they were alone together. She's had a special affection for him ever since then, and at some point it apparently became romantic/sexual affection.

Return to ten years later, the morning after Yona's failure to debut. She's looking for Soo-Won, but he woke up before she did and is already out with General Hak having a mounted archery contest using a target that looks oddly like a Shinto shrine arch. It's clear from the posture and dialogue that the two of them have a pretty strong bromance going on themselves.

I'm guessing Soo-Won has seen Hak more recently than Yona. Probably off on military exercises together and being completely heterosexual.

Astutely jealous, Yona demands to participate in the archery contest too. Her father freaks out at the idea; he's reluctant enough to even let them draw weapons in her presence, and indeed seems to have a strange aversion to drawn steel that seems at odds with this sort of society and his place within it. There's something really weird going on with King Il; it's not just senility. However, Soo-Won swoops in to invite Yona to ride with him, and the king doesn't push back hard enough to discourage them.

She's evidently never sat a horse before, which...yeah, her father's been sheltering her downright neurotically. He has NOT dealt with the loss of his wife very well, that's for damned sure. Still, Soo-Won helps her up onto the mount and sits behind her, and says...well, maybe I was wrong about her crush being unrequited after all.

This is a meme, right? Tell me this is a meme. This has "meme" written all over it.

As they ride along the track, she asks him (very awkwardly) how much experience he has with women. He looks extremely uncomfortable, and tells her that he's had barely any, at least of the kind she's referring to. There have been talks of marrying him off to one noble lady or another, but no serious progress, and the way he talks about it makes it sound like the prospect truly does not appeal to him. While he speaks, the camera is zooming in on Hak.

Okay, yeah, it's not just me. Pretty sure these two were intentionally written as gay. Looking it up, the manga this show is adapted from debuted in 2009, which makes a lot more sense. I'd have been very surprised to see such open gay male representation in a manga from the eighties or nineties that isn't demonized or fetishized. Even Speedwagon is plausibly deniable.

Yona then tells him that Hak has proposed to her, in an ill-conceived attempt to make Soo-Won jealous. I mean, it's not a bad way of trying to make him jealous *in general,* but I think she was trying to make him jealous of Hawk rather than of herself. To her surprise, he either believes her or pretends to, and just congratulates her on it with no outward signs of distress or disappointment.

Cut to her being depressed, and Hawk giving her a well earned dressing down.


Il barges in at this point and vapidly tells her that, since he overheard the topic, marrying her to General Hak wouldn't be the worst idea ever. She protests, telling him that she wants Soo-Won. Her father is weirdly adamant against this. Now, obviously this wouldn't be weird if the basis of his refusal was "he's your cousin." The lack of an incest taboo for royal cousins has been implied by the story up until now, but it hasn't quite been made explicit depending on how accurate my interpretation of Soo-Won's intro scene was. But anyway, King Il doesn't mention anything about Soo-Won's familial status being a problem, but only says that whoever marries Yona will be the next king, and he will not have Soo-Won as his successor.

So far, we haven't seen Soo-Won say or do anything that would make him seem like a particularly bad ruler, aside from physically reminding me vaguely of Griffith. But then, we've only seen him very briefly, in his interactions with friends and family. I suppose we'll eventually find out if King Soo-Won would be a legitimately terrible idea, or if this is just more of Il being out of it.

Speaking of Il's sanity, he apparently considers his daughter's request for a specific husband to be on the same spectrum as her asking for the jewelry, makeup, and garden flowers that he's always granted her without hesitation or restraint. Which, um. Yeah, pretty much everything annoying about Yona seems likely to be her dad's fault. After the commercial break, he explains that he lost his wife to insurgents, and the fear of putting another loved one in danger of political assassination is why he hasn't remarried. He likes his nephew too much to endanger him by making him the next king. When Yona calls her father a coward, he admits it seemingly without shame.

So, yeah. This guy's really not all there. There's dealing poorly with loss, and then there's this.

Some time later, Yona is sulking out in the rain when a mysterious long-haired man sneaks up and tries to grab her while growling ominously about the fate of her mother. She flees into the building, and is immediately grabbed by another assailant from the opposite direction. Although, after a moment, said second assailant turns out to be Soo-Won, who asks why she's so freaked out, he was just hugging her because she looked upset.

The way the scene was directed, it's possible that the attacker on the balcony was a hallucination. The lighting and camera angles were pretty surreal, and it is indeed an odd coincidence that this would happen just right after the conversation with her father. I suppose the ambiguity is probably intentional.

Soo-Won checks outside for the intruder, but sees no sign of him. That's inconclusive of course, though; if that wasn't just a hallucination, the man could have easily darted around a corner or jumped over the patio fence to hide in the garden by now. As he tries to calm her down, she ends up confessing her love for him, and he just totally ignores it and has a guard escort her back to her room once she's back together. About what I'd expect from him. When she tries to reach out and grab him, he literally slaps her hand away, saying...

Huh. Well, that's a surprise.

They have a moment here that I'm not quite sure how to interpret. Soo-Won mutters introspectively about propriety. Yona goes on about her love for him. There's a cutesy art shift for a second. And then Soo-Won rests his hands on her head, very chastely, while continuing to look ambivalent.

So yeah. Is he actually into her, and rambling about propriety and manners in earnest? Or is he not, and saying that stuff as an excuse as he tries to figure out how to safely end this? That also ties into the question of how he and Hak actually feel about each other. I'll be disappointed if, after all that framing and hinting, they don't turn out to be *something* even if Soo-Won also likes girls.

As this is going on, a guy who looks a lot like the person who tried to attack Yona watches through the window before turning away, poker faced.

Guess he exists after all.

Five days later, Yona is having a birthday feast that she actually bothers to show up for, though still complaining about how she can't get her hair right. You know, she's called attention to that hair at least three or four times by now, I think there's some symbolism or foreshadowing or something being built up to with this. Anyway, her actually making it this time does demonstrate that her recently having to confront actual opposition and resistance about something, and feeling truly threatened, might have forced her to start growing up a little bit. She quickly finds Soo-Won, who takes her outside and gifts her with a fancy hair ornament. She says that is would never look good on her, because her crazy red hair is just too disorderly.

Okay, yeah, this hair thing has to be going somewhere. Does it represent her immaturity or something, or is there going to be more Watsonian weight to it?

He tells her that he loves her hair, or at least its color, comparing it to an early morning sunrise. Title drop. And, just like that, she likes her hair as well. Aw. I hope it doesn't actually represent her childishness, because that would make this creepy rather than cute. After this interaction, Soo-Won is approached by Hak, who is suddenly addressing Soo-Won more formally and coldly to his confusion. Okay, regardless of how mutual this was, Hak is definitely being written as a jilted lover here. I guess Soo-Won himself is the only real question mark left, in terms of what and who he's into. Anyway, they discuss the princess situation a bit, but then share anecdotes about unconfirmed security breaches and a general feeling of wrongness around the castle. Hak decides to post more guards and to screen all foot traffic in and out more carefully than usual, while Soo-Won says he'll keep an eye on Yona.

That night, we see how spectacularly they have each failed at these tasks.

Seriously, just that one screenshot really says it all. I suspect they'll have a good excuse for this, because otherwise goddamn they suck.

That excuse comes in just a few seconds, when Yona enters her father's parlor to see him impaled on Soo-Won's short sword.

So, did Soo-Won hire that other guy just to scare Yona as part of some convoluted plot? Or was that part of an unrelated conspiracy, coincidental to Soo-Won's own? I admit, I briefly wondered if maybe he was going to turn out to actually be working with Mystery Attacker after all during that private scene with Yona after she escaped the latter, but when he didn't end up doing anything I put those thoughts aside. Which, well. I may or may not have been right to do, depending on how many secret plots there actually are going on. It's a royal court in what sounds like a geopolitically fraught part of the world, after all; multiple deadly plots going on at once wouldn't be all that unlikely.

As Yona stammers in denial, Soo-Won expresses regret that she had to see this; he had thought her asleep by now. He then advances on her, her father's blood splattered on his face, sword still in hand.

Outside on the castle grounds, Hak is taking a literal coffee break and chit chatting with one of his underlings. Great job there, Hak. You'd better be in on this too.

Back in the castle, we see Yona being thrown to the ground by several of the castle's own guards, which I guess explains why there was no security before. So, Hak is either in on it too, or just failed to detect a pretty large conspiracy among his own men. The latter is a much more understandable failure than just forgetting to post any at all, but still a major one.

The conspirators don't seem to be foreign agents, or even just corrupt and bribed, though.

I guess those "dissidents" who killed the queen have spread their influence considerably, and even infiltrated the castle guard and some parts of the nobility. I don't blame them for being unhappy with the royal family, based on what I've seen of them, but still, fucking harsh. Even if Il needed to die for offscreen misdeeds (which I can easily believe, what with how nutty he's been coming across) Yona is just a harmless teenager immature even for her age who it would be extremely easy to control or otherwise get rid of nonlethally. So yeah, however bad of a king Il might have been, I get the impression that these rebels are worse in practice if perhaps not in ideals.

Fortunately, General Hak gets back from his coffee break just in time to singlehandedly wipe out the entire squad of dissident soldiers. Soo-Won seems to have sent them away to kill the princess out of his sight; I suppose it would make sense, for him to not want to watch. On one hand, this means he does possess remorse and empathy. On the other, it means that he's a damned coward and hypocrite.

The episode ends with Soo-Won stepping out of the nearby palace entrance, accompanied by some more soldiers as well as the long haired assassin guy from before. As Yona kneels in the courtyard, too stunned for words or actions, Hak levels his spear at Soo-Won and demands an explanation. Closing credits have a slow, sad song, and an older, short-haired Yona watching the sunrise with a pet squirrel on her shoulder followed by some still images of people standing around in a forest.

