KanColle: Itsuka Ano Umi de – Review and Reflections At The Finale

“Holding on is believing that there’s a past; letting go is knowing that there’s a future.” –Daphne Rose Kingma

With the Abyssal offensive impending, the Kan-musume learn that Operation Kita was success; the convoy had managed to reach Taiwan from Syonan and will be bringing back critical supplies, including enough fuel to allow a counteroffensive with Yamato. Mogami’s been given upgrades to improve her combat effectiveness, and ahead of the operation, the Second Torpedo Squadron conduct night reconnaissance. The admiral decides to refrain from sending Shigure out on this assignment: he believes the time has come for Shigure to receive some upgrades of her own. After her upgrades, Shigure prepares to join the Second Torpedo Squadron on their final assignment, and promises to both conduct herself in a manner so their contributions and actions won’t be forgotten, as well as return from the operation in one piece. While the main fleet strikes at the heart of the Abyssal force, the Second Torpedo Squadron diverts to sink a fleet carrying supplies for the Abyssals. Shigure and the others are successful in sinking this fleet, but when they move to attack the Abyssal carriers, they are overwhelmed by their adversary’s numbers and begin sustaining damage. Before anyone comes to harm, American and British Kan-musume appear to provide support, and spurred on, Shigure finds the resolve to take on an Abyssal head-on, although she is sunk in the process. Some time later, the Kan-musume are seen in present-day Japan, and Shigure herself is reclining on a sailboat – the Kan-musume have evidently triumphed over the Abyssals, and the world has managed to rebuild following the war. This brings Itsuka Ano Umi de to an end, and here at the conclusion, it becomes clear that in the war between Kan-musume and the Abyssals, there is a victor. Through force of will and resolve, good prevails over evil, allowing the world to finally move on from the ravages of conflict. From an animated standpoint, Kantai Collection‘s story is resolved in full.

Unlike its predecessor, Itsuka Ano Umi de is significantly more focused, and with Shigure as the story’s focal point, Itsuka Ano Umi de strives to present the idea of carrying on and fighting for the future even in light of the loss one experiences, and the attendent despair this loss brings. Throughout Itsuka Ano Umi de, Shigure is shown as being deeply impacted by the fact that many of her fellow Kan-musume are no longer with her, and in downtime, Shigure tends to look back on things. However, despite this seemingly gloomy, brooding manner, Shigure also knows when to smile, and continues to make an effort to fight for those around her. Meeting Yukikaze reiterates this: Shigure gets along with Yukikaze without any issues, and when the pair sortie, Shigure’s past never slows her down; she simply does her best and contributes to her squadron’s successes. Shigure’s temperament is of someone who’s clearly experienced loss and despair, but remains resolute enough to remain focused on the present: she knows that, as important as it is to remember those that came before, it’s equally important to never lose sight of one’s long-term goals, and as a result, since her resolve never wavers in Itsuka Ano Umi de, Shigure comes across as being a stoic hero who takes adversity on the chin. Combined with the melancholy, yet determined tenour that is present throughout Itsuka Ano Umi de, it appears that this anime speaks to the sentiment that it is preferable to accept one’s feet on their feet, rather than give up on their knees. The outcome of Itsuka Ano Umi de is decidedly optimistic as a result, and seeing all of the Kan-musume making the most of their lives following the war shows that for their troubles, their efforts were worth it. In particular, seeing Shigure on a boat, at peace, speaks volumes to Itsuka Ano Umi de‘s intention at closing up Kantai Collection: Itsuka Ano Umi de was plagued with production issues and took nearly six months to finish, and the first season had aired eight years ago. To see the Kan-musume assured to peace and normalcy in their lives after all this time, then, was the surest sign that Kantai Collection‘s animated adaptation sought to decisively conclude things on a positive and reassuring note.

Screenshots and Commentary

• Itsuka Ano Umi de is probably 2022’s most unfairly treated series – after it ran into production issues, the remaining episodes were essentially squeezed in into any available slots, and this resulted in Itsuka Ano Umi de‘s remaining three episodes airing in 2023. Despite having only eight episodes and a condensed runtime compared to its predecessor, Itsuka Ano Umi de‘s delays meant that any momentum the series could have built up was swiftly stopped in its tracks, and as a result, excitement surrounding this Kantai Collection continuation was extremely limited.

• This was extremely unfortunate because Itsuka Ano Umi de was everything its predecessor was not: all of the game-like elements Fubuki saw in Kantai Collection is replaced by a much more credible portrayal of things, and while slice-of-life aspects of what being a Kan-musume entails is still shown, it never overshadows the more dramatic elements to the point of diminishing them as Kantai Collection had done in its 2015 run. In particular, by focusing on the Kan-musume‘s eccentricities, the 2015 anime completely took away from the gravity of the fight against the Abyssals.

• Kantai Collection: The Movie had rectified this, and also left a cautiously optimistic message about how the war against the Abyssals could only be won if one accepted their own inner darkness and learnt to manage it, as Fubuki had done. As a result of the film’s outcomes, strictly speaking, Itsuka Ano Umi de was not necessary because the film had left viewers on the note that prevailing over the Abyssals could be possible, leaving things open enough so that anyone who still played the game could continue their campaigns without the anime implying that the franchise could come to an end at some point. On the other hand, the outcome of Itsuka Ano Umi de is such that viewers are left with the impression that their efforts in the game will be met with a happy ending.

• Here, Akebono passes through the frame as the Kan-musume prepare for a final offensive in the aftermath of a successful resupply operation. Akebono is a bit of an interesting character, being verbally abrasive and harsh. According to fans, this is a reflection of her namesake, a Fubuki-class that was said to be unfortunate. This side of Akebono is never seen in Itsuka Ano Umi de, nor is her appearance after sustaining some damage: the official art suggests that Akebono has a nice posterior, and as memory serves, Kantai Collection did show some of this during its original run. On the other hand, Itsuka Ano Umi de completely omits these elements – this was ultimately a wise move considering the anime’s runtime.

• Although I don’t play Kantai Collection, I do have a few Kan-musume that I have a fondness for. Besides Akebono, I’d been quite fond of Shigure and Hamakaze prior to Itsuka Ano Umi de, so it was nice to see them given an animated appearance in this long-awaited continuation. As memory serves, Itsuka Ano Umi de had actually been announced immediately after Kantai Collection finished airing back in March 2015, a time when I’d been wrapping up my first year of graduate studies. After some initial hype, all news of the continuation faded as attention turned towards Kantai Collection: The Movie a year later.

• In January 2021, some four years after the movie had released, a tweet from C2 Staff clarified that a sequel was indeed in the works, and that it would be scheduled for release sometime in 2022. This would be the only indicator that Itsuka Ano Umi de existed, and by January 2022, Itsuka Ano Umi de finally had a release date: November 2022. The timeframes meant that all but the most die-hard of fans would have moved on, and to no one’s surprise, when Itsuka Ano Umi de was announced, excitement was very limited.

• This was unfortunate because, on the merits of its execution and presentation, Itsuka Ano Umi de is a cut above its predecessor in every way. The atmosphere fully conveys the gravity surrounding the war between the Abyssals and the Kan-musume, the context of the Kan-musume‘s actions is given to viewers, and the animation is gorgeous. However, between the fact that it’s been almost eight years since Kantai Collection aired, and the delays in Itsuka Ano Umi de‘s production, very few fans would’ve watched this one to completion, and if the goal of Itsuka Ano Umi de was to promote the series amongst prospective players, the anime’s excellence is unlikely to be sufficient as a form of encouragement.

• Readers will have noticed that, although I generally try to see the best of everything, there are a few topics where even I struggle to remain positive. Kantai Collection is one of those rare topics: normally, I try to make sense of a given work and determine who it best appeals to. In the case of Kantai Collection, however, I was unable to figure this out. Although the game’s emphasis on World War Two-era naval vessels means folks interested in kawaii girls and military history would gravitate towards Kantai Collection, the game’s UX and mechanics are so poorly-implemented that, at least on paper, the game should never have been as successful as it was.

• Besides Kantai Collection, I’ve never heard of a game’s developers going to such extraordinary means of locking players out of their system, and for those who are determined enough to get in, there is very little to speak of in terms of gameplay. Skill isn’t a component of Kantai Collection, since the best put-together fleets and prepared players can still find themselves frustrated by the random number generator. Studies have been done on why Japanese developers insist on an element of randomness in their games: it’s an element that’s ingrained into the gachapon culture, and players in Japan embrace this because since there’s only a certain chance one could get something, spending enough money to land on something one liked was a show of their dedication to a character or idea.

• Having an explanation for this behaviour doesn’t make it any less puzzling, and while I am of the mind that people are free to spend their money however they’d like so long as their actions don’t harm others, the fact that enough people do this has led to the increasingly harmful industry practises of lootboxes. Games like Kantai Collection have set the trend, and this has influenced other games so that cosmetics become more important than creating an environment for having fun. As a result, I do not see any positives in games like Kantai Collection, whose entire game loop is based around chance and luck. Having said this, I am not denigrating the folks who do enjoy Kantai Collection: everyone is free to enjoy what they wish.

• Towards the end of the penultimate episode, Shigure receives a request to undergo her second upgrade from the Admiral on account of her combat experience and exemplary conduct. Seeing this process in Itsuka Ano Umi de was the surest sign that this series was the culmination of learnings resulting from Kantai Collection: game elements here are woven seamlessly into the story, similarly to how Uma Musume Pretty Derby had done things, and this meant that the anime didn’t feel like a crude transposition of the game into the animated format.

