Hello folks, and welcome back to Wrong Every Time. Today I’m eager to dive back into Star Driver, as we dispense with school festival theatrics and surge onwards towards our grand finale. As expected, our last episode featured the cast’s long-awaited festival performance, which turned out to also serve as the vehicle for conveying the Southern Cross legend which set this whole Cybody situation in motion. There were tragic betrayals, heartfelt declarations of love, and even a brief appearance by what seemed to be an actual alien, here briefly controlling Sarina in order to ask Takuto the essential question: will he use the power of the Cybodies for selfish, destructive means, or only for love?

These revelations were certainly dramatic, but frankly, they also fell perfectly in line with the story as articulated so far. There was always going to be some spark of the supernatural that gave Southern Cross this power, and even across the stories of Toshio and Sugata, we’ve already seen how the tale of the Cybodies is an eternal, circular conflict, each generation weighing the responsibilities of tradition against their personal desires for power or freedom. This is also far from the first time Enokido has tethered thematic or contextual revelation to the theater; frankly, after his work on Utena and FLCL, I’d have been surprised if this play didn’t offer some kind of narrative bombshell. As fellow long-time collaborators with Kunihiko Ikuhara, Igarashi and Enokido both understand how theater and anime are adjacent art forms, each serving as ideal vectors for heightened emotions and imaginative aesthetic pageantry, each asking us to find the human and universal in the fantastical and melodramatic. With the stage now set for Takuto to craft his own legend, let’s see where this story goes!

Episode 23

“Emperor.” Aw shit, seems like it’s time for Sugata to make his play. And no surprise either, given he just learned that his attendants and Kate have secretly been managing his powers behind his back, and essentially making a mockery of his destined union with Wako. Of course, Kate only wants to help and be close to him, but I somehow doubt he’ll see her actions in such a sympathetic light

We open at the dojo, panning to a calligraphy print stating “Nothingness” before revealing Takuto and Sugata prepped for practice. The print could be interpreted in multiple ways – either the “nothingness” or emptiness of sexual release, the nothingness Takuto currently feels towards his alleged confidants, or the nothingness of the feminine “other,” the lack of a “thing” that Shakespeare was alluding to in the title “Much Ado About Nothing”

“I wonder what it means to fall in love with someone. The desire to embrace her, or the desire to control her?” Sugata’s words are cold and cynical, implying not only that he’s never been in love with Wako, but also that he cannot see love as a union of desires, only an imposition on the other

“Are you trying to find a vulnerability by releasing a barrage of words, Master?” In response, Takuto swiftly defuses his statements, framing them as deliberate nonsense intended to disrupt his concentration – an expression of their rivalry, not a true articulation of Sugata’s feelings

And so Sugata raises the stakes of their prior wager: “if you beat me, I’ll give you Wako.”

Some interesting symbolism in their stances and weapon preferences. Sugata holds his single sword straight ahead, essentially embodying the masculine phallus or “King’s Pillar,” while Takuto holds two swords outwards with his arms wide, as if to embrace his opponent

“Technically I won today, and you know it.” “You failed to finish me off.” “Come on, it’s just practice.” “I’m reproaching you for your carefree attitude.” Takuto always tries to be gentle with his opponents, which Sugata interprets as a lack of conviction or seriousness

The two continue to articulate the contrast in their philosophies, with Sugata preferring a “rigidity that can deal with all situations” (more phallic undertones) where Takuto prefers flexibility

As is frequently the case, it takes Sugata directly framing this disagreement in terms of protecting Wako for Takuto to get serious

And out in the hall, another of Toshio’s paintings, which Takuto at this point regards with inherent distrust. Each of them slotting into their roles within the cycle

And then, a new painting arrives – this one of Sugata himself. Sugata immediately connects the dots, telling Takuto that “it seems I’ve met your father.” Right, we still haven’t had the confrontation between Takuto and Toshio! Given Toshio’s clear desire to maintain his grip on the Cybodies, and subsequently on the power of youth itself, I can’t imagine he’ll gracefully accept the existence of an heir who’s the proper age for these adolescent contests

Neither Takuto nor Wako are surprised by this, which I appreciate – they’ve been following the same dang story we have. Wako immediately guesses Toshio’s agelessness is due to his 1st Phase, with Takuto follows up by admitting he’d suspected his father was a member of Kiraboshi for quite some time

“It’s like you, but it’s not you. I sense a terrible kind of libido.” Toshio can only paint what he sees: the caged women he covets, and reflections of himself