Well, I ended up enjoying this more by the end of the pilot than I thought I would at the start. It definitely got off to a slow beginning, with the underwhelming OP, unlikable main character, and sort of fluffy and insubstantial-feeling worldbuilding. The political thriller aspect improved the story greatly once it got started, and the love triangle plot was more engaging than those usually are (especially in anime). Yona seems like she's also in the early stages of a maturation arc that will result in a much stronger protagonist, though I suspect she'll still annoy me at times until we get there.

Unfortunately, there's not much more I can say until I've seen the next episode. There's too much that hasn't yet been made clear, even subtextually, for me to do anything but very surface level analysis. What was really going on between Hak and Soo-Won (or between Soo-Won and Yona for that matter, from his perspective)? Who are these nationalist dissidents, what's their specific grievance with the current dynasty, and why did Soo-Won join them? How does the above relate to the larger situation with the powerful and warlike nations to the north and south? What's up with Yona's hair? Until there are at least implied answers to some of these questions, I don't have much to talk about.

@The Narrator did commission two episodes of this show, though, so hopefully we'll get enough explanation for me to do some proper critique next time. I get the impression that this is basically a two-parter pilot. That'll be the week after next, though; I'll be doing the third episode of "Fullmetal Alchemist: Brotherhood" first. I plan to alternate between commissioned reviews and my new main project of FMA:B until one or both are exhausted.
 
Fullmetal Alchemist Brotherhood S1E3: City of Heresy
No teaser this time, it's straight to the intro. Which includes a reprise of the rules of alchemy lecture. Is that going to be repeated every episode? Seems excessive, considering its length and the fact that there's a perfectly serviceable OP even without it. Anyway, we open on the city of Liore, in a large church or steepled temple, where someone who I imagine is the same priest the brothers are looking for is giving a sermon. Apparently they worship the sun around these parts.

Before going to meet the priest, the Elrics have stopped to get lunch at an open air restaurant. When Alphonse accidentally breaks the radio mounted over the bar, he quickly apologizes and scrawls a glyph around the broken device to fix it. Nice reminder that Alphonse is also a powerful alchemist, even if he often relies on his suit's brute strength and size in battle and is overshadowed by his brother's Wogdat-spurred superalchemy. When he fixes it, a crowd of people forms around them, mouths agape, and the restaurant owner gasps that the brothers are miracle workers. The brothers are rather taken aback by this reaction; Alphonse's work there might have been skillful, but it was hardly miraculous.



Apparently, these people have never seen alchemy before, though they've heard of it. Odd. Very odd. They've even heard of the Elric brothers specifically, and do the usual comical mixup where they assume that the "Fullmetal Alchemist" is Alphonse. And yet, despite this appearing to be at least a somewhat major city rather than a podunk village, they've never seen it in person, despite the previous episodes giving the impression that most of the more advanced technology in this world is based on alchemy.

Something really weird is going on.

In an attempt to make the scene less uncomfortable after Edward's angry outburst at being overlooked, Alphonse asks what the kooky religious broadcast that's now playing through the radio again is all about. The locals all go into a fawning speech about the great Father Cornello who came to their temple a few weeks ago and has since brought the word of god to them...which apparently they don't think they had until now, despite the temple obviously preexisting. They attribute incredible feats to him, including resurrection of the dead, healing of the sick, and other such typically messianic abilities. Things that are beyond the scope of the usual alchemy medicine, judging by the fact that Edward needed a hospital stay after the battle with McDougal.



I'm also not sure how they'd be able to assess his ability to grant "immortality" if he's only been here for a few weeks. This is just delusional cult leader-worship shit for sure.
Edward is skeptical about the "resurrecting the dead" part. This is what he came here in hopes of learning how to do, at least in part, but Cornello already having it down pat without it having made the news is a little hard to swallow. The brothers come to the basilica, where Cornello - a heavyset older man with a well practiced genial smile - is performing his divine powers for the flock. He does this by grabbing one of the little flowers being thrown his way, clutching it in his hands, and transforming it into a gigantic, jeweled flower-shaped ornament.



It's an alchemical transmutation, of course. But as far as Edward can see, Cornello appears to have broken the law of conservation of mass by turning a tiny object into a much bigger one. He also transmuted organic material into mineral, which is supposed to be impossible (or at least requires a hell of a lot more effort and equipment). Edward looks carefully, and then spots a ring on the priest's finger with a tiny red stone set in it, identical to the one McDougal was carrying before it broke.

...

I'm starting to really wonder about the philosopher's stones. The way they were talked about before made them sound almost mythical, so rare that not even the state seems to own one (or if it does, they're keeping it a secret). And yet, Edward's mind jumps to that conclusion so quickly upon seeing Cornello' ring, despite its improbability given the above, and the fact that he's almost certainly never seen such a stone himself (he never got to see McDougal's).

Hmm. I'll withhold judgement until we learn more.

...

The brothers go into the temple, where...hmm. I could have sworn they said Cornello had only been here for a few weeks, but apparently this temple does postdate him, or else was quickly rededicated to the new religion he brought. Letoism is the name of it, and it seems to be completely foreign to the Elrics. I guess it's possible that it's just a regional religion that never spread much further in their direction than Liore, but that doesn't feel right either. It also seems to be strongly evangelical, and religions of that kind tend to either expand rapidly or be forcibly suppressed when they come in contact with an authoritarian state. So yeah, I dunno how much of this confusion is intentional, how much of it might be down to localization errors, and how much (if any) is actually badly thought out writing and worldbuilding.

Anyway, upon entering the church the brothers meet a young woman praying before the altar who tactlessly tries to push Fantasy Jesus on them in a way that reminds me way too much of that one spooky religious clique back in high school. She gets a little more than she bargained for, though, when her inept attempt at evangelism (which includes at least one unintentional slight at Edward) provokes an outraged reddit atheist rant from Edward in return. I'm a bit surprised at this, to be honest. Even if alchemists as a subculture are secular materialists as Edward claims in his rant, he PERSONALLY has actually met a god or something like one. I'd have expected something more along the lines of a "if god exists, he's an asshole" speech.

It would be very much in character for Edward to have repressed his memories of Wogdat, though, now that I think about it. That kind of powerlessness is not something he can deal with. So yeah, his dedication to shutting this woman down for daring to raise the subject of a higher power is very likely a defense mechanism built around his fear and hatred of Wogdat.

He does, at the end of the rant, after the woman accuses him of hubris, seem to grow more thoughtful for a moment, and he begins musing on this world's equivalent of the Icarus and Daedalus myth. There are certainly parallels to be drawn with what happened to him and (especially) Alphonse, though I'm not sure if the problem was them coming too close to greatness so much as attempting the same impossible thing that many others have and failing in what I imagine is probably a similar-ish way. Also...it always kind of disappoints me when fantasy settings with geographies and histories unlike our own have such close parallels to our own legends and folktales? Not a big deal, just a minor annoyance.

Cut to Father Cornello up in his tower office. An underling comes in and tells him that he has visitors. He initially tells him to send them away, but then he namedrops the Elric brothers and Cornello suddenly looks very, very worried.



There's ominous mention of a plan of theirs that the Elrics could disrupt, and an insinuation that the "Dogs of the Military" have been sniffing after Cornello or whatever his previous name was for some time.

Cut to Beardy and a handful of poorly trained mooks trying to lure the brothers into a trap and cheapshot them. It goes about as well as you would expect.

Well, not every villain of the week can be as competent as McDougle. Or half as competent. Or one tenth as competent. Look, I'm pretty sure Cornello and Co need help tying their shoes in the morning.

After they near-effortlessly pulp his minions, Cornello appears on the mezzanine overhead wearing an inappropriately confident grin. He tries to do his faith healer shtick and convince the brothers that he's using divine magic instead of alchemy, but Edward has absolutely no patience for this and just gets to the point immediately, accusing Cornello of having gotten his hands on a philosopher's stone and hidden it in his ring. Cornello insists that it's just a nonspecifically ordinary ring while his confident grin gets less convincing by the second. This guy continues to not exactly impress.

Continuing where we left off, Cornello keeps insisting that he's a prophet, and Edward keeps being irritated by this. Eventually, Cornello has the brilliant idea (and I'm sure it actually is brilliant...by his standards) of ordering the innocent teenaged girl who his minions allowed to follow the brothers into their ambush for SOME FUCKING REASON to pick up a dropped handgun and shoot them.

Because clearly this rando civilian who has been gasping and ringing her hands at the sight of violence ever since it broke out is up to the task. And obviously the pair of fully equipped State Alchemists who just tore through his entire black ops team without breaking a sweat are going to fall to one civilian who they already have a clear line of sight toward whose hands are literally shaking as she reluctantly picks up the weapon.


Shocker.

Cornello reminds the girl, Rose, that he's the only one who can bring her recently dead boyfriend back to life, and that the grace of Leto will be withdrawn if his prophet is not heeded. It's not clear if he's just bullshitting completely with his whole "I can bring back the dead" shtick, or if he actually can do it using his philosopher's stone. Or thinks he can do it, at least. Has he before? Everyone seems to think he can, but people have erroneously thought that about cult leaders even in our own alchemy-less world. Anyway, she manages to...um...

So. Cornello specifically ordered Rose to "shoot the Fullmetal Alchemist." So, like everyone else, she nervously aims at Alphonse, and we learn that the bad guys aren't the only ones who didn't bring their A game today.



Poorly timed art shift aside...Al, you're made entirely of metal. Even if Edward is perfectly capable of blocking, evading, or outshooting this rando civilian, you can probably do it a lot more easily. Why are you redirecting her at the more vulnerable target instead of taking advantage of her mistake? I feel like nobody besides possibly Edward is even putting in a serious effort right now.

Well, this segues into the now pretty badly overplayed gag about Edward being mad at no one recognizing him, and Rose failing at least as badly to shoot him as I expected. She manages to miss so badly, in fact, that she clips Alphonse's helmet regardless, and knocks it off. Realizing that a teenager with a pistol is nooooot exactly going to cut it against a pair of literal superpowered cyborgs, Cornello runs to a switch on the wall and throws it to open a hidden cage at...

...

Okay, did this guy seriously have a monster-releasing death trap installed into this temple's back room when he decided to use it as his supervillain lair? Fucking god damn, Cornello really is a wanker.