• When it comes to anime adapted from games, one of the challenges that must be overcome is presenting the game world in a manner that’s natural and fluid. Seeing the bauxite ore and repair buckets in the 2015 Kantai Collection was quite jarring because, as a non-player, I had no idea what anything was supposed to mean. On the other hand, Itsuka Ano Umi de dispenses with the premise that Kantai Collection‘s world is one built on game rules, and instead, chooses to run with the mechanics as aspects that are simply a part of the world.

• Thus, when Shigure gets her upgrade, the rationale is simply that the sum of her experiences has become sufficient so that she’s able to gain access to a wider range of equipment, and the process is shown as one that involves effort to carry out. In Kantai Collection‘s 2015 anime, characters simply glowed and transformed into their upgraded forms: as memory serves, Fubuki was quite disappointed to learn that outside of improvements to her performance, she still more or less looks the same as she had prior to the upgrade.

• On the other hand, the upgraded Shigure seems to have become a shade better endowed. As a protagonist, Shigure’s perspective on the Kantai Collection world gives viewers a far greater insight into what the stakes were, and what the Kan-musume were fighting to protect. This aspect of Itsuka Ano Umi de is one of the series largest improvements over its predecessor, as it gives weight to every engagement. Further to this, Shigure’s disposition means that she’s the sort of protagonist one can root for: she’s not a klutz or careless, and she’s not excessively dramatic, either.

• Knowing that Shigure has seen her share of losses, but remains determined to get the job done nonetheless means that Itsuka Ano Umi de is grounded, and without the need to sort out interpersonal conflicts (right out of the gates, when Yamashiro inadvertently insults her previous teammates, besides an imperceptible tensing up, Shigure doesn’t lash out at her), Itsuka Ano Umi de is able to focus on other aspects of the universe to a much greater extent. It is fair to say that, had 2015’s Kantai Collection aired with the same style and focus as Itsuka Ano Umi de did, it would’ve been better received.

• Shigure’s act of placing down some tangerines before setting off for her final battle was meant to symbolise the desire to return from this final defense, and it was simple gestures like these that really spoke to Itsuka Ano Umi de‘s ability to convey emotions in a manner that Kantai Collection originally could not. There are numerous small details throughout Itsuka Ano Umi de that demonstrate the writing team’s finesse in bringing Kantai Collection to life, and whenever I consider what Itsuka Ano Umi de does well, I experience a twinge of melancholy; outside of Japan, interest in Kantai Collection has waned almost entirely.

• Thus, while Itsuka Ano Umi de is technically an excellent anime that delivers everything its predecessor had not, low interest and how the networks in Japan treated it meant this sequel is unlikely to have gotten the recognition it deserves. Further to storytelling elements, the combat sequences in Itsuka Ano Umi de are also a cut above its predecessor, and ENGI had gone above and beyond to bring battles to life, showing the ferocity, desperation and uncertainty surrounding every sortie. Abyssal air forces are presented as an overwhelming force that the Kan-musume have nearly no answer to.

• The portrayal of air power in Itsuka Ano Umi de was a mirror of how towards the end of World War Two, aircraft carriers had largely displaced battleships as the new mainstay of navies. This largely stemmed from the fact that carriers had a superior range and could deliver ordnance as far as their ship-borne aircraft could fly, with a much higher degree of versatility: aircraft could be outfitted for anti-air defense, anti-ship warfare or even conduct support missions inland. In the present, aircraft carriers are seen as a symbol of power projection and unlikely to become obsolete any time soon, although increasingly powerful anti-ship missile systems do render carriers more vulnerable than they were previously.

• For the final battle of Itsuka Ano Umi de, Shigure and the Second Torpedo Squadron participate in what would have been analogous to a final defense of the Japanese Home Islands. In reality, the need for such an invasion never materialised, as the Soviet invasion, coupled use of atomic weapons in Hiroshima and Nagasaki, compelled the Imperial Japanese leadership to surrender. Experts agree that had a land invasion occurred, casualties would’ve been tremendous. In Kantai Collection, dialogue suggests that the Kan-musume have done a sufficient job of taking the fight to the Abyssals so that their numbers are whittled down to the point where they’ve also hedged their bets on one massive strike against Japan.

• Given the overall tone of Itsuka Ano Umi de, it is fair to say that, regardless of who actually came out on top, a Pyrrhic victory would have been the outcome for either side. From the Kan-musume‘s perspective, they’d be able to save Japan if they won, even if they themselves were sunk in the process. On the other hand, the Abyssals would probably have left Japan in ruins if they managed to achieve their goals, but at the same time, lose enough of their forces so that they could never again pose a threat to humanity. One aspect that Itsuka Ano Umi de did leave untouched were the Abyssals’ motivations for destroying Japan and waging war.

• Kantai Collection: The Movie had provided some answers to this question, suggesting that Abyssals and Kan-musume were two sides of the same coin: the former were grudges born of sunken ships and hopes, desiring to lash out and exact terrible vengeance against a world that wronged them, while the latter manifested as a desire to continue protecting what was dear to the world. One can also assuming this also holds true in Itsuka Ano Umi de, since after the final engagement, it would appear as though both Abyssals and Kan-musume are wiped out.

• The final battle of Itsuka Ano Umi de is a night battle, which serves to enhance the tension and gravity that is befitting of the season finale. While such a composition makes sense to convey the mood, the main downside about doing so is that the combat becomes much more difficult to see on-screen. Shigure and her fellow Kan-musume put in everything they’ve got on this occasion, and the first half of their assignment is successful – they are able to sink the Abyssal transports, and subsequently set their sights on the Abyssal fleet. However, despite their determination, the Second Torpedo Squadron is unprepared for the Abyssal fleet’s size.

• As they begin sustaining more damage, and hope for returning home begins fading, elements of the American and British navies appear to reinforce them. This marks the first time Kan-musume outside of Japan are seen, and the presence of ship-girls from different nations beyond Japan serves to send an important message for the series: some critics have claimed that Kantai Collection is “revisionist”, but with the inclusion of Kan-musume like Iowa indicates that all ships have spirits and stories to tell. In reality, the USS Iowa (BB-61) is the most iconic American battleship of the Second World War, and although smaller than the Yamato in terms of size and firepower, historians agree that superior fire control systems, damage control and crew meant that the Iowa was actually more effective as a battleship.

• I’m not sure if there was any rivalry between British and American navies, especially since they primarily fought in different theatres, but when two allied Kan-musume begin having a go at one another, it added some much-needed levity to an otherwise serious moment. With this additional firepower, Shigure and Yukikaze are given some room to breathe. Even with the support, however, the Abyssal numbers are overwhelming, and it becomes clear that despite their efforts, this battle is not one the Kan-musume are going to win.

• In previous Kantai Collection adaptations, viewers who were familiar with the game inevitably drew comparisons between the anime’s portrayal of things and how the game did things. Fans of the game had eagerly tried to spot every reference that made it into the anime back in 2015, but here in Itsuka Ano Umi de, the lack of viewers has meant discussions surrounding this series has been significantly quieter, to the point where it feels like I’m the only game in town for Itsuka Ano Umi de. This is a shame, since Itsuka Ano Umi de had surpassed its predecessor in every way: unlike Kantai Collection, Itsuka Ano Umi de is very focused and has a clear aim. Kantai Collection and Azur Lane had both suffered from trying to portray the serious side of war with themes of friendship and teamwork, with the result being that neither topic could be adequately covered.

• I’d been skeptical that Kantai Collection would work with a more serious setup, but here at the ending, I found myself eating crow: a serious story can work so long as the characters don’t wallow in self-pity and pessimism, and Shigure herself ended up being the perfect protagonist for such a story precisely because, although the past does weigh heavily on her, she also doggedly presses forwards in the hopes of doing good. I’ve never been a fan of characters who create drama and act indecisively, so someone like Shigure taking charge and doing what she could with the hand she is dealt is what allowed Itsuka Ano Umi de to succeed with its chosen direction.

• In the end, Shigure accepts her fate in this battle, and charges one of the Abyssals head-on for the kill. She’s sunk as a result, but the manner of this sinking feels far removed  from Kisaragi’s sinking – what’s shown in Itsuka Ano Umi de doesn’t appear to contradict what Kantai Collection: The Movie had established, and I’d hazard a guess that if a Kan-musume sinks while at peace with themselves, their spirits would simply move on. In Shigure’s case, she realises she’s done everything she could for those around her and has no regrets. If everyone here in Second Torpedo Squadron had been sunk while at peace, having done all they can, then it’s conceivable that the war with the Abyssals would come to an end.

• The fact that familiar faces like Yamashiro, Fusō, Hamakaze, Mogami and the others appear in modern Japan leads credence towards this bit of speculation, and one can reasonably conclude that at Itsuka Ano Umi de‘s final battle, the Kan-musume had done enough damage to the Abyssals so that they simply ceased to be, and in the aftermath, their spirits finally found peace. Shigure herself is seen on a sailboat out in the blue of the ocean. The exaggerated water effects here are reminiscent of Crysis: Remastered‘s portrayal of water, and here, I remark that a few weeks ago, I ended up picking this game up for five dollars during the Spring sale purely to see if my machine could handle it.

• For now, all readers need to know is that I’m averaging 75 FPS on the “Can it run Crysis” settings at 1080p, and that I’ll be writing about the game at some point during the summer. Back in Itsuka Ano Umi de, Shigure is seen with a pair of tangerines and is wearing a white dress. I’d imagine this white dress signifies rebirth and purity: this Shigure is freed from her past life’s shackles and is at peace with herself. The tangerines, on the other hand, I’ve already discussed at length in my first post for this series – in the context of Kantai Collection, they symbolise promise and certainty. With this being said, my own talk on Itsuka Ano Umi de draws to a close.

