The Infinite Zenith

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Kase-san and Morning Glories: OVA Review and Reflection Upon A Tale of Romance Amidst the Flowers

“Following all the rules leaves a completed checklist, following your heart achieves a completed you.” –Ray Davis

Yui Yamada is a member of her school’s Gardening Club, and when she entered high school, she’d been quite reserved and shy. She develops feelings for Tomoka Kase, a popular athlete who competes on the school’s track and field team. While Yui becomes worried about being unable to spend as much time with Tomoka as she’d like because Tomoka is so involved, Tomoka reassures her that the feelings between them haven’t changed. It turns out that, while eating lunch on the school rooftop one day, Tomoka had spotted Yui tending to the school’s flower gardens and became entranced by the dedication Yui had exhibited. Over time, Tomoka would look forwards to seeing Yui, and on one occasion, Yui finally turns around and looks at Tomoka. The pair eventually begin going out with one another. In the present, Yui invites Tomoka to her place on an evening where her parents are out, and in the moment, Tomoka asks if Yui would be okay with taking things to the next level. Before anything can happen, Yui’s mother calls her, and Tomoka laughs, promising there’ll be another time. Later, during a class trip to Okinawa, Yui becomes worried about Tomoka seeing her naked and declines to join her in the hot springs. Although Tomoka worries that Yui wants to end the relationship, a heart-to-heart conversation between the pair on a secluded beach clears things up. With the end of high school fast approaching, Yui applies to a local university, but is saddened to learn that Tomoka’s received a recommendation to an atheletic university in Tokyo. Although she struggles with the prospect of separating from Tomoka, she still wishes her well. In the end, Yui decides to follow her heart and applies for a post-secondary in Tokyo, such that she can continue to be by Tomoka’s side. An adaptation of Hiromi Takashima’s manga Kase-san, Kase-san and Morning Glories is a love story set towards the end of high school, when paths begin diverging as people follow their own ambitions for the future. The manga originally ran between 2010 and 2017, and in 2018, an OVA adaptation première in Japanese cinema, bringing the story’s first act to life in an hour-long journey that follows the beginnings of Yui and Tomoka’s romance in a touching and heartwarming journey in which Yui decides to trust in her feelings and pursue a future where she can be with Tomoka, rather than forgoing the opportunity.

Kase-san and Morning Glories is a story that employs the age-old literary device of “following one’s heart”, in which characters will act on their emotions and feelings in the heat of a moment such that they do not have any future regrets. The fact that this theme is so prevalent in fiction speaks to the fact that this is something that people yearn for: all too often, people fail to act, whether it be a consequence of aversion to failure and the unknown, or because of constraints making it impractical to do so. In the realm of fiction, then, being able to follow one’s heart, and tangibly benefit from a personal growth perspective, is to serve as a message of encouragement and suggest that sometimes, one should take the plunge and go for it, if only to give things a go and see what becomes of one’s efforts. The applicability of this particular lesson varies depending on the context, and in the case of Kase-san and Morning Glories, it is a trickier place to apply the message. On one hand, it is commendable that Yui is so committed to her relationship with Tomoka that she’s willing to give up a slot at her local university for a post-secondary in Tokyo that she might not gain admittance to. However, the risk here is that if Yui’s gamble had not succeeded, she’d be separated from Tomoka anyways. Because this is a story, things work out nicely for Yui: she does end up attending a Tokyo post-secondary and majors in horticulture, simultaneously pursuing a field she’s genuinely interested in while at the same time, being close to the person she loves. However, this isn’t something that is always applicable to reality; sometimes, one must make the difficult decision and pick one choice among two owing to certain limitations in their circumstances. In this case, the suggestion that having it all comes across as being ludicrious: making difficult choices is a part of maturing, and a large part of being an adult is owning the consequences of one’s decisions. As a result, I find myself disagreeing with the messages that sometimes are sent with the “following one’s heart” theme on some occasions. Here in Kase-san and Morning Glories, Yui’s decision is admirable, but not always viable in every situation: at the very least, Kase-san and Morning Glories would have benefitted from additional portrayal of Yui reasoning out her decision to change her post-secondary applications at the last minute.

Screenshots and Commentary

  • Kase-san and Morning Glories is a departure from the topics I typically write about – it is a yuri anime through and through, and normally, in the moé series I watch, yuri is a tangential element, being secondary to other aspects of said show. However, here in Kase-san and Morning Glories, romance is lies at the heart of things, and therefore is something that will be discussed. I have previously received flak for this approach; some readers hold that all romantic subtext is relevant, and expect that other viewers share their views even when it is plain a work has no intention of going down such a route.