...

Well, he opens a cage hidden out in the darkness and releases an alchemical chimera-creature that he seems to have made out of a lion and a monitor lizard, maybe with some dog bits as well considering how it advances growling and seems to obey his simple verbal commands. Showing no concern at all for Rose, who is still standing down in the pit next to the Elrics. Wouldn't it be hilarious if she just picked up the pistol again and shot him in the face while he wasn't paying attention? Anyway, Cornello gloatingly asks them if they've ever seen a chimera before. Edward doesn't bother answering, but his actions strongly imply that he has, and that this one isn't really impressing him.



I wonder. For Edward to use his cybernetic leg to that sort of effect, wouldn't his spine need to be reinforced as well? It very well may be, of course. If he's already having prosthetic limbs installed on opposite sides of his body, the surgeons might have just overlayed an "extra skeleton" of internal machinery to connect them and provide bracing for his organic parts. Even if that's not normally doable with the setting's magitech level, I imagine that the patient being an incredibly powerful alchemist who can transmute matter at will without needing glyphs or circles might let them get away with much more than usual. So yeah, I'd be curious to see an X-ray photo of Edward.

Liozard goes down quickly, but reveals Edward's cyborg physique in the process. Combined with Alphonse being a literal ghost in a shell, the sight of this is enough for Cornellus to figure out that the Elric brothers are victims of a failed human transmutation attempt. As he narrates this to Rose, trying to convince her that this is proof of the Elrics' iniquity, Rose remembers what Edward said before about not!Icarus flying too close to the sun. And, Edward spins this all around quite effectively on Cornellus by telling Rose that this is where any promises to resurrect the dead will actually lead. She'll become the not!Icarus to the priest's not!Daedalus, or worse, just like himself and Alphonse.

There's also a nice touch where Edward specifies that "this is what happens to those who intrude on god or whoever's domain." So yeah, his /r/atheism facade is cracking a little under the emotional pressure that Cornellus just applied by figuring out his past. Edward knows that there really is a god, or at least a world god demon thing. He just has very good reason to hate him, and to not want to credit him with the title of God however warranted it might be.

Alphonse, for his part, tries to play good cop (I don't think he's even capable of playing bad cop, but still) and warns Cornellus that his philosopher's stone is probably more of a danger to himself than to anyone else, and that they'll accept his surrender and try to grant leniency. But, the dumbass just doubles down on his prophet shtick AGAIN despite the jig very obviously being up, and transmutes his cane into an oversized gattling gun.vIf he had thought to do that a few minutes ago, say, when the Elrics were distracted by Rose and/or the liozard, it might have actually worked.





"Been there but they kicked me out" isn't exactly the most creative retort to "got to hell." But it's made situationally better by the fact that this is pretty close to what literally happened to Edward last episode. And even if it wasn't, I think any serious and effortful witticisms would be kinda wasted on Father Cornello.

And then, for some reason, the brothers just flee the room and tear through another small crowd of cult enforcers on their way out of the building amid another inappropriate and jarring art shift. Rather than just, you know, crushing the priest while he's right in front of them and seemingly out of tricks. The direction makes it seem like they might have done this to ensure that Rose was out of danger and couldn't be used as a hostage, but even then it's not clear why Alphonse couldn't do that on his own (we see him shielding her with his armored body) while Edward finished off the prat. Either something's been lost in adaptation here, or the manga didn't make any sense in this scene either.

Cut to a rooftop, where Alphonse is giving Rose a pep talk. This scene is a hell of a lot stronger than what immediately preceded it, managing a pretty convincing depiction of cult mentality. Rose is grappling with how Father Cornello could have possibly unleashed his liozard and opened fire wildly without concern for her safety, and Alphonse is trying - in his direct and innocent way - to bring her to the obvious conclusion that he's just a prick. She's desperate to not let him, though. Ostensibly because she's clinging on to the hope that Cornello really can bring her partner back (with his reasons for not yet having done so being conspicuous by their absence), but there's definitely more going on besides just that. Rose has looked shocked and half-paralyzed ever since she fired the gun and hit Alphonse. If he really did have a human head under that helmet, the bullet may well have killed him (he also probably would have dodged, as we've seen him nimbly evade attacks that can actually hurt him back during the McDougal fight, but she doesn't know that). So, what's at stake for her in this discussion isn't just the hope that her boyfriend can be revived, but also the realization that she just almost murdered an innocent boy at the instruction of a total conman.

So yeah, her investment in avoiding the obvious truth and creating whatever layers of denial and rationalization she has to is unsurprising. Disappointing, but unsurprising.



Meanwhile, Cornello returns to his office to decide what to do next, only to find Edward waiting for him there. Edward makes him an offer. He and Alphonse didn't come to Liore on state business, but rather to learn whatever alchemical secrets Cornello possesses in the hope of restoring their bodies. As a State Alchemist, Edward CAN report his findings to the government and have the military come down on Liore like a sack of goose-stepping bricks, but he didn't come here to do that, and is fine with not doing it as long as he gets what he came for. After making sure that the door is closed behind him and no one is listening, Cornello finally drops the televangelist routine and tells Edward that he's planning to tear off a chunk of the kingdom and rule as a theocratic warlord. His philosopher's stone and his growing supply of gullible worshipers, together and if his uprising is timed just right, could let him resist King Boss Ultra Leader Bradleysaurus Rex Il The Great II's forces and become sustainably independent. The Elrics are welcome to get in on this, if they want. Powerful alchemists like themselves would be useful allies, and they could end up tearing off another petty kingdom of their own alongside his.

And, like a total nob, Cornello didn't check to make sure that the microphone he uses to broadcast live sermons from this very office wasn't plugged in and hidden right behind Edward's back. Because, as we've already established many times over, Cornello and his lackeys are morons.



Cornello tries to attack Edward again, presumably more out of spite than any realistic hope that the situation can be salvaged. When it predictably doesn't go any better than last time, he tries to overclock his philosopher's stone to keep up with his much more skilled opponent (I get the impression that Cornello was a novice alchemist at bestbefore he got that stone), and causes it to backfire in a similar manner to the Elric brothers' human transmutation attempt. Rather than just vaporizing himself though, he somehow manages to fuse himself with the weapon he was trying to repair and amplify, leaving him a hideously deformed half-metal ogre mutant. It turns out Alphonse was right about that stone being more of a danger to himself than anyone he might have tried using it against.

Enraged, brain damaged, and now seeming to actually believe himself to be the prophet he once impersonated, Cornello continues engaging Edward, but all he has left is brute size and strength, which have never been all that effective against the Fullmetal Alchemist. All it takes is for Edward to run out of Cornello's reach and get enough breathing room to reshape the room around them, and the battle is over almost as soon as it began.



And then something happens that confuses me utterly. Edward tries to take the philosopher's stone, but as soon as it comes out of Cornello's ring and bounces off of the floor, it breaks just like what happened to McDougle's. Edward's reaction to this is not despair at the breakage, or a vain hope of repairing it. Instead, he declares that a philosopher's stone isn't supposed to be that fragile, so this must be a fake. He then stomps around in frustration about how he and Alphonse came all this way just for a fake.

...

Okay. This is either a huge adaptational gaff, or else the author of the comic itself was writing this on thirty-some hours of caffeine and energy drinks.

If this gem wasn't actually a philosopher's stone, then what the hell was it, and how meaningful even are the differences? We saw a skilled alchemist use one of these to singlehandedly bring an entire, heavily-defended capital city to its knees. We saw that even a clueless moron with only the most rudimentary alchemical knowledge can break the supposedly inviolable law of conservation of mass with one. Why is Edward just assuming that he couldn't fix himself and Alphonse with one of these, given the other incredible feats that can be performed with them? What, aside from being harder to break, can an actual philosopher's stone do that these things can't?

So yeah. This is the kind of thing that, unless it turns out to be an adaptation or localization issue, could seriously undermine my faith in this work.

...

So, the brothers leave the temple and the mutated Cornello behind them. As the sun sets, Rose tries to mug them for the stone that she thinks they must have stolen. It doesn't take more than a few words for Edward to talk her down, though.



As the brothers walk away, leaving yet another broken person behind them, Rose asks what she's supposed to do now. What has she to cling to? What can she live for? Edward, keeping his back to her so she can't see that he's on the verge of tears himself, tells her - and himself - that you have to figure that out on your own.

Previously, during his /r/atheism speech, Edward mused at the end how alchemists are the closest things to gods that actually do exist. He himself knows that that isn't actually true, of course, but its something he seems to be eager to convince himself of in response to the specter of Wogdat. It's so much easier to believe that that whole experience was just a hallucination, and that he gained supreme alchemical knowledge during his partial-disintegration due to some random freak mutation that amplified his cognition or whatever. In a way, he's as self-deluded as Rose, in the opposite direction. This does lend some nihilistic irony to what otherwise would have been a pretty simple "Baal and the Serpent" type story. And, like Rose, Edward's brokenness has led him to become the eager tool of a manipulative tyrant who doesn't actually care about his well-being in the slightest. So, Rose might have been taught a valuable lesson here, but its one that her teacher hasn't actually learned himself.

Meanwhile, what's left of Father Cornello seems to have recovered at least most of its lucidity, and is hiding in his own temple from the angry mob that's grown outside. While trying to figure out an escape route, he runs into a couple of familiar faces.



Gluttony can speak after all, it turns out, and the red lady is called Lust. She admonishes Cornellus for getting overambitious instead of just starting a little rebellion like she instructed, and also - implicitly - for being an incompetent screwup in general. After killing him with an extending blade-finger and letting Gluttony get to work on his remains, Lust bemoans the loss of what SEEMED like a promising operation here in Liore, and muses that their father will be very disappointed to hear that they need to start all over again. The camera zooms in on a weird runic symbol, like a broken triangle, which is tattooed above Lust's breasts and on Gluttony's tongue. I feel like we might have seen this symbol before, but I'd have to look back through the previous episodes to see where. End episode.