• Overall, Itsuka Ano Umi de is what Kantai Collection should have been; I found this series highly enjoyable for how it portrayed the Kan-musume, their world and conflicts. The only drawback about Itsuka Ano Umi de was the fact that from a production and distribution standpoint, the series had struggled, and delays in its airing broke any momentum episodes had previously built up. This gave the impression that, in spite of the effort ENGI had put into producing Itsuka Ano Umi de, the series was regarded as little more than an afterthought in a time where Kantai Collection‘s relevance wanes, and this is a shame, since Itsuka Ano Umi de did address all of the shortcomings of its predecessor to create a compelling story.

Although a storytelling triumph and a satisfactory addition to Kantai Collection, Itsuka Ano Umi de‘s entry into the franchise comes as being too little, too late: an excellent and compelling story, with respectable characters would normally drive up interest in the source material, but unlike something like Uma Musume Pretty Derby, whose game is going very strong owing to its low barrier of entry and effortless onboarding process, Kantai Collection remains very cumbersome to get into. Further to this, the game’s aging mechanics, dependence on gatcha mechanics and limited, probability-driven gameplay means that the game was unlike to ever gain widespread popularity – players of Kantai Collection characterise the game as being more painful than work, and even after one gets past the ludicrous onboarding process (one needs a VPN to trick the servers into believing one is connecting from Japan, and then hopefuls who manage to circumvent the game’s Japan-only constraints are granted accounts based on the archaic lottery system). Even after getting in, playing the game is a chore, and there is no payoff for playing well, since one’s success in the game usually comes from being favoured by the game’s random number generator, and extensively planning out one’s every move on a spreadsheet. The appeal of such a time-consuming endeavour with no tangible returns remains foreign to me, and for this reason, even though Itsuka Ano Umi de was a strong series, it did very little to persuade viewers that the game is worthwhile to try: the extremely poor design decisions in Kantai Collection‘s browser game mean that the game is more frustration than fun, even after eight years’ worth of upgrades (one wonders why the developers are so determined to make such a convoluted onboarding process and sticking to an evidently-flawed random number generator approach), but on the other hand, Itsuka Ano Umi de was a meaningful watch that wholly conveys the nuances within the Kantai Collection world far more effectively than its predecessor did.

KanColle: Itsuka Ano Umi de – Review and Reflection at the ¾ mark

“We forget all too soon the things we thought we could never forget.” –Joan Didion

After reviewing Yamashiro’s post-battle report, Yahagi determines that the Kan-musume are still combat-capable. The next day, Shigure shares a conversation with Isokaze and Hamakaze, learning in the process that to them, being sunk in combat isn’t quite as frightening as being forgotten, and Shigure promises to never forget their accomplishments. When the newly-formed Second Torpedo Squadron meet, Yahagi announces a BLUFOR/OPFOR training exercise to test everyone’s readiness. Shigure and Yukikaze end up assigned to the same team, and despite unexpected surprises appearing during the exercise, the pair manage to score hits on Yahagi herself. With confidence that the remaining Kan-musume can perform, the Second Torpedo Squadron is tasked with escort missions, defending convoys from Abyssal attack as they transport critical supplies. Shigure is happy to see an old friend, Ryūhō, and although Yukikaze develops stomach problems that end up requiring her to return to Kure for engine repairs, leaving their group down one defender, the escort mission continues. Shigure, Hamakaze and Isokaze manage to destroy the initial waves of Abyssal submarines, but things look grim after their store of depth charges is depleted. Fortunately, coastal defense Kan-musume are nearby, and they manage to repel the remaining Abyssal submarines, allowing Ryūhō and her escorts to safely reach their destination. With this, Itsuka Ano Umi de finally reaches its three-quarters mark; only two episodes remain, and Shigure’s nascent friendship with Yukikaze means that Itsuka Ano Umi de‘s theme is slowly starting to manifest in a series that has otherwise been quite melancholy, a consequence of a lengthy conflict that has been gradually eroding at the Kan-musume‘s numbers.

At first glance, Yukikaze appears to be better suited for Kantai Collection‘s first season rather than Itsuka Ano Umi de: she’s cheerful, easygoing and hardly anything appears to dampen her spirits. This stands in stark contrast with the reserved and stoic Shigure, who’s weighted down by the losses she’s experienced over the years, and Itsuka Ano Umi de‘s aesthetic appears to be in keeping with Shigure’s feelings; the use of lighting and music conveys her general feeling of melancholy and introspectiveness, but where Shigure experiences happiness, the music relaxes, and during battle, the soundtrack similarly becomes tense. After Yukikaze’s introduction, Shigure appears to be smiling more, and it is plain that she admires how Yukikaze is able to still find cheer even during more difficult times. Meeting Yukikaze, then, serves to drive change in Shigure: while this won’t change the fact she’s lost friends previously, being able to fight alongside someone so optimistic gives Shigure hope, and a reason to return after battle. The approach that Itsuka Ano Umi de is taking, in short, looks like it’s progressing exactly as I’d imagined it would. Anime generally seek to tell a story of growth and optimism; since Shigure had started her story burdened by losses and the prospect of fighting a war people would forget, it was logical that a new encounter would help change her perspective. On this reasoning, it appears that Itsuka Ano Umi de will likely wrap up with a difficult, but hard-won battle that shows Shigure that it is sufficient for her to always remember those she fought alongside, while at the same time, doing her best for the people in her present.

Screenshots and Commentary

• Itsuka Ano Umi de‘s production woes meant that, owing to scheduling conflicts, the sixth episode was only able to air in January after its episodes were delayed. Kantai Collection isn’t especially noteworthy, and even though Itsuka Ano Umi de has above-average production values, it’s difficult to say that the delays are worth it; Girls und Panzer had been an instance of an anime where it’d been worth the wait – the story and characters, coupled with the incredible attention paid to detail, had made it a series deserving of a proper conclusion.

• Kantai Collection‘s second season is superior to its predecessor in tone and story, but it hasn’t given viewers quite the same opportunity to connect to the characters and root for them because delays in result in the unfortunate effect of making it easy to forget what’s happened, even though we’ve now reached Itsuka Ano Umi de‘s halfway point. While I have only good things to say about Itsuka Ano Umi de, it isn’t the case that this series is one where I’d say the wait for individual episodes are worth it.

• While war is evidently a tragedy that leaves its mark on all involved, portrayal of its effects on individuals is something that requires a bit more time to capture – the decision in Itsuka Ano Umi de to go with with eight episodes rather than twelve, in conjunction with the delays, has meant that the Kantai Collection sequel hasn’t left quite as strong of an impression on me as I was originally anticipating. Elsewhere, I’ve noticed that reviews about Itsuka Ano Umi de has been similarly limited: a Google search finds that besides myself, there’s only one other site that’s actively writing about this series (excluding Reddit and MyAnimeList).

• It’s fair to say that interest in Kantai Collection isn’t anywhere close to what it’d been seven years earlier, and while the franchise still has a dedicated following in Japan, that it’s been seven years since the original series aired means that this series was probably unlikely to have done well from the start owing to declining interest. This is lamentable, because Itsuka Ano Umi de is otherwise an overall improvement to Kantai Collection. Having a longer runtime, and a more consistent release pattern would’ve been to the series’ benefit, allowing the series to show the side of Kantai Collection that the first season had failed to convey.

• Having said this, what Itsuka Ano Umi de does convey to viewers is well-done: the series has done a satisfactory job of striking a balance between the naval combat and slice-of-life pieces. I’ve long held that in any given series colloquially referred to as “cute girls doing cute things”, the ordinary moments spent away from said work’s main premise are equally as important as the moments portraying the characters advancing their craft. The reason for this is that it shows the characters as having more depth beyond their activity of choice, and because it also provides an opportunity to show how mundane experiences may unexpectedly provide a stroke of inspiration.

• In the case of Itsuka Ano Umi de, showing the Kan-musume‘s lives outside of battle serves to humanise them and remind viewers that even the spirits of naval vessels share the same desires as people do, preferring peace and normalcy over warfare and destruction. The Kan-musume might be fighting a fierce war against a foe dead-set on humanity’s annihilation, but they’re doing so precisely because it gives humanity a chance to live on. By choosing to show what’s at stake in Itsuka Ano Umi de, there’s a stronger reason for the Kan-musume to sortie here in the second season, than there had been in the first.

• Adding Yukikaze into things and having her pick up the mikan that Shigure are so fond of is to create a bond; while Yamashiro and Fusō have retired, and the number of active Kan-musume dwindles, the positive spirits that the remaining vessels to the newly-formed Second Torpedo Squadron gives viewers the sense that, even though it looks like the Kan-musume are on the backfoot, so long as everyone’s got one another, hope still remains.

• To ensure that this disparate group of Kan-musume are able to work as a team, group leader Yahagi decides to organise a training exercise to see how everyone cooperates and respond to unexpected circumstances on the open seas. The admiral himself is present, and traditionally, shows like Itsuka Ano Umi de have always invited political discussions to some extent because of their historical associations, but so far, viewers are fortunate that those elements of the fanbase are absent. I’ve never been fond of those who shoehorn politics into everything, and on this note, I’ve got a brief update about one infamous military-moé fan, “Toukairin”. I had this individual banned from AnimeSuki some years earlier owing to their radical opinions about current events, and had hoped this ban would force him to re-evaluate his life decisions.

