Category Archives: Episode Writeup

Scum’s Wish – Episode 2

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Hello everyone, and welcome back to Wrong Every Time. Today we’ll be diving back into Scum’s Wish, the Masaomi Andou-directed adaptation of Mengo Yokoyari’s thorny adolescent drama. So far, the show has offered plenty of Andou and plenty of drama, as high schoolers Hana and Mugi pine after the crushes of their childhood, while consoling themselves with the bodies of each other. It’s a deeply unhealthy state of affairs, a fragile disaster waiting to happen, and I’m eager to see it all come tumbling down.

More immediately, though, I’m mostly looking for this episode to add some distinctive human texture to our four leads. So far they’ve largely been defined by their romantic feelings, which doesn’t really tell us much about them specifically; we know Hana and Kanai clung to each other as a result of their missing parents, but that’s about it as far as character motivation is concerned. What we might need is some general group activity or event, something for each character to react to in their own way, and thus establish their personalities outside of the context of their romantic feelings. That’s my main narrative hope, but either way, I’m looking forward to munching on more of Andou’s delicious compositions. Let’s get to it!

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The Demon Girl Next Door – Episode 1

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Hello everyone, and welcome back to Wrong Every Time! Today we’ll be embarking on a new journey, as we check out the first episode of 2019’s The Demon Girl Next Door. I’ve been told this show is “the most directly post-Madoka series” of recent years, but beyond that mostly know of it via cultural osmosis, as a generally well-regarded mix of slice of life and romance. It’s based on a 4koma strip, so I’m expecting things will be fairly gag-driven, which seems to suit its director Hiroaki Sakurai (Cromartie High School, among a variety of other acclaimed shows) quite well. I feel like it’s been too long since I checked out a solid slice of life show, so here’s hoping Demon Girl offers the good vibes we’re looking for. Let’s check it out!

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The Woman Called Fujiko Mine – Episode 9

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Hello everyone, and welcome back to Wrong Every Time. Today we’ll be returning to the beautiful, incendiary production that is The Woman Called Fujiko Mine, where we most recently learned the name of her childhood tormentor: Count Luis Yew Armeid. A figure of seemingly supernatural menace, Armeid has been manipulating characters like the fortune teller Shitoto from behind the scenes, as he attempts to guide Fujiko towards some unknown end.

This production has been refreshingly direct about Armeid’s crimes: it seems clear that he sexually abused Fujiko as a child, and that her resulting trauma manifests through the otherworldly flashbacks to her childhood abuse. An incidental detail like an owl motif on a wall can draw Fujiko right back to those strange chambers, where the specifics of her experience are abstracted into this ominous owl-headed count, the nightmare jailer who haunted her childhood.

In the present day, Armeid seems determined to embody more than just the lingering effects of trauma. Statements like his intent to “test the Third to see if he’s worthy of Fujiko” imply a sense of patriarchal ownership, as if Fujiko is Armeid’s possession, who can only be gifted to another man by her current owner. It’s a not-uncommon cultural assumption, drawn to its perverse extreme by the fact that Armeid was already her childhood abuser. 

Of course, all of this is precisely what Fujiko has spent her adulthood rallying against. She values freedom over all else, and makes it a point of pride to mock and discredit those who’d hope to cage her. She does not see her femininity or sexuality as a “precious gift” to be claimed by some male retainer; she has sex freely and for personal or mercenary reasons, disdaining the idea that woman are “supposed” to be meek and modest. That convention is just another sort of cage, after all.

Ultimately, Armeid seems like the ideal antagonist for a show so in tune with the complex realities of gender as a social construct. He represents basically all of the conservative, patriarchal social values that Fujiko disdains, coupled with the menace of the violent desires those values have worked to sanitize. He is the condescending pat on the head and the underlying threat of consequence in one, and though Fujiko has grown far beyond his influence, destroying him would nonetheless serve as a satisfying denouncement of his wretched perspective. Let’s get back to Fujiko at work!

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ODDTAXI – Episode 9

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How did it all come to this? Somehow, the spiraling conflicts of ODDTAXI feel both implausible and inevitable, a thousand quirks of fate culminating in an unstoppable tragedy. Odokawa has never done more than drive his taxi and try to protect his friends, but he has nonetheless found himself at the core of a deadly conspiracy, suspended between crooked cops and violent criminals. He is now possibly the only person who can save Taichi – and yet Odokawa himself is the biggest mystery of all, with his tragic history, strange skill set, and ominous closet all presenting their own questions. In another show, this lack of explanation might feel frustrating. In ODDTAXI, Odokawa’s personality has been presented with such nuance and clarity that he still feels like a close friend, even for all his secrets.