Definitely the weakest so far. As I said, I'm not sure how many of the issues are down to adaptational errors, since a lot of them FEEL like something being lost in translation, but I don't know if that's actually the case. Things like the brothers' abrupt flight from the first Cornello battle and Edward's inane reaction to the (fake? maybe? I guess? so confused about this) philosopher's stone didn't RUIN the episode for me, as there were enough positives to balance them out, but they cost it a lot of points.

Other preexisting issues also seemed worse than usual in this installment. The art shifts always felt like slightly too much, but in this episode they happened way more often than in the last two, and in more inappropriate situations. I'm also starting to really, really tire of Alphonse being mistaken for Edward and Edward flipping out over it. If that happened, say, once every three or four episodes, it could keep being funny for a long time. When it happens two or three times in EACH episode, it wears out its welcome fast. So, I really hope the show is going to drop that gag, or at least cut back on it for a while.

On the topic of adaptation, it occurs to me that the decision to add an extra pilot episode adventure for "Brotherhood," and to get the original author involved in it, likely did a HUGE favor to this show. Assuming that the original order of events in the manga and previous anime were otherwise similar, that would mean that the series opened with the brothers' backstory, and then the first proper arc immediately afterward would be this one. And, for all that I have mixed-but-not-completely-negative-feelings about this episode/arc on its own merits, I think it might have actually turned me off of the entire series if it had been the first non-backstory one.

The first proper, non-intro episode of a series is very important. It sets the tone and cultivates the audience's expectations for what the serial is usually going to be like. And, if this had been it, I would walk away with the impression that Fullmetal Alchemist is a story about a couple of heroic child superheroes defeating comically inept and unproblematically evil villains of the week while bigger plot threads about Sin Inc., the quest to restore the Elrics' bodies, and the vaguely ominous vibe and official title of the local head of state get dangled in front of us and perhaps eventually lead to something if we're lucky. But, with the addition of the "Brotherhood" pilot, we know that King Kong Versus Godzilla Prime Hyper Holiness Big Dick Bradley-Jong Il II Esquire is a truly sinister character ruling a genocidal empire, the boys are being strung along by a vindictive and manipulative military suit, and that some of the opponents they will face are neither incompetent or entirely evil.

Aside from the issues I already spoke about in the first couple paragraphs of this summary, I don't mind "City of Heresy" at all as a third episode. After the pretty dark and tense material we've seen until now, there's nothing wrong with a breather episode, and this one managed to have some thematic wealth and good character moments despite being lighter. And, well, I wasn't joking before when I said that not every enemy can be as worthy an opponent as McDougle. "City of Heresy" also, in the context "Brotherhood" presents it in, actually makes the series more nuanced rather than less. Even in Fantasy Naziland, not everyone rising up against the government is better than that government. You still have self-interested criminals and cult leaders and such who aren't secretly on the dictator's payroll. Cheering for the brothers as they beat up a cabal of deserving halfwits makes for a nice vacation from the darker and more morally gray default, provided it remains occasional enough to not BECOME the default.

As for the growing mystery plot about Sin Inc...well, I don't really know enough to speculate yet. Are these people just (trans?)humans who took on the deadly sin monikers? Are they alchemical constructs created by a mad wizard? Are they literally gods or demons who personify the sins? Could be any of the above, or something else entirely. I do have a hunch that King Bradley is going to turn out to be Pride using an appropriately self-aggrandizing alias, though. Won't place any bets on Wogdat being the "father" that Lust mentioned, but it wouldn't surprise me either way.


Next week, I'll be watching the second part of "Yona of the Dawn's" two episode pilot.
 
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Yona of the Dawn S1E2: Torn Bonds
Welcome back to Barbie: MILF Princess of the Twilight Yona of the Dawn for the second episode commissioned by @The Narrator. Where last we left off, Yona, the sheltered and immature crown princess of a fantasy-ish Korea-ish kingdom, just had her nice cozy shoujo love triangle plot torn asunder by a surprise visit from George R.R. Martin. One of her ostensible romance options has just launched a successful coup de etat, killing Yona's father before her eyes and ordering his lackeys to kill Yona herself before she's rescued by the other (and now only, I imagine) romance option. The three are all face to face in the palace courtyard, while loyalists and conspirators clash all around them.


After the (still boring and much longer than it needs to be) OP, we backtrack a few minutes to see the events of the previous episode from Hak's perspective. While Yona was walking in on the assassination of her father, Hak was out on the grounds and happened to overhear a snatch of incriminating conversation between three of the guards. When he confronts them about it, they do an extremely bad job of playing innocent.



We know he's going to burst out onto the courtyard in a few minutes and save Yona, so it can be taken for granted that he wins this fight (he also, in said courtyard scene, demonstrated the ability to outfight multiple armed soldiers singlehandedly, so the how isn't much of a question either). We cut back to the scene we already saw between Yona and Soo-Won, and...only now get to see everything that happened between him killing Il and Yona being dragged outside to be executed by his henchmen. So...we're NOT actually starting this episode with Hak's side of the story. We're watching an interqual to the end of the last ep entirely. Or...maybe the final scene of the pilot was just a really, really poorly telegraphed teaser.

-_-

Well, terrible direction and narrative flow aside, this version of the seen has Soo-Won explaining at least some of his motives for doing what he's doing. He appears to be honest, but we already know that he's a very good liar so I'm not quite ready to believe his story until we get some outside verification.

Soo-Won's own father, the crown prince Yoo-Hong, was a brilliant military commander who commanded the respect of all and the admiration of the Kingdom of Kouka's knights and soldiers in particular. He was set to inherit the throne as a promising and very popular new king, when his father broke with tradition and instead named his cautious and peace-loving younger son Il as heir. It was a decision that baffled most but, according to Soo-Won at least, Yoo-Hong wasn't too crestfallen over it. Yoo-Hong claimed that the battlefield was always a better place for him than the throne room anyway, and resolved to serve his brother loyally as chief general in the ever-shifting wars between Kouka's larger and more expansionist neighbors.



He see a flashback of him looking out over the castle with a smile and telling Babby Soo-Won that he's fine with being passed over for the throne. But if you look at the screenshot above and cover up the lower half of Yoo-Hong's face, it really does not appear that that smile extends to his eyes. Granted, this could just be down to imperfect artwork, but the way his face is drawn makes me suspect that this was intentional. So, while Soo-Won may or may not honestly believe that his father took this well, I don't think he actually did. This is also supported by Soo-Won's next assertion; that the newly crowned King Il murdered his own brother, orphaning Soo-Won in the process, almost immediately after the death of their father. Soo-Won claims to have no idea why the peace-loving and weapon-hating Il would have done this.

Reading between the lines and looking at the visual cues, I think its likely that Yoo-Hong was either a) plotting a coup of his own against his younger brother, or b) such a popular, influential, and intractable pro-war figure that Il knew he probably WOULD launch a successful coup in response to Il's coming decision to go isolationist. I'm not sure if that neccessarily justifies him in either case, but it makes a lot more sense than him killing his brother for no reason. Again, Soo-Won may be willfully blind to this aspect of the story, or he may just not care and be knowingly omitting in the story he's telling Yona. Anyway, he - and seemingly a large portion of Kouka's military if not its general populace - sees himself as the rightful heir to the throne, and Il (and by extension Yona) having lost their right to rule due to Il's misdeeds.

Now, Soo-Won may actually have the right of things, in the big picture. While I can't comment on the wisdom of a militaristic versus isolationist foreign policy until I know more about Kouka's surroundings, isolationism in general tends to not work out very well when you have bigger and stronger neighbors. Il also didn't strike me as being the wisest or most competent ruler, and he certainly wasn't doing a good job of preparing his only child for her future role as queen (even in a strongly patriarchal society where the queen doesn't have any real policymaker status, she's going to have a *lot* of soft power). King Il's unpopularity may have been down to foolishness, overconfident chauvinism, and rabble-rousing by disgruntled former Yoo-Hongists, but there may also have been good reasons for it. Regardless, Soo-Won himself is still a prick. Not only is killing Yona probably not as neccessary as he seems to have convinced himself that it is, but his moral cowardice in ordering her death but refusing to watch it happen is NOT a good look for him.

There's also another important detail related to this. In Soo-Won's account of his own father's murder, Il killed Yoo-Hong in person, with one of the swords he hated clutched in his own hand. Whether or not killing Yoo-Hong really was a neccessary evil, Il at least forced himself to confront the reality of what he was doing and accept its moral ramifications. Soo-Won is not able to do that, it seems. For all his talk of heroism and courage on the battlefield, he's coming across as pretty damned cowardly where it actually counts. So yeah. If Yoo-Hong really was as brave and honorable as Soo-Won claims, then Soo-Won is very much failing to live up to his father's legacy, and I doubt he'd make anywhere near as good a leader even in a purely military context. Even the allegedly weak and cowardly Il had more strength of character and convictions than him.

A pity. Between him and Hak, Soo-Won was easily the more fuckable.

After finishing his villain speech, Soo-Won repeats his early statement that he hadn't been planning for Yona to see this, and asks her why she came to her father's quarters at such an unusual hour. Almost too shocked to even cry properly, Yona tells him that she had wanted to tell her father that she loved Soo-Won and wanted to marry him no matter what.

That evidently wasn't what Soo-Won was expecting to hear.



While Soo-Won stares in shock, bafflement, and quite-possibly horrified regret, his henchmen barge in as per the previous take of this scene, led by the shadowy assassin dude from before who is apparently named Kye-Sook. I wonder why Kye-Sook was trying to abduct Yona earlier, if she wasn't expected to be around her father's room at this hour anyway? Also, if he was doing that on Soo-Won's orders, why did Soo-Won not assist him in carrying them out when Yona fled indoors and literally ran right into him?