• Unfortunately for me, Toukairin simply fell back on his old habits through Twitter, posting insults and hateful messages as “@AKDNManUtd2010”. I managed to find this account by pure luck, and have since been working towards getting him suspended from Twitter. There’s no place for people who believe that petty insults constitutes as intelligent political discourse, and just today, I managed to get the AKDNManUtd2010 account temporarily locked. Although this lock will expire in a week, Toukairin has already lost a number of followers since his account was temporarily locked. I doubt AKDNManUtd2010 will check his tone once his account’s reinstated, but I will continue to report him for as long as necessary until AKDNManUtd2010 is permanently banned: Toukairin may be entitled to an opinion, but owing to his attitudes and actions, he certainly isn’t entitled to an audience or agreement. Returning back to Itsuka Ano Umi de, the training exercise begins shortly after the objectives are outlined, and everyone becomes fired up.

• With the Admiral having a tangible presence in Itsuka Ano Umi de, the world of Kantai Collection becomes a lot more plausible. One of my biggest grievances about Kantai Collection‘s first season had been that it was too game-like, which in turn diminished the world’s ability to immerse viewers. One example of a game-turned-anime with excellent world-building and immersion is Uma Musume: Pretty Derby – all game elements have been removed from the anime, and instead, compelling stories are told about the characters. At the same time, the characters’ experiences take place in a world with a lived-in feeling, giving things significantly more depth.

• In taking this approach, Itsuka Ano Umi de shows that yes, it is possible to tell good stories so long as the world is properly fleshed out. On an unrelated note, after doing some digging around, I’ve found nothing about the music in Itsuka Ano Umi de, save the fact that the incidental pieces are composed by Kaori Ohkoshi, who had worked on the music to the game. This is a shame, since the music in Itsuka Ano Umi de is excellent, and similarly, the opening song exudes World War Two vibes. There’s been nothing on whether or not a soundtrack exists at all for Itsuka Ano Umi de, and I imagine that things could go the same way as they had for Luminous Witches, where the original soundtrack had remained unreleased long after the series had ended.

• For some of my military moé posts, a large part of the joy comes from being able to look at the hardware and tactics, and using real-world specifications, try to speculate on how something might end up. This is one of the things that made Girls und Panzer so enjoyable, but in Kantai Collection, the Kan-musume themselves are only modelled after their real-world counterparts, and the foes they fight have unknown properties, so trying to guess at the outcome of a battle isn’t something that can be reliably done.

• While Kantai Collection players would probably have a better idea of how the different Kan-musume would perform in battle, as well as against one another during mock battles, my lack of familiarity with the ships’ in-game statistics leaves me ill-equipped to ponder how battles turn out. As such, I am content to simply watch things unfold: for my part, I don’t recognise half of the Kan-musume that appear, and it’s times like these where I do wish that they’d do as Shirobako had and provide name tags for characters making their first appearance.

• Unlike the frenzy of a night battle, doing a training exercise by day under calm seas allows for the animation team at ENGI to really show viewers what they’ve got. ENGI has previously worked on Uzaki-chan Wants To Hang Out! and its sequel; although Itsuka Ano Umi de is more detailed than Uzaki-chan Wants To Hang Out!, both series are characterised by extremely sharp lines and a more faded colour palette.

• In the end, despite surprise attacks from aerial and sub-surface foes, Yukikaze and Shigure end up working together to reach Yahagi and “sink” her in the exercise, leaving Yahagi with a better measure of what the  Second Torpedo Squadron can do. Viewers have some reassurance that, despite the internal struggles Shigure faces, she’s still a team player and can cooperate with those around her.

• Post-exercise, the Kan-musume maintain and clean their gear. Actions like these were absent in Kantai Collection‘s first season, so showing them here in Itsuka Ano Umi de serves to enhance the feeling of immersion. I get the sense that the first season had been rushed out as a means of promoting the game by fitting in the largest number of characters possible, and this had come at the expense of giving viewers a chance to connect with Kantai Collection‘s story and world. On the other hand, Itsuka Ano Umi de has made a more concerted effort towards giving viewers a chance to see why the Kan-musume are fighting, even as the tide of battle begins shifting against them.

• Yukikaze’s cheerful, happy-go-lucky demeanour is prima facie better-suited for the likes of the original Kantai Collection, or perhaps Azur Lane: Slow Ahead!. However, on closer inspection, she’s precisely the sort of person that Shigure needs: since Shigure has seen many losses on the open oceans, she’s become quite reserved and jaded; having someone like Yukikaze in her corner would liven her world up and show that even though many of her allies and friends have retired from active service or were lost at sea, there’s still things worth fighting for.

• Hence, when Yukikaze shows up and immediately helps herself to the onigiri and tangerines that Hamakaze’s brought, Shigure smiles while Hamakaze and Isokaze look on with surprised expressions. Small moments like these do much to remind viewers that even though Shigure is serious for the most part, there are things in the world that bring her joy, and as such, she still retains a reason for heading out into battle and returning alive. With characters that are written to have little left to live for, they often push themselves in battle and fight with little regard for their own safety.

• In series like those, writers often have said characters developing a friendship or discovering something worth living for, which alters their mindset. Itsuka Ano Umi de doesn’t portray Shigure in this light and instead, has taken a more incremental route. Shigure may be rendered grim and taciturn from what she’s seen, but at the same time, she also understands there’s value in her commitment. In battle, Shigure fights with determination and caution. Outside of battle, there are still things she enjoys, and here, seeing Shigure interacting with the sprites maintaining one of Ryūhō’s aircraft show that Shigure’s able to value the smaller moments in life. It helps that Ryūhō is on excellent terms with Shigure: the pair have fought alongside one another previously.

• When Yukikaze unexpectedly experiences stomach problems and is brought to her knees by the intensity of the pain, I was left wondering if Itsuka Ano Umi de was going to take a darker route to things, but these concerns were quite unnecessary: as a result of having eaten too many tangerines, Yukikaze is rendered unable to participate in the next assignment, to escort Ryūhō, and instead, requires repair work to be done. This leaves the escort ships down to three: Shigure, Isokaze and Hamakaze must carry out their task without Yukikaze.

• The smaller team sizes and relative absence of secondary characters in Itsuka Ano Umi de makes things a little easier to follow, and most of the introduced characters do have a more substantial role, whereas in Kantai Collection, it could become difficult to keep track of everyone. Anime with a large number of characters will always have this challenge, and while some series will provide labels identifying the characters, I’ve always found that my preferred approach for handling this is to remember the names of the central characters and focus on their experiences.

• In a briefing with Yahagi, the assignment is defined – the Second Torpedo Squadron is to follow a course that will see them escort Ryūhō over to the island of Taiwan to resupply forces there. The observant reader will note that the route the Kan-musume are taking hugs the coast of China, with red markers presumably denoting areas of Abyssal activity. I am glad that Ituska Ano Umi de returns things to Japan, since it gives the Kan-musume‘s fight greater weight – when Kantai Collection had set things in a generic location that was plainly not tropical (deciduous trees are visible), it felt as though the Kan-musume were fighting in a vacuum.

• Separating the characters from the homeland they’re fighting for took away from the impact of their actions, and as such, while I felt that Fubuki and her goals were noble, Kantai Collection never quite succeeded in conveying this to viewers. Kantai Collection: The Movie was when the series began utilising setting more seriously – the Kan-musume were based out of the Solomon Islands, and the mystique of a tropical jungle in the remote reaches of the Pacific contributed to the feeling of unease the film had sought to convey.

• Itsuka Ano Umi de‘s sixth episode spends quite a bit of time showcasing the launch of the Second Torpedo Squadron. Moments like these accentuate the fact that the Kan-musume are naval vessels – in contrast with the original Kantai Collection, where the Kan-musume‘s launches felt more like the deployment of Iron Man suits, things happen much more slowly, suggesting at the mass and power of each vessel.

• A quick look at Ryūhō finds that the original had been a light aircraft carrier that was primarily used as an aircraft transport and training carrier owing to her small size, poor speed and weaker construction. As the Pacific War turned against Japan, the Ryūhō would see increasing combat assignments, and in December of 1944, the Ryūhō was assigned on a run to Taiwan with Shigure, Isokaze and Hamakaze. History has Ryūhō reaching her destination and surviving American airstrikes before successfully returning home to Kure.

• Assuming that Itsuka Ano Umi de uses this assignment as the final assignment, one can readily predict what will happen in the series: Ryūhō will reach Taiwan with Hamakaze, Isokaze and Shigure, where they will get hammered by Abyssal forces. A combination of teamwork and luck will allow them to survive and return home. Of course, if Itsuka Ano Umi de goes for the historical route, Ryūhō was attacked while in harbour in March of 1945 and mission-killed. Hamakaze was sunk outside of Nagasaki, and Isokaze would be scuttled after sustaining heavy damage while escorting the Yamato a month later.  Seeing everyone sunk or decommissioned would likely go against the themes Itsuka Ano Umi de is seeking to convey, and ending the story on an optimistic note seems more likely.

• Here, after running out of depth charges, Shigure pulls out a box and throws two reserves into the water, successfully sinking another Abyssal submarine in the process. By this point in time, the fierce enemy counteroffensive means that everyone’s running out of anti-submarine options, but fortunately, they’re close enough to their destination so that coastal patrol Kan-musume can help them deal with the remaining enemies.

• I’ve never seen Kan-musume of this sort previously, and I’d expect that had they been in Kantai Collection, the episode would’ve likely had a more slice-of-life focus. Speaking to the gravity of the situation in Itsuka Ano Umi de, the newly-arrived coastal patrol team is all-serious as they dump their depth charges to take out the remaining Abyssal submarines giving Shigure and her team trouble.

• The dark weather and rainy seas means another battle set under moody conditions, where the combat isn’t quite as visible to viewers as something that occurs during the light of day, but once the friendly patrols arrive, breaks in the cloud signify the end of a difficult stage of Shigure and her compatriots’ journey, giving viewers a chance to breathe again as the threat posed by the Abyssals are eradicated for the time being. It was lucky that this episode ends on a positive note, since there’s now a bit of a wait before the seventh episode. Without a cliffhanger, the wait will be significantly more manageable.