Of course, there’s a bit more to it than that. Odokawa might conceal information, but he does not lie about his feelings. He is always earnestly himself, regardless of the circumstances. This might sometimes get him in trouble, as during his engagements with Dobu and Yamamoto – but it also attracts fast and loyal friends, who appreciate the company of someone who says what they feel. While characters like Kakihana or Taichi seek validation through the assumption of an online persona, they are ultimately promising more than they can provide, and eventually find themselves consumed by a culture whose hunger can never be satisfied. With his gruff yet undeniably earnest nature, Odokawa has won the trust of the people he cares about, and cultivated bonds that just might carry him through the waiting crucible. Let’s see if he can rescue Taichi from himself!

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Symphogear XV – Episode 5

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Hello everyone, and welcome the fuck back to Wrong Every Time. You all ready for some SYMPHOGEAR??? It’s been altogether too long since Hibiki last punched somebody, and I think we could all use a little righteous fury right now. Plus, we’ve at last reached one of my favorite supergroup staples: that part where your financial/political backers betray you, and you find yourself a bunch of wanted outlaws.

It’s a pretty handy dramatic conceit, for a variety of reasons. A betrayal like this introduces a great deal of uncertainty into the narrative, making the cast seem far more vulnerable than before, and thus creating a greater sense of challenge for the tasks ahead. Additionally, robbing the cast of their institutional backing forces them to reckon with their own values, as they are forced to choose between personal justice and society’s preferred justice for the first time. That personal struggle will in turn inform this season’s thematic trajectory, as the wielders challenge the nationalist rhetoric of Kazanari. And of course, it’s also just fun watching a team like this cope with less-than-optimal conditions; seeing the wielders deployed as a scrappy guerilla group is a payoff in its own right, demonstrating how their strength has nothing to do with their institutional power.

So yeah, I’m pretty pumped for this turn in the story, and excited to see just how badly Kazanari fucks this up. Symphogear villains have overreached in the past, but with the architects themselves in play, I’m guessing Kazanari’s reenactment of this meme will be the show’s most satisfying to date. Let’s get to it!

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Anne of Green Gables – Episode 2

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Hello everyone, and welcome back to Wrong Every Time. Today I am eager to return to the animated classic that is Anne of Green Gables, as Anne and Matthew finally arrive at the gables in question. I say “finally,” but I should clarify that I am actually delighted by this show’s pacing. Modern slice of life anime frequently present life as a sort of shimmering snow globe, a place outside of time or context, presumably to help the audience feel distanced from their mundane concerns. In contrast, Green Gables simply presents the world as a whole at a meditative pace, allowing for the moments of rest, reflection, and even boredom that define life as it’s truly lived. It is delightful to me that we are following an episode named “Matthew Cuthbert is Surprised” with an episode called “Marilla Cuthbert is Surprised” – after all, it clearly takes at least forty to fifty minutes to properly convey two people processing a slight shock.

Of course, the actual reason this show’s pacing works so well is because the world it portrays is so lovely. Simply spending time in Takahata’s imagination is a gift, and given he both scripted and storyboarded Anne’s first four episodes, I imagine this episode will be just as charming as the last. With World Masterpiece Theater mainstay Ken’ichi Ishibashii subbing in on background art, it seems we’re in great hands as we return to Green Gables. Let’s start the show!

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86 – Episode 4

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Hello everyone, and welcome back to Wrong Every Time. Today I’m eager to return to 86, where Lena has at last received the violent comeuppance she’s been approaching all season. After three episodes of ingratiating herself with the 86, and attempting to prove she is fundamentally unlike her privileged compatriots, the death of Kirschblute made the distance between her and her subordinates undeniably clear.

The 86 don’t need her paternalistic sympathy. Does she want a medal just for acknowledging them as human? Regardless of her lofty rhetoric, Lena still enjoys the full safety of her position, guarded even from political sanction by her powerful friends. And as her subordinates bitterly point out, though Lena pats herself on the back for her kindness, she hasn’t even learned their real names. She is a tourist in their world, her sympathy more a vehicle for her own satisfaction than genuine political change.