Anyway, it turns out that it was actually Kye-Sook's idea to kill Yona, and Soo-Won never appears to give the order to actually do it at all. Hmm. Maybe I've badly misjudged him. If so, I maintain that it's more the director's fault than mine (and I'm pretty sure it IS the director/studio at fault. I can't see how this out-of-order exposition and narrative could have ever been even attempted in manga format). What actually happened is that a candle got knocked over as the soldiers moved to seize Yona, catching some curtains on fire and forcing them to let Yona go while they put it out. That's, um...kinda lazy writing, I won't lie. If Yona had deliberately set the curtains on fire in a gambit that they'd prioritize it over her, that could have worked, and might have been the first hint of Yona being forced by her circumstances to start maturing into the warrior woman we saw in the intro. Having it happen just from a lucky coincidence is lazy and deus-ex-machina-y. Anyway, Soo-Won orders his men to recapture Yona as soon as they can. He never says anything about killing, even if Kye-Sook wants him to. After they catch up to the princess and subdue her, one of the soldiers raises his sword for the execution, but he may very well be acting on Kye-Sook's orders rather than Soo-Won's.

In fact, the order of events, within the space of just a few seconds is:

1. Soldier raises his sword to execute Yona.
2. Soo-Won steps out from around a corner.
3. Yona screams out for Soo-Won to have mercy.
4. Hak jumps out of nowhere and kills the soldiers before Soo-Won can react to Yona's plea at all.

So, for all I can tell, maybe Soo-Won was about to order the sword guy to stand down and ask him what the fuck he thinks he's doing. He may not be a bad guy at all, at least by the standards of a warrior-aristocrat culture like Kouka's.

Anyway, Kai-Sook steps out beside Soo-Won and tells Hak to stand down; Kouka has a new king now. Hak thinks Soo-Won and his shady looking acquaintance are joking at first, but Soo-Won grimly and unabashedly assures him that it is the truth; he's just killed his uncle.



Kai-Sook moves to intervene in the ensuing duel, but Soo-Won warns him to stand back or else "you'll lose your head." It seems like he's saying that Hak is so dangerous that someone like Kai-Sook just wouldn't stand a chance against him (but someone like Soo-Won himself would, apparently? interesting), but the intent could also be that he feels obliged to give his old friend and now reluctant enemy the courtesy of a one on one duel and that he himself will be decapitating Kai-Sook if he interferes. The dialogue here also gives us a little more background on Hak, or Son-Hak as his full name apparently is. It was already mentioned that he's a member of an ethnic group called the "wind tribe," but now he's also named as the chief of that tribe, and it's strongly implied that his uncanny fighting ability has a bit of actual airbending magic involved in it. I previously called this setting "fantasy-ish" because we hadn't seen any strong evidence of magic yet, but that may be changing. Still, whoever and whatever Hak is, Soo-Won seems able to duel him on something like an even footing, even if Hak gets the first blood.

Regardless of Soo-Won's own wishes, Kai-Sook doesn't seem all that optimistic about the outcome of this duel after seeing Soo-Won take a glancing shoulder wound, and ends it prematurely by having another soldier put his blade to Yona's throat. Hak reluctantly drops his weapon in the face of this hostage situation. Soo-Won kinda stares blankly as if not sure what he should be doing. When Hak asks Soo-Won why he's doing this, and if the man he always thought he knew was an illusion, it is Kai-Sook rather than the paralyzed Soo-Won who answers.



According to him, it's just as I mused above. Il's pacifism and isolationism left him unable to retain legitimacy in his people's eyes as the nearby wars threatened Kouka's borders and bled away at its trade and economy. He goes further and says that things aren't nearly as rosy for the common people these days as a privileged castle-dwelling aristocrat might have noticed, but then Soo-Won finally finds his spine again and tells Kai-Sook to shut the fuck up and stop trying to speak for the new king in front of his face. Soo-Won makes to execute the now unarmed Hak himself, when a surprise attack by loyalist soldiers (or soldier singular? We only see one, but the framing makes it seem like there are likely others just offscreen) gives him the split second he needs to break free, grab Yona, and escape.

After fighting their way through a few more guards, the three of them (Hak, Yona, and Min-Soo the loyalist rookie soldier who is also the one we saw Hak chatting with during his coffee break) sneak into a wooded area of the outer courtyard and use their temporary respite to plan an escape. Hak might be an animu superswordsman, but more than four or five mooks at a time is still too much for him to handle, on top of the enemy having at least one heavy hitter of their own. Min-Soo, who's even prettier and more femme looking than the other male characters in this show, offers to disguise himself as Yona and act as a decoy while the other two escape the complex.



If nothing else, this show is an incredibly rich husbando mine.

Min-Soo assures them that he'll be able to survive this. Hak doesn't seem nearly as confident, but they don't have many other options.

Unsurprisingly, this plan is 66.67% effective.




Darn. I was starting to kinda like Min-Soo, despite him probably having had less than a minute of accumulated screentime. Even though, unlike some one-off anime characters I might name, he didn't come stumbling into his first scene with his chat with Hak tangled up in his own death flags to make sure I knew how tragic it would be.

...

HE WAS ONE WEEK FROM RETIREMENT! AND ENGAAAAAAAAAAAGED!!!!

:sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry::sad::cry:

...

Sorry, I had to take twenty minutes there to cry my eyes out at the memory. I think I'll be okay now.

Soo-Won and Kai-Sook find the back gate that Hak and Yona escaped through, and the pair of dead guards Hak left behind. Soo-Won, who I suppose is king now, unless he has much less support from the aristocracy and soldiery than he was counting on, says that he'll send people out looking for them immediately, but that he isn't optimistic about their chances of success. Hak's people are native to the wild mountain slopes, and even with Yona weighing him down he has better than even chances of evading pursuit by Koukan soldiers in such conditions. Kai-Sook is silent.

I wonder what the wind tribe's deal is, exactly, with regards to geopolitics. I get the impression that they're nominal subjects of the Koukan throne, and the fact that their chief (or former chief? It was said that Hak "assumed leadership of the tribe at a young age," but he may not still be) is one of Kouka's top generals suggests a warrior culture that the kingdom recruits some elite forces from. Sort of like the role that Druze often play in the middle east, perhaps. But in that case, the lack of other wind tribesmen among the castle guard is puzzling, as one would think they'd be pretty well represented there. Maybe they aren't actually part of Kouka at all, and Hak is an exiled former chief who just got a job with a neighboring kingdom's military...although, no, wait, we saw flashbacks of him and Soo-Won playing together as children, so they must be integrated. We'll hopefully learn more later, if I end up watching further than this episode.

On the topic of geopolitics, it also seems more likely than not that Kai-Sook is an agent of one of those two warring empires we keep hearing about. Presumably, they're supporting Soo-Won's coup in the hope of turning a remilitarized Kouka into a formal client state of theirs and perhaps finally breaking the stalemate against their longtime rival. In modern terms, he'd be like a CIA handler assigned to the puppet dictator that the US wants to install. I'm guessing he tried to unilaterally capture or kill Yona himself earlier because he didn't think Soo-Won had it in him, and his own masters don't really care enough about the nuances of Koukan politics to have given him any orders besides "eliminate all potential challengers to Soo-Won's reign." That also explains why he STOPPED pursuing her as soon as she was in a room with Soo-Won; he didn't want Soo-Won to know what he was doing. Soo-Won might have even been suspecting that his "benefactor" would try something like that, which is why he was right there to protect Yona when Kai-Sook made that attempt.

Out on the wooded mountainside, Yona sits, quiet, trying to come to grips with the harsh realities that she's been kept so dangerously sheltered from. After losing almost everyone and everything she knows and cares about, her ultimatum to Hak - while childish - is pretty understandable.



The next day, Kai-Sook reports to Soo-Won that there's been no success in tracking the fugitives. No surprises there, of course. On a more troubling note, the people are starting to get antsy, and however unpopular King Il might have been they're going to need a better story than "I claim the throne by right of assassination." Maybe they didn't read the room quite as well as they thought they had before launching this plot.

Meanwhile, Yona bemoans the fact that she never uttered a word of thanks to her father for all he'd done for her, and that now it's too late. Hak tells her that the best thing she can do for his memory is survive and try to find happiness somewhere and somehow, as that's certainly what he would have wanted. Then they embrace.



Not sure if this is a chaste, comforting hug, or the beginning of something more. At least one and quite possibly both of them were just betrayed by a lover, so there's going to be that rebound element on top of all the rest of the stress they're being put under.

Then, we finally go back to the scene we opened on at the start of the pilot episode. Yona and her D&D party (one member of which is now recognizable as Hak) are standing on the cliff overlooking a column of soldiers. Presumably either Koukan, or belonging to whatever polity Kai-Sook represents. As she finishes reminiscing, they all leap or (in a few cases) levitate off the cliff and start laying waste to the soldiers below with a barrage of arrows, spears, and magical attacks. So yeah, fantasy rather than fantasy-ish confirmed. After they've done some serious damage, Yona lets herself be seen as well, and commands the soldiers to depart from Kouka at once. So yeah, these are indeed foreigners, probably Kai-Sook's people. When the enemy commander refuses, she shoots him dead herself.

Hold on a second. When we flashed back from this scene at the start of the pilot, Yona's companions had just said they had to pull back, and the implication was that this enemy force would be too much to deal with here and now. Did the writer forget? I think the writer forgot. This show is really bad at keeping continuity around temporal cuts. Anyway, end episode.


That was pretty good, all things considered. The most uninteresting thing about it is the main character (I won't call her a protagonist, at least in these two episodes, since she barely does anything. She's pretty much been an observer in Soo-Won and Hak's story), but that seems to be the point. She WAS uninteresting due to never being forced to grow up or even really acknowledge the world outside of her own house. I can only imagine that's going to change considerably as she grows into the warrior queen we saw at the end, but I can only comment on what I've seen.

Although on that note, I couldn't help but feel slightly disappointed when the flight and extending limbs and elemental conjuration all started going off. Up until the very, very, VERY end of this two-part intro episode, this setting had a really nice low fantasy feel to it, with magic being rare and relatively subtle. The change to Dungeons and Dragons style superheroics was way too jarring, and I feel like a little of the story's charm was lost.