• While the breaks mean that Itsuka Ano Umi de will have a tough time maintaining its momentum, one of the big positives is that this actually makes my blogging schedule a little more manageable. Had Itsuka Ano Umi de aired with more regularity, I would’ve found difficulty in getting Mō Ippon! and Bofuri into my schedule. These are the next two anime-related posts I’ve got planned for January, and I’m also eyeing a post on Kaginado!‘s second season; this had aired back during the spring, but owing to timing, I never did get around to watching it back then.

Itsuka Ano Umi de continues to demonstrate that it is the Kantai Collection viewers deserved back in 2015: character progression is meaningful, and the aesthetic is authentic. Coupled with world-building that hints at a much richer world, Itsuka Ano Umi de has proven to be enjoyable on all front save one: owing to production delays, the entire airing schedule for Itsuka Ano Umi de has been thrown off. Scuttlebutt has it that the delays meant that broadcasters were left trying to fit the remaining episodes in with currently airing shows, and because slots are limited, the anime continues to be pushed back. The delays between episodes is understandable, but it does give the feeling that Itsuka Ano Umi de has been given the shaft. I imagine that at the height of its popularity, broadcasters would’ve ensured that Kantai Collection got a reasonable time slot to ensure viewers were happy, but given that it’s been over seven years since Kantai Collection was a popular topic, it is fair to suppose that diminished interest in the series means that the consequences of pushing Itsuka Ano Umi de back are minimal. This is a little disappointing, since the long gaps between episodes breaks the momentum within the story; a consistent schedule helps to maintain engagement, and if a story is too broken up, it does require a bit more effort to recall the previous episode’s events, and excitement is diminished as other things come up. While I expect Itsuka Ano Umi de to deliver a good experience to viewers, the next episode’s release date is February 12, and this suggests that Kantai Collection isn’t something that people are especially interested in. In spite of this, I am looking forwards to seeing Itsuka Ano Umi de send off the franchise in a respectful manner.

KanColle: Itsuka Ano Umi de – Review and Reflections at the Halfway Point

“A ship does not sail with yesterday’s wind.” –Louis L’Amour

After the third section enters Surigao Strait, Mogami’s spotter aircraft identify Abyssal patrol boats, signifying an ambush. Moments later, Abyssal forces strike the third section from the skies, but Shigure and the others are able to repel this attack and press forward deeper into the strait. Upon nightfall, Mogami, Yamagumo, Asagumo, and Michishio break off to engage Abyssal patrol boats. However, this leaves Shigure, Yamashiro and Fusō to come under fire from additional Abyssal forces. Mogami and the destroyers return just in time to provide covering fire, while the second fleet begin to advance towards the Abyssal fleet. During the combat, Fusō sustains damage from an Abyssal torpedo and is damaged, but Yamashiro orders the remainder of the third section to continue advancing. They reach the heart of the Abyssal fleet, where a pair of Night Strait Princesses await them. Although their firepower is inadequate to deal with this threat, the first fleet arrive and begin bombarding one of the Princesses, leaving Yamashiro to dispatch their remaining foe. In the aftermath, Fusō and Yamashiro are decommissioned, having sustained too much damage to remain sea-worthy. Shigure and Mogami both managed to survive with minor injuries, and although Shigure is saddened to see Fusō and Yamashiro retire, she promises to keep fighting for everyone’s sake. Shigure is reassigned to the Second Torpedo Squadron, learns that their contributions have delayed the Abyssal invasion of the Japanese mainland, and given orders to take some time off. She visits a ryokan and meets Yukikaze. The pair share time together, and Shigure hardly believes that even amidst a war, she is still able to rest up and enjoy something as luxurious as an onsen. The next day, she returns to base and meets the remainder of the Second Torpedo Squadron, which is placed under Yahagi’s command. Itsuka Ano Umi de was supposed to reach this point three weeks earlier, but unexpected challenges in production ultimate lead the fourth episode, the series’ halfway point, to be delayed until today.

Now that half of Itsuka Ano Umi de is in the books, it is evident that this is the Kantai Collection anime fans were waiting for. Between the grim gravity of the Kan-musume‘s situation, vividly-rendered battle sequences and significantly improved world-building, Itsuka Ano Umi de captures the emotional tenour of every moment more effectively than its predecessors did. The stakes are plainly laid out for viewers: the Abyssal’s objective is the attrition and destruction of Japan, and to this end, are preparing for an invasion. Itsuka Ano Umi de‘s version of Operation Shō-Gō, then, was to cripple the Abyssal fleet’s fighting capability, and thanks to the contributions of each fleet, including Shigure and the third section, enough damage was done so that the Abyssals won’t be directly attacking Japan any time soon. This in turn allows for the Kan-musume and their Admiral to repair their forces, rearm and reorganise for the difficult path ahead. After two full episodes of continuous combat, the fourth episode is deliberately paced to give viewers insight into the Shōwa era. Civilians are seen browsing through their local shopping district, and peaceful ryokan exist in rural areas, giving Shigure a chance to unwind and meet a peer, Yukikaze. Watching ordinary people live out their lives is a subtle reminder to viewers of what the Kan-musume are fighting for; they’re here to protect their homeland and its people. Seeing these elements coming together in Itsuka Ano Umi de makes this second season of Kantai Collection a dramatic improvement over its predecessor – there’s a clear reason why the Kan-musume must fight the Abyssals. This time around, Shigure and the others aren’t fighting to define the purpose of their existence, but rather, they’re fighting to protect what is dear to them. However, just because the Abyssals have taken a loss doesn’t mean the war is over yet, and at present, despite having sustained heavy damage to their own fleet, the Abyssals still have a largely-intact submarine force, which necessitates additional action in the name of protecting Japan and its people.

Screenshots and Commentary

• Having now seen the combat sequences, it is plain that the visuals in Itsuka Ano Umi de are a step above from those of its predecessors with respect to small details like the anti-air guns on each Kan-musume and the færies, which are more prominent than they’d been in earlier instalments. Similarly, Abyssals attack in larger groups, which, in conjunction with improved visuals and cinematography, means that battles tend to feel more dynamic and chaotic.

• One aspect that Itsuka Ano Umi de will need to address is how the Abyssals fit into things in light of what Kantai Collection: The Movie had revealed; Kantai Collection had left the Abyssals purely as a foe to fight against, but the film clarified that they’re the negative manifestations of a given vessel’s spirits, and showed that Fubuki was the first to understand that rather than fighting those feelings, she should accept them because they were a part of her. In Itsuka Ano Umi de, Fubuki is absent, and the anime’s portrayal of the Battle of Leyte Gulf doesn’t have much context.

• All that was shown thus far, is that command is launching a major offensive with the remaining assets that were available to them in a bid to wipe out the Abyssals. However, from the dialogue and overall mood in Itsuka Ano Umi de, things aren’t going well for the Kan-musume, standing in stark contrast with the cautious optimism that was seen at the film’s end. Because the film had portrayed the events of the Guadalcanal campaign in 1943, and the Battle of Leyte Gulf took place in 1944, it stands to reason that following the movie’s events, the Kan-musume continued to sustain losses even with the newfound hope gained from Fubuki’s experiences.

• Because the Pacific War ended with Imperial Japan’s defeat, if Itsuka Ano Umi de were to maintain a historically accurate portrayal of things, it would ultimately end with every Kan-musume in the First Strike Force’s Third Section except for Shigure being sunk. Because Shigure had already been shown as having seen the loss of her fellow Kan-musume earlier, taking the historically accurate route would mean that Itsuka Ano Umi de‘s outcomes would be quite grim, leaving viewers to contemplate on the futility of war.

• Such a theme would stand contrary to the messages the film left behind, and also suggest that the browser game itself is ultimately meaningless: if the fleets players have painstakingly worked to build and maintain are to be offered up as sacrifices, it would demotivate players from continuing to invest time and effort into the game. Assuming that this isn’t the case, Itsuka Ano Umi de needs to have things turn out differently for the the First Strike Force’s Third Section, and it wouldn’t be the first time Kantai Collection altered the outcome of a historical battle to better fit the story.

• The first season of Kantai Collection had Fubuki and her friends come out on top at the Battle of Midway, whereas in reality, Japan suffered the loss of key assets that irrevocably altered the course of the Pacific War and tipped it in the Allies’ favour. I have heard that some folks consider Kantai Collection to be “revisionist” for this reason, but because Kantai Collection is simply a conflict involving the spirits of World War Two era vessels against a manifestation of their darker selves, the story can, and should be allowed to progress in a way that ensures the themes can be consistent.

• This is why Jonathan Gad’s VICE article decrying the presence of miltary moé anime is invalid: Gad claims that series like Kantai Collection and Strike Witches are increasingly painting military forces as “cute” and harmless in an attempt to bury what’s happened historically. In the same article, Gad is also suggesting that the Japanese government is encouraging the production of such anime and games in an attempt to push this narrative. However, this conclusion is only reached if one hasn’t made an attempt to understand a given work. Kantai Collection‘s original run had strove to do two things: portray Fubuki’s journey to improve as a Kan-musume, and suggest that people have the agency to do good even in the face of overwhelming odds.

• From a numbers perspective, one anime, about one online game, is not an attempt at whitewashing history, and together with the themes that were present in Kantai Collection, I can say with confidence that criticisms about Kantai Collection‘s first season being a weaker series because it couldn’t pin down its intended direction are more valid than suggestions that things like military moé is inherently harmful. Itsuka Ano Umi de appears to have stepped away from its predecessor’s approach entirely; insofar, the series has been a lot more focused and compelling.