So then, the question becomes: what does Lena do when confronted with the truth? Will she retreat into the privilege of her position, and give up on connecting with the 86? That wouldn’t make for a particularly satisfying narrative, so I’m guessing we’re going the other route: Lena must prove she is a genuine political ally, and put her own life on the line the way her subordinates are perpetually forced to. Either way, the reckoning has arrived, and I’m eager to see how Lena faces it!

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Oregairu S3 – Episode 6

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Alright Hachiman, what’s the plan? You’ve wormed your way back into the prom preparations, but how are you actually going to triumph over the full power of Yukino’s mother? You’ve largely dealt with children or peers in the past, using your understanding of adolescent psychology to manipulate the actions of those around you. That’s clearly not going to work on an adult woman with institutional power, who knows exactly what she wants, and has no obligation to entertain the whims of teenagers.

His one real piece of leverage, which he was quick to point out last episode, is that the PTO wants the student body to voluntarily abandon their plans. If he can rally the students to his side, he could possibly create a conflict of a scale that supersedes Yukimom’s authority. If he can turn this conflict into a liability for her reputation, he might just win out.

Of course, even if he does that, it’ll still be an embrace of the old, limited methods he’s always employed. In fact, as of this moment, it feels like all three of our heroes are backsliding. Hachiman’s once more acting as a lone avenger, Yukino is refusing to relinquish her pride, and Yui is sacrificing her own happiness for the sake of her friends. It’s clear they’re all trying to reach a certain level of independence as high school ends, but it was their mutual friendship that made them strong, and without it, they’re relying on the same old habits as before. Can they successfully stand apart while still embodying the honesty, empathy, and humility they’ve learned together? Let’s find out!

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Adachi and Shimamura – Episode 10

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Hello everyone, and welcome on back to Wrong Every Time. Today I’m eager to dive back into Adachi and Shimamura, as our beleaguered heroines continue to inch closer to each other. Valentine’s Day turned out to be an unmitigated success, with Shimamura’s feelings for Adachi coming across even more clearly in contrast. After a day of nostalgia and melancholy spent with her old friend Tarumi, retracing the same steps with Adachi fostered some very different feelings. Rather than introducing the prospect of a love rival, Tarumi ultimately ended up reaffirming how Adachi is genuinely special to Shimamura.

Of course, that was just one of last episode’s many rewards. The Tarumi meetup also offered an opportunity for Shimamura to reflect on her shifting identity, as she lamented the pain of reaching out to her prior, “incomplete” self. The person Tarumi sought was a stranger even to Shimamura – but ultimately, Shimamura decided that the friction of attempting to restore these once-sundered bonds was worth it. Where Shimamura would have once discarded both Tarumi and Adachi when they became an emotional burden, she is now making a genuine effort, and working to maintain the relationships that are important to her. That in turn reflects the fact that she cares now – these bonds providing genuine comfort, partially dispelling the grey malaise that has characterized her unchanging days. Shimamura has made tremendous progress, and I’m eager to see how her dynamic with Adachi changes now that she actually wants things again. Let’s find out!

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Scum’s Wish – Episode 1

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Hello everyone, and welcome back to Wrong Every Time. Today we’ll be embarking on a brand new journey, as we check out the first episode of the 2017 drama Scum’s Wish. I recall a fair degree of buzz regarding the Scum’s Wish manga, with the story making waves for its willingness to engage with the emotional and physical messiness of teenage sexuality. In a field that frequently sanitizes relationships to the point where a chaste kiss is the ultimate expression of sexual fervor, Scum’s Wish acknowledges that teens are horny, and often express that horniness in self-destructive ways.

As for the production, we’ve got Masaomi Andou serving as director, whose projects all tend to feature a few common signatures. The most obvious indicator that you’re in an Andou production is the proliferation of screen-in-screen shots, where a character reaction, physical action, or some other variable is illustrated through smaller boxes layered on top of the original image. This technique tends to create a distinct sense of flow in his works, as well as the sense of a “moving comic” that is a bit closer to manga than film. Andou balances this visual signature with an otherwise restrained, almost conservative approach to direction, generally favoring clear, wide shots over angled or aggressive cinematography. Given this is a manga adaptation, I assume that’ll all translate to a rigorously manga-loyal adaptation, with his flourishes almost recreating the paneling of the source material.

Alright, I think that covers everything I know about this property and production. Let’s get to it!

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