There's plenty of room for things to get stupid in the coming episodes. In particular, the Wind Tribe stuff has a high probability of being dumb, and I'm not sure - based on the level of writing quality on display so far - that the politics of Kouka and its neighbors are going to stay convincing for long. I'm not saying that it WILL get bad as it continues. After all, as I acknowledged, this opening was pretty strong despite some annoying flaws. It's more that so far, the story's focus has been on a small number of characters interacting with each other out of mostly personal motivations. I've seen far too many stories that start out that way end up falling apart when the author tries to widen the scope to much larger casts and serious worldbuilding, and the direction that "Yona of the Dawn" is moving in will clearly lean heavily on both those things.

It could be good. Hell, it could even be great. But if I do continue this at some point, it's not going to be with particularly high expectations.


Anyway, next week will be more Fullmetal Alchemist: Brotherhood. I intend to keep to that show doggedly.
 
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Fullmetal Alchemist Brotherhood S1E4: An Alchemist's Anguish
This episode's OP is followed by a "last time, on..." slideshow and narration summarizing the events in Liore. Including the insistence, this time by an unnamed and seemingly non-diagetic narrator, that Cornello's philosopher's stone was, in fact, "a fake."



Either I'm meant to assume that this unknown narrator is also telling the story from Edward's delusional perspective, or that this actually was a "fake" philosopher's stone. In either case, the show really seems to want me to think that its a fake, so I would really appreciate it if people - particularly people who have already seen this show and should therefore know better - could stop lecturing me about how I'm being stupid for taking that at face value.

Anyway, the episode proper opens on the nighttime streets of what looks like the capital, where a state alchemist with a silly moustache named Basque Grand, aka the Iron Blood Alchemist, is being confronted by a mysterious albino-ish man who rambles about how alchemists who have turned their backs on God must perish. We don't know which god he's talking about here, but Basque immediately puts this guy together with reports of an assassin who's been targeting state alchemists. Basque wins the initiative roll, and opens up with a flawless Tomoe Protocol using just the materials from the pipes and pavement underfoot. Impressive.



However, Mystery Assassin is agile enough to evade the cannonballs and close the distance, and also to avoid being tangled up in the chains that Basque launches next. When Basque finally manages to seal him inside a conjured prison of cement and iron, Mystery Assassin surprises him by literally punching through the wall with a sound like a demolition charge in exactly the right spot to grab Basque by the face and electrocute him.

Later that night, Major Hughs and Armstrong (the two friendlier authority figures we met in the pilot) are leading the crime scene investigation. The entire group is surprised when a perfectly ordinary looking car pulls up and Bigtime Brannigan Un-Il The Magnificent gets out. For a fascist dictator, this guy knows how to keep a low profile when he wants to, though I suppose being a speed-blitzing superhuman with little need of bodyguards helps with that. Anyway, King Kong Kalashnikov IV tells Armstrong that he has access to as many resources as he thinks needs for this investigation, and ominously follows that up by saying that "we need to crack down on traitors." It definitely feels like an implicit threat.

Cut to the local state alchemist HQ the next morning. Some pencil pushers are having a friendly group whining session about Col. Mustang throwing huge amounts of paperwork at them without warning. Some of that paperwork seems to be related to some corrupt official who the Elric brothers confronted offscreen, presumably a short time before the McDougal and Cornello shenanigans. Busy brothers; they weren't kidding about Mustang never giving them a break. I suppose that when one is both a) absurdly powerful, and b) young and tractable, the state really would want to use you rather than someone less potent or reliable as often as possible. Speak of the devil(s), the Elrics walk in just in time for Edward to fix a radio that one of the desk jockeys was struggling with.



Notably, Edward does it with just a touch, whereas Alphonse needed to draw a glyph around a broken radio to repair it last episode. Nice reminder that while Alphonse is a powerful alchemist, and has a physical advantage in some ways thanks to his body's size and toughness, Edward is on another level.

The brothers' good mood ends when they, too, have a meeting with Mustang. He debriefs them on the Liore mission, and expresses disappointment that this alchemist's stone was just another fake. Edward responds with...well...



Okay this is seriously pissing me off. What is a "fake" philosopher's stone, and what can a real one do that it can't aside from being harder to break? Why are fake stones disappointing if their powers are (at least in some cases) "incredible?" I can see them being crestfallen that it broke, but that isn't what Edward, Alphonse, or now Mustang have expressed their disappointment about. Then, after having 1) defeated Cornello and seen the stone break, 2) confronted Rose outside the temple, 3) ridden the train all the way back from Liore to the capital, however long that takes, and 4) discussed the Liore case with Mustang for a few minutes, Edward only NOW says - in a musing tone of voice that makes it clear that it only just now occurred to him - that the fake philosopher's stone could maaaaaaybe still be a useful thing to research in the interest of getting their bodies back.

-_-

If we never hear about this fake vs. real philosopher's stone dichotomy again, it'll be too soon.

Mustang offers to put them in touch with a live transmutation specialist named Shou Tucker. Cornello seemed to be something of a chimera specialist himself, so this guy might have encountered something similar to Cornello's stone. Alphonse is surprised at Mustang actually offering to help them and giving them time to use that help. Edward is sure he must have ulterior motives. Man, this guy really is popular isn't he? Everyone in the entire department seems to just love him. Anyway, Edward's suspicions aren't EXPLICITLY confirmed, but when Mustang escorts them to Tucker's home personally while explaining all about his shady past and highly suspicious recent experiments...okay, yeah, it's basically explicit, Mustang just wants them to investigate the guy under the guise of wanting to study his work. Mustang really wouldn't be so obnoxious if he was just honest about what he wanted from his underlings instead of being all passive aggressive and underhanded about it. Why does he even do this? Eh, I guess I've met people like that.

So, apparently this Tucker guy created a chimera that could speak and understand human languages. The government never got a chance to take a really good look at it though; according to the available accounts, the small, wooly creature just said the words "I want to die" and starved itself to death. Reading between the lines, it seems pretty clear that the government suspects him of practicing human transmutation, which is why Mustang is Musting the brothers into this meeting.

As soon as they knock on the door, Edward is knocked down by a large and very enthusiastic dog that takes him by surprise.

Oh, it's this one. The dog girl episode. Like I said when I started this series, this was basically the only thing I knew about FMA before starting the pilot. I guess I'm just surprised that it's so close to the beginning. Was expecting it to be much later in the story.

Anyway, the dog is followed out onto the porch by a diabetically cute little girl who I imagine will end up much better acquainted with it soon. She, in turn, is followed by her father, who ushers the boys inside and tells the girl (who he names as Nina) to go tie up the dog like she was supposed to. Shou Tucker, the Sewing Life Alchemist, has lived alone with his daughter ever since his wife ran away for unspecified reasons. I'll bet money that she was either horrified after he turned someone into the suicidal wooly thing, or she WAS the person who got turned into the suicidal wooly thing. Shou agrees to share his research with the Elrics, on the condition that he tells them why they want to learn about it, and that he learns something interesting about their famous abilities in turn. Mustang starts to barter, but Edward cuts him off and tells their story (probably excluding Wogdat) to Shou.

Shou reacts with muted surprise and horror to the concept of an eleven year old child trying to practice human transmutation. Meanwhile, the camera lingers ominously on Nina and Doggo as they sit outside.



After expressing sympathy for the Elrics, Shou leads them and Mustang into his laboratory. It's got a very heavy bolted iron door, but that by itself isn't suspicious given that the guy fuses large animals together for a living. Inside is a biochem lab, a bunch of pre and post experiment animal subjects in cages, and a large library of bio-alchemy focused books, including experimental journals by Shou Tucker himself.

They don't ask him about fake philosopher's stones with incredible powers though. You know, the one reason why the Elrics were actually interested in this guy in the first place.

-__-

Anyway, Shou gives the brothers permission to stay as long as they want, and Mustang leaves. Later that afternoon, while the brothers are still going through the library, Nina approaches them and plays peekaboo with Alphonse, much to the chagrin of Edward who is still monofocused on the reading. Luckily for the other two, Alexander the dog arrives just in time to shut Edward up in his now-customary way.



Edward does get another of his badass-if-slightly-too-long quips off during the ensuing tantrum, but it's not enough to redignify him. At sunset, some blonde guy in a uniform shows up to drive the Elrics home, and also to tell Shou that "the Colonel" (either Mustang or a different one) wishes to remind him that Assessment Day is coming, so he'd better get his presentation together.



After they leave, Shou collapses against the door, looking exhausted and anxious. When Nina comes over and asks him what the assessment is all about, he explains to her that state alchemists engaged in research need to report on their findings every year in order to keep getting grant money. Last year's evaluation found his work unsatisfactory, and another bad report could lead to him losing his state sponsorship. She cheerfully reassures him that he'll do fine this time, because her dad is the smartest. He tells her he's sure as well, but is clearly not optimistic about it.

The next day, the Elrics come back and resume their studying. Nina and Alexander show up. Edward challenges Alexander to a duel. Everyone seems to be growing on each other.



I'm starting to warm up to Nina. She has a little more personality to her now than just "cute child who you're clearly meant to feel bad when something happens to." Also, my foreknowledge might have been hardening me preemptively, so there could have been bias there to begin with. Meanwhile, Shou is working sleeplessly away in his lab, and clearly giving in to despair.

Cut to the capital. Major Hughes and Armstrong are in the former's office, trying to puzzle out the state alchemist killing guy's motive. If he was a dissident or terrorist, he'd be going after any government or military target that presented itself instead of targeting alchemists specifically. Armstrong suggests that he may be motivated by envy; with the pay and legal privileges that state alchemists are granted, one who failed to make the cut might be going on a revenge spree. As they mull over the possibilities, Armstrong bemoans the status of state alchemists in modern times. In the past, he says, alchemists were meant to be scientists, seekers of truth, part of an international society that worked toward the betterment of all mankind. Now, at least in this country, alchemists are pressured to get their state sanctions and let themselves be repurposed into living weapons. He follows this up immediately by mentioning that there are many who might also be seeking revenge after the Ishvalan Civil War.