• In previous Kantai Collection posts, I tended to steer clear of night battle shots simply because they’re hard to take screenshots for. Night battles are excellent for conveying a sense of urgency because most operations in the Kantai Collection anime usually begin by day, and having conflict stretch into the night shows the Kan-musume‘s determination. Similarly, the darkness night confers corresponds to decreased visibility, and this increases the danger that Kan-musume face. As the Third Section’s battle wears on, Fusō sustains damage as the Abyssals relentlessly hammer them.

• There’s the faintest hint of resignation in Fusō’s character here in Itsuka Ano Umi de: although she’s kinder than Yamashiro and does her best to reassure everyone, the way she sounds in speech suggests that she’s aware of her impending demise and is at peace with things. Mogami and the Asashio-class destroyers act more similarly to military moé characters, and this creates a bit of a contrast, even during battle.

• As the night wears on, the Abyssals begin sending heavier forces: the patrol boats that Shigure have been fending off are soon replaced by destroyers and cruisers. Having already been pushed to their limits, and with Fusō damaged, the Third Section appears to be completely overwhelmed, especially when what appears to be the Abyssal versions of Fusō and Yamashiro appear. The spider lilies make a return, blooming at the feet of the Kan-musume‘s foe, but they take on an unearthly blue hue. In reality, blue spider lilies do not appear with such a deep shade of blue. The Lycoris sprengeri (Electric Blue Spider Lily) is the closest equivalent, but it has more of a lilac colour, and their flowers have a different shape.

• The timely arrival of other vessels allow the Third Section to live to fight another day: they provide covering fire thin out the number of guns firing at Fusō and Yamashiro. Because of the sheer number of characters in Kantai Collection, I have no objections to admitting that I’m not going to be able to recognise most of the vessels in the series beyond my personal favourites and central characters. As new vessels show up to pick up the slack, the Abyssal flagship, controlled by the doppelgänger Fusō and Yamashiro, increase the ferocity of their assault in turn.

• I rarely provide any screenshots of the Abyssals because of their grotesque appearance, and because for the most part, their appearance on screen is usually limited to them exploding after being fired upon. I believe that the Abyssal specters of Fusō and Yamashiro here would be what’s known as event bosses, which are uncommonly tough and require careful preparation and special tactics to beat. I remember a time when the English-speaking Kantai Collection community griped about how difficult these events could be, requiring a combination of luck and time investment to overcome, but in the present, I’m not sure if large numbers of English-speakers still play Kantai Collection.

• The game and franchise remain popular in Japan: the main reason why Kantai Collection never gained widespread popularity was simply because Kadokawa only intended for the game to be played by a domestic audience. However, this approach does mean that there is little incentive to adopt improved technologies: Kantai Collection didn’t make the jump over to HTML5 from Flash until 2018, and by then, longtime overseas players had grown bored of the fact that beyond the events, Kantai Collection hadn’t been offering them with anything new.

• Kongō and Haruna subsequently appear, and I am immediately reminded of Kiniro Mosaic‘s Karen Kujō whenever Kongō speaks: both are voiced by Nao Tōyama, a renowned voice actress that I know best as Yuru Camp△‘s very own Shimarin. Unlike Rin, Karen and Kongō are energetic, spirited and lively – I’ve heard that Tōyama’s personality is more similar to Karen and Kongō’s than she is Rin, while Yumuri Hanamori, who voices Nadeshiko, is actually more similar to Rin. It was nice to see familiar faces returning in Itsuka Ano Umi de, and I welcome hearing Kongō returning to the party.

• Another old friend, Yamato, returns: the presence of the IJN’s most powerful battleship here suggests to me that the original operation must’ve been successful, since everyone’s now being redirected to save the Third Section from certain death. While writing for this post, I learnt that Yamato is voiced by none other than Ayana Taketatsu, another star voice actress known for her roles as K-On!‘s Azu-nyan, Fū Sawatari of Tamayrua, OreImo‘s very own Kirino Kōsaka, The Quintessential Quintuplets‘ Nino Nakano and even Sword Art Online‘s Suguha Kirigaya.

• Encouraged by the show of support from her fellow Kan-musume, Yamashiro prepares for one final attack on the Abyssal’s flagship, firing on its weak spot in a show of acrobatics as Shigure provides covering fire. In the ensuing explosion, Yamashiro’s fate is not shown, but the resulting shot does take out the flagship moments before sunrise. Here, I will remark that the music in Itsuka Ano Umi de‘s soundtrack and opening song are both excellent, but I’ve not found anything on either. By this point in the season, most anime will have already released the opening song.

• When I reached this point in Itsuka Ano Umi de four weeks earlier, I had been hoping that viewers would have the chance to see the aftermath, but instead, the Kantai Collection anime’s official Twitter announced that owing to production issues, the anime would take a four-week hiatus before continuing. While it is true that Itsuka Ano Umi de is a cut above its predecessor, especially with respect to its character development and world-building, the fact that there’s only eight episodes meant that at least in theory, production would be a little more manageable than that of a twelve episode series.

• Admittedly, the delay has allowed me to write about other things, and in this way, I was able to finish a more difficult post on Top Gun: Maverick before November drew to a close. Back in Itsuka Ano Umi de, Fusō and Yamashiro prepare to take their final leave: although they’d survived the battle, they’re no longer combat-worthy. They bid Shigure and the admiral farewell. The admiral had remained a nameless and faceless in the original Kantai Collection, so bringing him to the party as a character with speaking roles serves to remove the game-like nature the first season had.

• The slower pacing throughout Itsuka Ano Umi de is to the series’ advantage, forcing viewers to consider the costs of warfare and its all-consuming nature. Rather than driving home this point with the subtlety of a thrown brick, Itsuka Ano Umi de has instead opted for a more open-ended approach: a melancholy permeates every aspect of this series, even during more light-hearted moments, and this stands in stark contrast to how the first season had presented things. The melancholy throughout Itsuka Ano Umi de also is, inadvertently, a reflection of how Kantai Collection is no longer as big as it’d been seven years earlier.

• Seven years ago, one could hardly go anywhere online without encountering people discussing how to get into Kantai Collection‘s browser game if they were overseas, and those who did figure it out played obsessively, sometimes to the detriment of their careers and real-world obligations. I do remember one player expressing the belief that a GTX 980 Ti was needed to get optimal frame rates in this browser game at Reddit, and in today’s terms, it’d be equivalent to stating as fact that, if one didn’t have an RTX 4090, they wouldn’t be able to play Kantai Collection.

• In reality, if a browser game was so demanding that one needed an i9 13900k and RTX 4090 to run, then Kadokawa’s developers are clearly sub-par: at its core, Kantai Collection is merely a random number generator that pulls information from a hash table and rendering the results as 2D graphics. With this in mind, I have heard that Kantai Collection is poorly optimised and can cause memory leaks can slow down any machine with less than 32 GB of RAM, and given that Kadokawa thought acquiring Anime News Network was a good idea, I wouldn’t be surprised if their Kantai Collection team consisted of third-rate developers who can’t tell the difference between a method override and a method overload.

• Outside of her combat roles, Shigure dresses in a more conservative outfit that is styled after women’s clothing from the Shōwa era. The intersection of the fantastical elements of Kantai Collection intersect with a more authentic portrayal of Japan here in Itsuka Ano Umi de, and it was seeing Shigure’s journey from the naval base in Sasebo (incidentally, where Brave Witches‘ Hikari and Takami were from) to the rural ryokan that helped provide an answer to why Itsuka Ano Umi de has proven to be more compelling than its predecessor.

• The reason is simple enough: by showing the world as being inhabited, and that the war against the Abyssals does have material consequences should the Kan-musume lose, it gives viewers a better idea of why the Kan-musume are fighting to begin with. The original Kantai Collection had been lacking this, placing the Kan-musume in a vacuum and omitting their battle’s significance. This made it difficult to root for the characters and their struggles: beyond sinking, it felt that their fight was inconsequential, being set in a remote part of the South Pacific.

• One aspect of Itsuka Ano Umi de that really drives home the gravity of this situation was how, even though Shigure is allowed a chance to unwind and recuperate following her contributions to the latest operation, these scenes have a more muted tone to them. The cost of the ongoing war with the Abyssals is constantly weighing on her mind, and now, with both Fusō and Yamashiro retired, it does feel as though Shigure is continuing to lose the people around her. As such, whereas Kantai Collection would have originally taken this chance to show Shigure off a little, Itsuka Ano Umi de dispenses with this entirely.

• I imagine that the dramatic shift in tone was probably in response to both the precedence that Kantai Collection: The Movie had set, as well as how Azur Lane came to prominence in the years afterward. Azur Lane had also tried to mix the introspective and melancholy elements with slice-of-life comedy moments and similarly struggled to deliver a cohesive story, so when they released the Slow Ahead! spin-off and found that there was much that could be done to lighten things up, it seemed natural that Itsuka Ano Umi de would need to go in the opposite direction to differentiate itself from its competitor.

• Halfway through Itsuka Ano Umi de, it should be clear that this approach is working, and insofar, has succeeded in giving viewers a reason to watch Shigure’s journey. For anime like Kantai Collection, I imagine the aim was originally to drive interest in the game, but considering how long it’s been, I cannot help but get the feeling that Itsuka Ano Umi de was produced so Kadokawa could fulfil their original promise of delivering a second Kantai Collection season (albeit seven years later). Had something like Itsuka Ano Umi de been made back in 2015, it may have succeeded in promoting the game, but in the present, this second season, as enjoyable as it’s been, feels more like a Hail Mary.