“All I can sense is the artist’s control over his subject.” Yep. Every Toshio composition is a prison

“Isn’t this the state of calm that will allow me to make the correct decision in any situation?” Takuto makes a big show of being unfazed by this development. Graceful work here, furthering his argument with Sugata while simultaneously emphasizing their closeness through the ease of their banter

And in response to this provocation, Sugata responds with his own by asking Wako on a date

Charming Wako animation as she tries to calm down before the date

Oh my god Sugata, what are you wearing. Your shirt makes you look like a waiter at a cowboy-themed restaurant

Benio is outraged to hear about this date. Always good to hear from her – and her position serves as a clean echo of Takuto’s, voicing his unspoken frustrations through her stomping off in anger

“Since we’re no longer Drivers, how long are we going to stay with Kiraboshi? Your club manager confessed her feelings for you last week, didn’t she?” “Well, what about you? You got a love letter from Mayumi.” The juxtaposition of questions emphasizes precisely what Kiraboshi represents – it is only the knife’s edge of love unfulfilled, of youth in full splendor, of passion unconsummated. They’re not just moving past Kiraboshi, they’re moving towards more adult relationships, the partnerships Kiraboshi members can only long for

“These days you seem somewhat uneasy when it’s just the two of us.” It’s true, Wako doesn’t really possess a natural rapport with Sugata. It’s not surprising; not only has Sugata himself changed significantly, but the nature of their relationship is no longer one of earnest childhood friends. Their duties now hang too close to them to ever be forgotten

Sugata probes her on her feelings towards Takuto through a series of escalations, leading to him asking her if she wants to kiss. Her silence is answer enough, and he demurs, saying he was only joking

Meanwhile, Takuto’s asking himself the same question as he watches a couple kiss in a movie

And at last, he meets Toshio! Toshio starts in with his usual mild-mannered evasions, and Takuto punches him straight in the fuckin’ face. Fuck yeah, Takuto!

“Just as I thought, our only choice is to annihilate him.” Extremely like Toshio to blame this on Takuto’s temperament rather than his own actions

Even the Kiraboshi Boys know they can no longer trust Head, and thus plan to make their own final attack on Takuto

Ah, good old Cafe EATER. Takuto and Wako meet for a meal there after the date

Sugata actually suggested this post-date date, seemingly inviting Wako to solidify her feelings and make her choice

But then, zero-time! And this time he’s facing three opponents at once!

“By assuming the risk of Cybody regeneration, those three have at least proven they’re braver than you.” “Good for them, being in the bloom of their youth.” Ryousuke still bitter towards Toshio, and Toshio still unconcerned about anything but his own eventual victory

Nice choreography for this fight, emphasizing the weight of these three heavy Cybodies in contrast with Tauburn’s grace and agility

Oh damn, a gorgeous cut of Tauburn’s missiles dancing and dodging his opponent’s projectiles. Great smoke animation, lovely fluid movement taking their momentum into account

Oh no, Tauburn is pinned! The color design nicely emphasizes the drama of this moment, with his opponent’s imposing black Cybody essentially blotting out the sun as it rises above Tauburn

“Some worthless creed about protecting the powerless has been drilled into his head.” Thanks for the commentary, Toshio

Sugata asks Takuto to let him aboard Tauburn, so that he can be fired as a Tau Missile

Just phenomenal poses, effects animation, and impact frames as Takuto and Sugata dismantle their opponents

And having accomplished this remarkable task, Sugata immediately turns to Kate, at last leading us into the continuation of the scene that concluded our previous episode. C’mon, you two are a much better pair than Sugata and Wako ever were!

Their meeting is apparently a productive one, as we conclude on Sugata at last taking his place as the King, pilot of Samael. Kiraboshi!

And Done

Ah shit, we’re really in it now. This episode was clearly the last gasp of normalcy before we ramp up to the conclusion, featuring Takuto’s last battle against the mundane Kiraboshi collaborators, his long-awaited collaboration with Sugata, and Sugata’s inevitable transition to the apex of Kiraboshi. All the pieces have assumed their fated positions for the final battle, with Sugata embodying this island’s traditional order in the guise of its destined ruler, and Takuto rebelling against this order of the gods in the one Cybody assigned to capricious, compassionate humanity. Can Takuto prevent an apocalyptic unveiling of the Cybodies’ powers, as their ultimate ultimate phases threaten to break free of Southern Cross? And can he save his erstwhile friend, now ensconced within the conservative kingdom that has always been his intended destiny? I’m eager to find out!

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