Hmm.

Back in the pilot, we heard Mustang and Chadhammer Khan The Magnificent talking about an "Ishvalan War of Extermination." Are these the same conflict, or two separate ones? If they had a civil war of extermination then I'm imagining a situation like Iraq or Syria; a formerly unified country divided along ethnic lines, with one or more groups trying to cleanse the others. On the other hand, the fact that they call it the Ishvalan civil war, as opposed to just the civil war, suggests that we aren't in Ishval. The name of the country this is all set in still hasn't been given, unless I missed it, but the way they're talking about this makes it sound like Ishval is somewhere else. So, they staged some kind of intervention in a foreign civil war? Were ishvalites of different ethnic groups exterminating each other, or was it only Immortan Chungus Un and his forces who made with the genocide once they arrived? The backstory seems to be getting more complicated, which is good. Geopolitics are never simple, and when authors frame them as such it makes their worlds a bit less convincing.

Anyway, back to the Tucker household later that afternoon, just before sundown. Shou tells the Elrics that his family was dirt poor before he got his State Alchemist status, and that this is what led to his wife walking out on them. Okay, still not sure if I buy this, but moving on. The way that this comes right after the previous discussion between Hughes and Armstrong seems to imply that the Tuckers were victims of the new policies meant to pressure alchemists to join the military, which...well, that really doesn't seem like the segment of the population you want to antagonize, does it? Well, the rash of rogue alchemists we've been seeing throughout the show would definitely be a logical consequence of this. I wonder if this was just a boneheaded mistake on Chumba Wumba's part, or if he calculated that the benefits outweighed the cost of magical terrorism. But regardless, Shou says, rather ominously, that he will do anything to avoid sinking back into that kind of poverty.

...

I'm not sure if I buy this, honestly. The more I think about it, the more problems jump out at me. Is there really not a black market for alchemy services? In a country where most alchemists have been nationalized, and most state alchemists are either used for military and policing duties are sent to toil in the academic publication mines, you'd think there'd be a big demand for bootleg alchemy in the private sector, right?

Also, is emigration just not an option? Surely there must be a country where alchemists - perhaps even fleshcrafters in particular - are in greater demand. Of course, given that this is a military dystopia it might well be that the borders are closed.

And like. Is there really no other option AS A STATE ALCHEMIST besides pursuing this apparently fruitless line of research? Could he not just become a research partner in someone else's project? And...even if he isn't a fighting kind of alchemist, does the state really have no need for people to like...maintain infrastructure? Tend the state chimera herds? Anything?

Alchemy is such a powerful and versatile kind of magic, and seemingly so fundamental to this setting's society, that I am really not seeing how a skilled alchemist could ever be at risk of poverty unless he owes a massive amount of debt or something.

There could be a perfectly satisfying explanation for this. But I think it's one that really needs to be made explicit, because I'm just drawing a blank.

...

After Nina tries to cheer him up, Shou asks her if she wants to play with him tomorrow. Uh oh. She's mentioned to Alphonse that she's gotten a bit lonely since her dad's been spending so much time in the lab and less of it with her, so she's excited to hear this and runs up to hug him.

Cut to the following morning. The Elrics ring the doorbell, but no one answers, so they just barge in. Great houseguests, these two. I might expect this from Edward, but Alphonse is the one who actually opens the door weirdly enough. They eventually find Shou crouching over his newest creation, babbling excitedly to himself that he'd finally succeeded in making a sapient, speech-capable chimera.



When the creature, which had just been taught Edward's name, also identifies him as the older of two brothers, Edward starts to suspect what's really happened. He asks Shou to remind him when he got his state alchemist certification. Two years ago. Around when his wife left him. Maybe my initial suspicion was correct after all. When Edward then asks him, much more accusingly, where Nina and Alexander are, Shou's demeanor changes entirely from absentminded scientist to hardened criminal.

No match for Edward, though. Edward easily restrains him. When he tries to make some kind of moral equivalence between what he just did and what the Elric brothers tried to do with their mother...well, if Alphonse hadn't grabbed his brother's first right when he did, Edward would have made the beating a fatal rather than merely disfiguring one. The worst part, though, comes a moment later, when Alexina looks dazedly up at her wounded sort-of-father and asks, in her halting voice, if he's hurt and needs help.



Flash forward to what I assume is later that day, or perhaps the next. The Elrics sit on the steps outside of HQ, getting soaked by the rain and not caring. Mustang and Hawkeye descend past them. The latter describes the Tuckers' case as the most diabolical thing she'd ever heard of. The former comes close to admitting that he finds nothing morally wrong with what Shou did and only condemns him for defying the laws of the state. He cheerily tells the Elrics that they might have to get their hands dirty too, some day. As if "getting one's hands dirty" in its usual meaning is anywhere close to the moral level of experimenting on your own daughter, and thinking of that twisted, brain-damaged dog thing that barely remembers who it used to be as a success.

For Edward, this is a bit of a learning experience. After the Liore adventure, he and Alphonse returned mostly triumphant, and Edward was validated in his smug denunciation of religion and his belief in the ultimate power of human rationalism and ingenuity. Even though he and his brother paid dearly for their attempt at the stock godly act of resurrecting the dead, he comforted himself by seeing a kind of grandeur in it. He did have that kind of proud look on his face when he alluded to the story of Not!Icarus and Not!Daedalus. But now, after that adventure's rush of power and victory, he's brought down to earth almost as jarringly as if he really had had his wings melted.



Whatever magical secrets he might have learned from Wogdat, Edward Elric is still only human. And he's been simultaneously reminded of what a truly awful thing that can be.

The episode closes with the mysterious assassin who Hughes and Armstrong have been after breaking into the jail where the Tuckers are being held. Alexina and Shou are in the same cell for some fucking reason. The intruder solemnly executes Shou and then, after expressing sorrow that he must do this, euthanizes Alexina. Presumably, the Elrics will be meeting this guy face to face in the coming episode.


Another mixed bag of an episode. It was definitely better than "City of Heresy," but still flawed in some pretty hard to overlook ways.

The plot hook at the beginning is a baffling continuation of the already baffling "fake philosopher's stone" plot point, and it's not getting any better. I still am trying to parse what was supposed to be going on there. Didn't they want to meet Shou so that they could ask him about fake philosopher's stones that might have come up in his bio-alchemy research? I guess maybe they were just searching his library for any mention of that kind of thing, but like...that plot point was completely forgotten either way. Did they find anything relevant in those books? The show doesn't seem to care. It doesn't seem to expect us to remember why they were even reading those books in the first place? We know that Edward told Shou the story of how he and Alphonse got dismembered, but did he ask about the fake philosopher's stone? There was no mention of it once they met Shou. There was nothing that seemed to be alluding to his having asked about it offscreen.

I really can't wait for the show to just sweep this fake philosopher's stone thing under the rug (I've been told that this is an early plot point only, so I look forward). Everything about it is nonsensical, or at least so poorly communicated to the audience that it might as well be nonsense. And characters KEEP saying and doing totally confounding things whenever it's driving the plot. Not even building off of the same confounding things, it's just more bits of completely disconnected inanity. Maybe that's intentional. A true philosopher's stone can turn lead into gold, after all, so maybe the idea is that a fake one can turn storylines into gibberish.

The other major issue is that I'm still not sure how the Tuckers could have been poor, or of what Shou thought he was going to accomplish with these experiments. Sure, his loving father and grieving former husband persona was just an act being affected by a psychopath, but like...what was his psychopathic goal? Presumably, his alleged creation of a talking chimera was what brought him to the state's attention and earned him his badge, but then, what was he planning to do once he got in? He had to have known they'd be expecting more of these creations from him. The way that the episode put focus on the pressure placed on the alchemists by the state right before the Alexina reveal made it SEEM like Shou was supposed to be driven by desperation, but then when Edward is interrogating him - and when he's mumbling to himself in his cell at the end - he's all about how sacrifices must be made for science. He only seemed to be concerned about poverty at all when he was putting on his harmless absent-minded-professor family man act. The hows and whys of this just...I don't know.

With those issues out of the way, I think this episode succeeded at the main things it was trying to do. Introduce bio-alchemy in greater depth, and show the horrors enabled by it. Explain why there's such a taboo against human transmutation, and hint that the government might be fine with extralegal experiments in it so long as they were strictly controlled and kept a secret, assuming it had something to gain from this research. And, finally and most importantly, to teach Edward a very painful lesson in humility, as well as warning him about where his obsession could lead if he lets it consume him altogether. This is all good stuff. I feel like it just needed to cook a little longer before writing, so that the actual hows and whys of the story wouldn't need to be fudged in the interest of getting the message and themes across.

Granted, some of this may be adaptation issues. I know from screenshots I've seen that this little story arc was significantly different in the 2003 anime, and I'm not sure which version is either more sensible or more faithful to the manga.

It's also notable, I think, that in the original manga run, this would be our first indication that the government the Elrics serve might not be all that nice. Since the pilot with McDougal was retconned in for Brotherhood, the Liore arc casts the state as a force for good intervening against villainous criminals, and the flashback about how Edward and Elric lost their bodies came later, the worst thing I'd have known about the authorities up to this point is that the brothers' immediate supervisor is kind of a jerk. Here, we hear Medulla Oblongata being referred to as "fuhrer" and making ominous mouth noises about dealing with traitors, get a sense of how coercive and manipulative the state policy on alchemy is, etc. Though I still wish I knew exactly what things are like for a non-state alchemist and how one could possibly be poor, unless we're supposed to infer that Shou was lying about that as well (though you'd think that would be easy for the brothers to verify...).

Well, I'm looking forward to the next episode, when they'll presumably be confronting this assassin. Might get the plot moving in a direction more like what the pilot indicated.
 
OK K.O.! Let's Be Heroes S1E28: We've Got Fleas
This review was commissioned, quite some time ago, by @Gitaxian. It was a long time until either of us were able to find a good streaming source, but here we are.