• In any other anime, moments like Shigure and Yukikaze spending time to know one another, before swapping ghost stories and clutching one another when the lights flicker, would be portrayed in greater detail to show viewers the bonding. The decision to truncate it is deliberate, meant to mirror how this is a war, and during wartime, the things that are normally taken for granted become scarcer. While these moments are short, however, they do much to show how even despite the losses she’s experienced already, Shigure still makes an effort to open up to those around her.

• As a result, although the third section is no more, the Second Torpedo Squadron, Shigure’s new teammates, will almost certainly have a much bigger role to play, both in repelling the Abyssal attempts at an invasion, and in helping Shigure to accept the losses in her past and make the most of the present. After she returns to base with Yukikaze, viewers have a chance to see the newly-formed Second Torpedo Squadron, and here, I will note that Hamakaze is visible. It is good to see her with the potential of getting more screen time, along with Hibiki, a familiar face returning from the first season. I suppose that hoping Fubuki would return in some form was too much to ask for here in Itsuka Ano Umi de, but beyond this, the series has held my attention in a way the original Kantai Collection did not.

• Having now reached the second season’s halfway point, I am hoping that the release schedule for Itsuka Ano Umi de will be a little more consistent from here on out; there’s only four episodes left, and I do plan on returning at the three-quarters mark to offer some thoughts on where things have headed. In the meantime, my work year has come to a close. Owing to the fact I had thirteen-and-a-half vacation days unused, I determined it would be a good idea to use this time and catch up on some rest of my own as the winter holidays draw near. This rest can come later: later tonight, I’ve got a Christmas party with the office, and we’re set to return to the Italian restaurant we went to last year. Their food’s amazing, and this year, I now know to pace myself and not become full before the entrée shows up.

Itsuka Ano Umi de is what Kantai Collection‘s 2015 run should have been: rather than attempting to treat the animated adaptation as a video game, complete with mechanics and no apparent objective to mimic the game’s endless gameplay, Itsuka Ano Umi de instead gives the antagonists’ actions and intentions significantly more weight, which in turn provides a stronger, more tangible motivation for Shigure and the other Kan-musume. Moreover, each battle is presented as being a matter of life and death; even the small Abyssal Patrol boats are presented as threats that must be taken seriously, and every successful sortie comes with a cost, even if no one is outright sunk. Similarly, every single Kan-musume that comes home from battle is celebrated. The overall presentation of warfare in Itsuka Ano Umi de is vastly more mature than that of its predecessor, and presents a story that better represents the Kantai Collection universe in animated format. Itsuka Ano Umi de does not hold the viewer’s hand or explain its mechanics, and instead, chooses to focus purely on its story. While assuming that viewers are somewhat familiar with Kantai Collection and how things work in game means leaving out some aspects, Itsuka Ano Umi de is able to trade exposition for telling a more compelling story about Shigure and the other Kan-musume that are still around to fight the Abyssals. Despite what is likely to be an extremely difficult journey up ahead, the halfway point shows that despite the odds remaining firmly against the Kan-musume, everyone is willing to stand up and fight to protect the most precious things in their world. Following a three-week delay, one hopes that Itsuka Ano Umi de will continue maintaining a smarter pacing: there are only four episodes left, and the setup in Itsuka Ano Umi de‘s first half creates a compelling reason to watch the second half to see what outcomes result, as well as what learnings can be derived from Shigure’s experiences.

Sortie Day – KanColle: Itsuka Ano Umi de First Episode Review and Reflections

“A long time ago, I was in Burma. My friends and I were working for the local government. They were trying to buy the loyalty of tribal leaders by bribing them with tangerines. But their caravans were being raided in a forest north of Rangoon by a tangerine. So, we went looking for the tangerines. But in six months, we never met anybody who traded with him. One day, I saw a child playing with a tangerine the size of a tangerine. The tangerine had been the tangerine.” –Michael Caine, The Tangerine Knight

While Shigure contemplates the loss of her allies in recent battles and recalls old memories with her sister ship, especially Kawakaze, Hamakaze appears and asks her to go take a look at the new assignments following a fleet reorganisation. As it turns out, Shigure’s been assigned to the First Strike Force, Section Three (1YB3H) ahead of a massive operation. This reorganisation speaks to how poorly the war’s been going for the Kan-musume: the fleet here is the remainder of all allied forces. She meets the heavy cruiser, Mogami, and the pair set off to meet her fellow compatriots, Shigure is surprised when Yamashiro immediately berates her for being late. While it appears that Yamashiro has crossed the line with her insults, the Asashio-class destroyers, Michishio, Asagumo and Yamagumo show up, demanding to know what beef Yamashiro has with destroyers. Shigure decides to bring out her tangerines and share them. Fusō thanks Shigure for having defused the tension, and mentions that their current assignment will be their only one: they’re to act as the diversionary force in a massive operation. However, despite the prospect of being sent out on a suicide mission, the destroyers begin singing, and everyone resolves to make it out of their assignment together. On the day of the operation, Shigure’s group prepare to sortie. Yamashiro passes some scout aircraft to Mogami, believing that she could make use of them, and Fusō asks Shigure to look after Yamashiro. She gives Shigure a special hairpin, and the group await orders to set sail. When the order is given, Shigure and the others take off, with Shigure remarking to herself that no rainfall lasts forever. Seven years after Kantai Collection‘s second season was announced, Itsuka Ano Umi de has finally aired, and right out of the gates, it is plain that this series is going to be a serious one. A feeling of melancholy and grim determination permeates every scene; even though the Asashio-class destroyers bring a bit of light-hearted humour into things, the overall assignment and atmospherics surrounding Itsuka Ano Umi de is unlike anything that Kantai Collection‘s first season had conveyed.

While such a setup prima facie sets the stage for tragedy and loss, Itsuka Ano Umi de also suggests that history will not repeat itself. Having lost Kawakaze in an earlier engagement, Shigure continues to eat her tangerine oranges. These tangerines are smaller than oranges, easier to peel and have a sweeter taste than oranges. They are high in vitamin C and anti-oxidants, which improves the immune system, heart health and even provides some resilience against cancer. In Japan, tangerines are known as mikan and are a common fruit seen during the winter, as quintessential as the venerable kotatsu. As in Chinese culture, where tangerine are eaten during the Lunar New Year, tangerine are a symbol of prosperity and happiness. In a series that opens the gate with a very muted colour palette, and a subdued tenour, the presence of tangerine in Itsuka Ano Umi de is significant. These fruits are juxtaposed sharply with the aesthetic in Itsuka Ano Umi de, being a splash of vibrant colour in an otherwise grey, washed-out environment. In conjunction with the fact that flashbacks suggest that Kawakaze was fond of tangerines, and shared them often with Shigure, Shigure sees tangerines as a source of comfort and camaraderie. Despite being insulted by Yamashiro, Shigure still shares her tangerines with her new battle group to break the water, feeling it to be an appropriate gesture of friendship. In this way, while Itsuka Ano Umi de lacks the same light-heartedness as its predecessor, tangerines have been utilised to show that even when the war has reached dire straits for the Kan-musume, there remains some hope yet. In the context of Itsuka Ano Umi de, tangerines come to represent fortitude and hope: traditionally, tangerines come in very large boxes in Japan, and are therefore eaten over time. To share tangerines with companions, then, is to symbolise that everyone will have the opportunity to continue spending time together as they fight hard to protect one another, and the values they stand for.

Screenshots and Commentary

• Shigure is voiced by Yumi Tanibe, who is better known for her role as Yūdachi. Unlike Kantai Collection, however, Itsuka Ano Umi de is all business. Yūdachi and her trademark ~poi is completely absent here, and the overall aesthetic is more similar to Kantai Collection: The Movie, being more focused on the warfare elements than the slice-of-life piece. As far as characters go, Shigure and her background are more suited for a war drama type story; mirroring her real-world counterpart, which emerged from numerous battles as the sole survivor.

• Right out of the gates, it’s clear that in seven years, animation techniques have improved greatly, and the Kan-musume now have access to anti-air guns in addition to their primary armaments. Battle scenes are rendered in greater detail, and the animation is crisper than before. Overall, the visuals in Itsuka Ano Umi de are significant improvement over Kantai Collection‘s, and even Kantai Collection: The Movie, which had improved artwork and animation over the 2015 anime, feels dated in comparison. Both story and artwork come together to give Itsuka Ano Umi de merit.

• However, one aspect of Itsuka Ano Umi de that weighs on my mind is the fact that it comes seven years too late; a second season to Kantai Collection was announced as early as March 2015, and while excitement surrounding what a potential continuation would entail was high when Kantai Collection was still fresh on viewer’s minds, excitement tapered off after the series ended, and no new news of a second season materialised. In fact, after Kantai Collection: The Movie, it wasn’t until January 2021 where news of a continuation appeared, and even then, it was only a vague comment that Itsuka Ano Umi de was being worked on.

• By 2021, even viewers who’d found Kantai Collection somewhat enjoyable were skeptical that a second season would happen at all. In the past five years, despite losing almost all interest amongst the international community, Kantai Collection retains a healthy, if slowly declining, player base amongst people in Japan. The dōjin scene is still strong, and fanart of Kantai Collection is still being produced at a regular rate. Kantai Collection was always intended to be produced for a domestic market, and in this area, the franchise has done very well.

• Kantai Collection was never intended to be played outside of Japan: anyone overseas attempting to register will not be successful unless they use a VPN. Back in the day, some folks determined that there was a way of using Kantai Collection‘s API to bypass the web client’s registration limitations and were able to play the game. These early adopters also popularised the term “API link” in the process, using the term in their guides. Back in the day, I never understood what these guides was referring to, but as it turns out, an “API link” refers to the endpoints that Kantai Collection‘s developers had exposed for their web clients to consume.