The awkwardly titled "OK K.O.! Let's Be Heroes" is apparently the brainchild of similarly awkward-named individual Ian Jones-Quarterly. Ian was a voice actor and storyboarder for Adventure Time, Steven Universe, and some other American cartoons of the early and mid 2010's era. He submitted the pilot for his own show to Cartoon Network in the summer of 2013, but it didn't get approval for production of a season until four years later. It apparently did well enough to be greenlit for a second season in 2018, and it's third is currently on the air.

I don't know if it's just that I haven't been paying attention to Cartoon Network for a while now, aside from my (dwindling, and at this point mostly gone) interest in Steven Universe, but I'd never heard of this show until the commission. So, I have no idea what to expect aside from the art style being somewhat reminiscent of AT and/or SU. This is the twenty-eighth episode of the first season; hopefully, I'm not going to be missing any superimportant context.


The OP features a fairly lazy and uninspired song, albeit with good vocals, over some very confusing and fast-moving imagery of Earth being overrun by some kind of crystalline hard-light madness (there's the Steven Universe visual parallels, I suppose) and some grotesque looking characters who resemble overmuscled and poorly drawn knockoffs of the SU and AT cast JoJoposing at each other. It's also very short. The only impression that this intro manages to leave on me is mild confusion. Then, we open on some spiky-haired little doofus with a red bandanna getting way too enthusiastic about the nachos he's making.



However, he yields them to his pet compsognathus when it approaches him and starts begging. I guess that's a thing, then. It's name is Babyteeth, and apparently it's the mascot of whatever hero team Bandanna is a member of.


I thought he was in a kitchen at first, but now it looks like a camping supply store that also happens to sell swords. Odd place for a meal.

As the dinosaur eats, an alarm suddenly sounds, the episode title card drops for about half a second, and then we jump over to a violet haired girl and an overmuscled Andorian boy hanging out near the building's entrance. They nonchalantly muse over what kind of threat the alarm is warning them about today, and neither of them seem to be taking the situation at all seriously. Bandanna runs up to them, looking much more excited and stressed about the situation, and the three of them go outside without saying anything else to each other.



The other two (who I think we're meant to infer are the senior team members) continue to seem nonchalant as a portal opens up in the sky and drops a giant metal cube onto the empty lot in front of the entrance. However, even they start looking a bit more alive when the box starts deforming from within and making monster noises. The steroid abusing Andorian, who is named as Rad, says that he feels bad about "clobbering a robot that can't even open its own box" and turns to leave so that Violet and Bandanna (who is apparently the titular "KO") can get some xp from it.

Apparently, their job is to destroy robots whenever a box containing one is delivered via wormhole to their doorstep. Um, okay.

Rad is proven wrong in his assessment, however, when the robot in question does in fact cleave its way out of the box once it grows sufficiently impatient. It looks like a mechanical dog/lizard hybrid wearing shades.


KO approaches the newcomer, commenting on its visual differences from the other robots (its "brothers and sister," as he calls them) and musing on the possibility of the boxbots having their own mascot "animal" as a counterpart to Babyteeth. Rad and Violet shout some warnings at KO to step back from the entity, which he completely ignores, forcing Rad to dive in and save him when the boxbot lunges to the attack.


So, to compare what we've seen thus far with a work the creator was previously involved with: remember season 1 of Steven Universe, when every other episode (at a conservative estimate) went like this?

GEMS: Steven, don't do this thing.

STEVEN: But I want to do this thing! Otherwise I won't be a hero like you!

GEMS: Seriously Steven doing the thing would be really dumb and put you and everyone else in danger for no good reason.

STEVEN: *does the thing*

GEMS: Oh Steven, you're so precocious.~

STEVEN: I know, right? My chronic stupidity and inability to follow basic fucking instructions even when I know innocent lives are on the line - even for a child of my apparent age - are what make me a likeable protagonist and keep viewer investment no matter how many times I do the things!

Remember that? Good times, good times. I'm glad that this show is choosing the absolute best aspects of the best part of the creator's previous projects and doubling down on them. There's nothing quite like watching an artist improve over time.

Violet and Rad try to engage the boxbot with fireballs and telekinesis rays, respectively, but they kinda suck at it and end up hurting themselves and damaging the environment more than they hinder the enemy. KO, apparently determined to make me despise him, marches up to the mechabeast that just tried to murder him for no reason and attempts diplomacy once again. Unfortunately, it does not murder him while the other two are out of reach. Instead, it just burrows into the concrete, pelting KO with a spray of shrapnel in the process.


The team regroups behind the cover of a (their?) garishly colored and heavily armed van to come up with some better tactics for dealing with this thing. I'd say to use the giant artillery cannon and rocket launchers mounted on the van, but maybe they don't have the keys to it or something. KO tries a storybook logic approach of summoning their own animal companion to deal with the boxbots' one, but Babyteeth disregards his call in favor of nachos. Then, the van door opens and this little girl in a labcoat suddenly comes out and tells them that they should try becoming animals themselves to deal with this one, which they can do by letting a therianthrope bite them. And, it just so happens, there's a werecat sitting in front of a gas station right across the street.

Okay. Sure. Why the hell not.

Without thinking to ask scientist girl if she would mind letting them use her heavily armed vehicle instead, the three of them exchange some extremely unfunny puns and then dash across the street to beg the werecat to bite them.


After doing so, it tells them that it had been waiting to do that for a long time, and the three of them react to that news as if they've just been sexually assaulted.

No, I'm not joking or exaggerating. No, this isn't just my overly cynical perspective distorting the text of a mostly innocuous kids' show. Here is the dialogue in question, quoted word for word:

WERECAT (after biting all three of them): Woohoohoo! I've been wanting to do that for ages!

VIOLET: Wait...you wanted to bite us?

RAD (pulling his bitten hand away from his mouth in disgust): Ew!

KO: Ewwwww you weren't supposed to LIKE it!

VIOLET: Ughhhhh...

RAD: That cannot be legal.

So, um, yeah. I don't think this can be read as anything other than the writers trying to turn this into a rape joke. On top of how age inappropriate and tasteless this is, it's just so incredible what the fuck. How the hell did the three people who ASKED the werecat to bite them possibly get that vibe out of him doing it? Isn't biting people what werebeasts just do? Isn't that their whole thing? Nothing about the cat's body language or tone of voice implied that he was getting anything like sexual gratification out of biting them. Just that biting people is fun, because he's a werecat.

Is the humor supposed to be in where the fuck our heroes are supposed to be getting this from? Or are we meant to agree with them? Is it just going for shock value? I don't even know how to TRY to assess this attempted joke.

Anyway, the three of them transform into animal hybrids of different kinds, apparently based on their own "inner animals" rather than the species of the creature that bit them. There are some more really bad puns here. Not bad in the enjoyably cringey way. Bad in the just extremely lazy, obvious, and low effort way.


So, they beat up the dog robot and send it flying toward a high tech looking building called "Boxmore" which explodes in a giant mushroom cloud when it lands.


Is Boxmore the place where the evil boxed robots come from? If so, why do they need to use wormholes to deposit their creations in front of a building just a few doors away? And...why don't the team just attack them proactively? Is that supposed to be a joke in and of itself? Maybe if I had some more context this would be funnier.

Well, with that taken care of, Violet raises the subject of how they can turn themselves back now, and the other two look much less satisfied with themselves. KO suggests letting the werecat bite them again, but the other two react with sexual disgust. Why.

Eventually, they decide to just stay as animal people, and we have a montage of minimum effort animal jokes that every cartoon from Merry Melodies onward has done a million times. Cat getting in people's way, rabbit being obsessed with carrots, and not even putting a novel spin on any of them. KO finds some neighborhood dogs to hang out with, apparently not caring about them not even being sapient (unless they actually are? Maybe dogs are smarter in this world, idk), and catches fleas from them. He then spreads them to the other two, and the entire trio start going mad with itching.

KO suggests going to talk to the werecat again, but the other two still adamantly refuse. Instead, they try getting themselves shaved to deprive the fleas of habitat, but their cursed fur grows back almost immediately.

They drew all four pairs of nipples on the fucking cat why would you do this holy shit.

Next, they try getting a nearly naked human to bite them, because that isn't as creepy and uncomfortable as getting a werecat to do it I guess. No results. They finally go back to the werecat (who continues to act like a perfectly normal, if bite-happy, being, despite their insistence on creepiness) but he tells them that he doesn't know how to reverse therianthropy even if he can inflict it. They then run into a werebunny named Potato who provides an alternate solution. Namely, escorting them to a furry convention, dressed in a human suit.

Yes. Really.


The dog robot is also here, wearing a T-shirt that says "human" on it. I guess beating it up and detonating a power plant with it before didn't actually do anything. Just as they're about to engage in combat for a second time, Potato the bunnygirl calls an armistice. And then, even though robodog was clearly the one who first made hostile motions toward them rather than the reverse, we're told that it just works for the furry convention now and has T-shirts for them. Okay. Sure. Whatever. That twist sure built off of the themes of the episode up until now, didn't it.

Then the three of them are back at their base, wearing human fursuits and applying flea medication to themselves. The end.


This could have been a decent little low-brow comedy show if even a single one of the gags was even remotely funny. At best, the jokes were all puns and visual gags that wore out their welcome literally decades ago in the world of cartoons. At worst, they're utterly cringey in the way that only attempted shock humor that fails to actually shock can be. The ending felt like they ran out of time and just wrapped everything up in thirty seconds with what could have been a good punchline if there'd been any setup for it. The titular fleas were only a problem for a small percentage of the episode's runtime.

It's honestly hard for me to think of anything good to say about this episode. And it isn't even like RWBY, which at least managed to be bad in intricate and multifaceted ways that lend themselves to interesting dissection and/or mockery. It's just lazy and boring all the way through. Unremarkably, banally bad.

Maybe this was an exceptionally poor episode of OK K.O.! Let's Be Heroes, and unrepresentative of the show's general quality. If it isn't, then Cartoon Network has fallen far since the days of Over The Garden Wall and early Adventure Time, even if it has some of the same creators on board.
 
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