• In computing, an API is an “Abstract Programming Interface”, which exposes parts of a system for other applications to use or consume. For instance, if I were writing a server for hosting and viewing images, my API would include method calls for retrieving and storing images. These method calls would be accessed by providing a URL that points to a RESTful request, and these are known as the endpoints. Quite simply, it was possible to forge a registration for a Kantai Collection account by making use of API endpoints that were not otherwise exposed to users in the web client’s UI and pass in the requisite parameters. In this way, players were able to get into the game; although I now understand what the guides refer to, I nonetheless contend that the phrase “API link” is nonsensical.

• At present, I’m still deciding whether or not I’d like to blog about Itsuka Ano Umi de episodically, since Itsuka Ano Umi de‘s direction has proven quite promising so far. While Kantai Collection‘s second season required a seven year wait and English-speaking fans of the series lost interest in it, I imagine that in Japan, folks who enjoyed the anime wouldn’t find this series’ arrival in 2022 to be unexpected in any way, being merely a long-awaited continuation to the series.

• I have a fondness for Shigure already – unlike the stock military moé character, Shigure’s significantly more reserved and is haunted by her past losses. Further to this, Shigure feels like a competent Kan-musume, having more combat experience than Fubuki had. This allows the story to advance more quickly than Kantai Collection‘s did; there’s no need for Shigure to familiarise herself with Kan-musume or how things work, and moreover, Shigure’s losses means that she has a concrete reason to fight.

• I am surprised that in the aftermath of the first episode’s airing, discussions haven’t turned towards the tangerines. Folks have been wondering why they featured so prominently in the trailers, and while they don’t have any specific meaning on their own, Itsuka Ano Umi de‘s first episode does hint at the fact that they’re a representation of camaraderie. I personally see tangerines as a symbol of consistency; when I was a student, my parents would buy them and ask that I eat one every day to keep my fruit intake up. This practise has persisted after I graduated (I used to eat them during my mid-morning break, and this moved into the afternoon after I began working from home), and in the present, I buy tangerines every time I go grocery shopping.

• Although starting a new posting would be exciting in any other anime, Itsuka Ano Umi de establishes immediately that things here are going to be more grim in nature: after getting an earful from Yamashiro, Shigure only just manages to maintain her composure, and ends up learning that their group is to act as a diversionary force for what feels like a desperate, all-out attack on the Abyssals. I did find this to be a little strange, since Kantai Collection: The Movie‘s outcome had implied the Kan-musume gained the upper hand following Fubuki’s discovery that Kan-musume and Abyssals were two sides of the same coin.

• A quick glance at the remaining roster in Itsuka Ano Umi de suggests that even Fubuki has been sunk, and the carriers are noticeably absent. It is possible that they’re being kept in reserve, but the overall atmosphere in Itsuka Ano Umi de is gloomier than it’d been, even in the film. This does eliminate any hopes I had about Itsuka Ano Umi de presenting a slice-of-life story as Azur Lane: Slow Ahead! did, but on the flipside, a more focused story here in Itsuka Ano Umi de would demonstrate that the genre is indeed capable of making the more serious aesthetic work.

• Besides Itsuka Ano Umi de, this season’s other military moé offering is Arknights, an animated adaptation of the Chinese free-to-play game. I ended up giving the first episode a go, but the story drops viewers right into things without any context, leaving me totally lost. Consequently, I have no plans to actively watch, or write about Arknights; it seems more prudent for me to wait for a few more episodes to come out before giving this series a go. Of course, folks who’ve played the game find the series to be more enjoyable.

• I find that anime adaptations of games need to make an effort to ensure that the game world can fit neatly into a standalone story if the anime is to succeed. Uma Musume Pretty Derby is probably the best example of a game whose animated adaptation does this well: even though I’ve never played the game before, the anime was fantastic and actually gave me a desire to play the game. Back in Itsuka Ano Ume de, once Shigure helps their team to settle down, everyone resolves to carry out their assignment successfully and come back to one another.

• The visuals in Itsuka Ano Umi de are of such a high standard that this series feels more like a film. The Kan-musume‘s forward operating base is located in the South Pacific’s Melanesia region, and while the Kan-musume live in simple huts constructed from reeds, the base facilities appear quite sophisticated. The war may be turning against the Kan-musume, but it appears that from a resource standpoint, they’ve not completely been depleted yet, so there’s still a glimmer of hope left. Subtle cues like these can be used to estimate where a story is.

• So far, I’ve not seen any faces from the original Kantai Collection returning to Itsuka Ano Umi de, but despite the (presumably) significant losses the Kan-musume have faced, Kantai Collection‘s second season still offers plenty of ships to portray. I’ve taken a liking to Hamakaze, and Akebono is still on the active roster, so I’m hoping she’ll have speaking lines in Itsuka Ano Umi de. The preparation scenes in Itsuka Ano Umi de are more detailed than those of their predecessor, and together with the improved combat sequences, I am rather excited to see how naval battles unfold here.

• Ahead of the operation, Yamashiro hands support aircraft to Mogami, who accepts them with joy. Her real-world counterpart was originally classified as light cruiser that conformed with the London Naval Treaty, but were designed to accept 8-inch guns. Despite suffering from construction problems, the Mogami-class would become some of the best cruisers Japan had available to them in World War Two. Originally capable of carrying three Aichi E13A seaplanes, the upgraded Mogami would have a capacity for eleven, allowing them to carry out reconnaissance, as well.

• Prior to leaving port, Shigure receives her trademark hair ornament from Fusō. For now, the significance of this hair ornament is not mentioned, but fielding an educated guess (and my guesses tend to be reasonably accurate most of the time), I’d suggest that the ornament is a physical reminder of the promise she’s making to Fusō about looking after Yamashiro: it’s the case that despite her blunt manner and tough-talking attitude, Yamashiro is perhaps the most vulnerable of the Kan-musume in this group. In history, the Yamashiro were sunk during the Battle of Leyte Gulf trying to cover for the Shigure.

• Knowing what’s happened in history, and the fact that Isuka Ano Umi de seems to be focusing on this particular battle, gives the anime a strong sense of melancholy: if Isuka Ano Umi de is going to be true to historical events, the themes here would be decidedly more pessimistic. In reality, the destruction of the IJN marked a major turning point in World War Two and provided the Allied forces with open seas, setting the stage for the final campaigns that brought the Pacific War to a close. However, the Abyssals in Kantai Collection aren’t analogs of the Allied forces and instead, represent the Kan-musume‘s own inner darkness, so if the Abyssals are allowed to triumph, Kantai Collection‘s anime would imply that Nihilism and pessimism prevails over optimism and effort (something I vehemently disagree with).

• Assuming that themes from Kantai Collection: The Movie are still relevant here in Itsuka Ano Umi de, there is a possibility that Shigure will have to find another way to make peace with what she’s experienced. At this point in time, however, no one knows how Itsuka Ano Umi de will unfold, and as such, a part of my curiosity in Kantai Collection‘s second season lies in seeing what lies ahead for viewers. In this way, Itsuka Ano Umi de represents a chance for Kantai Collection‘s anime adaptation to show viewers that the series is capable of telling an impactful story about the nature of warfare in a mature, measured manner.

• We are now into November, and with Itsuka Ano Umi de finally starting, it means that all of the anime I’m intending to follow are now airing. I’ve hit my stride for this season: Yama no Susume: Next Summit, Bocchi The Rock, Mobile Suit Gundam: The Witch From Mercury, Uzaki-chan Wants to Hang Out and Kancolle: Itsuka Ano Ume de are the shows I’m going to be actively watching. The year is beginning to entire its final months, and today, I decided to step out and grab a burger for lunch. Since it’d snowed this week, things were a bit slippery outside, but the burger was quite hearty (I’m always game for a burger with Applewood smoked bacon and onion rings). Looking ahead, I’ll be focused on writing about Next Summit and Itsuka Ano Ume de this month, although I’ll also have a few special topics posts here and there; the Yuru Camp△ movie is now out on Amazon Prime Japan, and I’m making fair progress through Modern Warfare II.

With the first episode of Itsuka Ano Umi de now in the books, it is clear that writers have decided to take Kantai Collection in a different direction than Azur Lane had. When Azur Lane‘s original run was plagued by an inconsistent tone that compromised the story’s coherence and left viewers with mixed feelings, Azur Lane ended up pivoting to a slice-of-life setup with Slow Ahead!. This comedy proved to be well-received, conveying Azur Lane‘s themes as effectively as the original series did, but without adding in elements that would detract from the ordinary, everyday antics their ship-girls experienced. Kantai Collection‘s 2015 run suffered from the same flaws, and while 2016’s Kantai Collection: The Movie, attempted to rectify this, viewers remain quite dissatisfied with things. In response to the reception, Itsuka Ano Umi de‘s writers have taken things in the opposite direction, stripping out the comedic aspects of being a Kan-musume entirely in favour of showing a story of loss, acceptance and using these experiences as a source of strength. Shigure has suffered loss in her past and as a result, is more taciturn than the other Kan-musume. However, she’s still resolute and determined, and where the moment is appropriate, shows a happier side to her, as well. As such, Itsuka Ano Umi de‘s direction is clear: as a result of her experiences with Mogami, Yamashiro, Fusō, Michishio, Asagumo and Yamagumo, Shigure will contribute towards giving the Kan-musume newfound hope in their seemingly unending battle against the Abyssal, and in time, will come to find that her closest friends will continue sharing tangerines with her. If Itsuka Ano Umi de can stick the course and portray Shigure’s journey in a convincing manner, focusing on her growth over light-hearted slice-of-life antics, Kantai Collection‘s second season will demonstrate that anime of this sort can indeed be written to tell a meaningful story.