  • I focus on romance when it is evident that romance has a nontrivial role in the story. This is why I hold that in something like Amanchu! or The Aquatope on White Sand, there is no need for me to speculate on things. Conversely, to do something like that in Kase-san and Morning Glories would be inappropriate; within moments of the OVA’s opening, it is plain that romance is vital here. The sorts of things that Yui and Tomoka experience is typical of a romance starting out, and initially, even something as simple as a phone call is a cause for awkwardness, although this gives way to warmth and joy once things settle down.

  • Kase-san and Morning Glories is very gentle and light-hearted in its presentation. Besides use of an unsaturated palette and clean backgrounds, this series makes use of facial expressions that are right at home in a comedy. The message this sends to viewers is that while things might get serious, the film will never unnecessarily foist drama onto viewers; use of facial expressions to convey shock, surprise or outrage is associated with a more laid-back atmosphere.

  • Yui resembles Rifle is Beautiful‘s Hikari and This Art Club Has a Problem‘s Kaori in appearance, but her shy disposition and choice of activity means that from a personality standpoint, she’s more similar to Houkago Teibou Nisshi‘s Hina, or perhaps Yama no Susume‘s Aoi. By this point in time, I’ve seen enough anime to notice commonalities amongst characters, but familiar characters and archetypes do nothing to diminish my enjoyment of a given work – in fact, such characters help provide me with grounding.

  • Yui’s love interest, Tomoka, reminds me of Akebi’s Sailor Uniform‘s Kei in appearance, but has an athletic background and a sunny disposition; in this way, she’s like Harukana Receive‘s Haruka. Immensely popular amongst the female students, Tomoka is still remarkably kind and returns Yui’s feelings, although her commitments initially make it difficult for her to spend any time with Yui whilst at school. Unlike Tomoka, who exudes a confident air, Yui is a ways more reserved and initially wonders if Tomoka returns her feelings.

  • A heart-to-heart talk on the school rooftop removes all ambiguity: this aspect of Kase-san and Morning Glories is one I greatly respect. In some romances, half the series is spent with the characters spinning their wheels, wondering if they should put their feelings into the open or be content to admire their crush from afar. However, while nerves may make this a realistic outcome, indecision is frustrating from a storytelling perspective. Putting everything onto the table means Kase-san and Morning Glories is able to advance its story past this initial stage.

  • This is especially important, since Kase-san and Morning Glories only has a runtime of fifty-eight minutes. The OVA is a little jumbled at times, switching constantly between the present day and flash backs, but this also works to the OVA’s advantage in conveying the tumultuous feelings associated with being in love. Unlike the numerous other things I’ve done, where preparedness and adaptivity allows one to plan out next steps and devise backups, romance is very much a touch-and-go pursuit, taken one step at a time.

  • After their initial meetings, Tomoko and Yui begin going out shortly after,  and one evening, even share a kiss under the sunset whilst waiting at the bus stop. Use of the warm, golden colours of a day’s end creates a timeless quality that speaks to how memorable the moment is. While it might be the end of a day, Yui and Tomoko seem locked in this moment for a tender eternity, blissfully wrapped in their own world. It’s a turning point in their relationship, where the awkwardness transitions into something that becomes more tangible.

  • The visuals in Kase-san and Morning Glories are nowhere near the levels seen in Kyoto Animation, Studio Ghibli or Makoto Shinkai’s works, but nonetheless work extremely well given the story Kase-san and Morning Glories seeks to tell. Such moments are referred to as sakuga (作画), when the artwork and animation is particularly outstanding from a visual perspective. From a literary standpoint, especially significant moments correspond to especially beautiful artwork and animation. However, the term has since broadened to refer to good animation and artwork in general, but this definition comes with a caveat: if one is not looking for moments that are standout in the context of a show, then some story-specific elements may be missed.

  • This is why when it comes to sakuga, I care about its application in a given work, rather than counting it as a work with above-average visual quality. Back in Kase-san and Morning Glories, things between Yui and Tomoko stablise enough such that Yui becomes confident enough to invite Tomoko over to visit. It marks a first for the pair and shows that spending time with Tomoko has made her a little more confident than she’d been before, enough to take the initiative and have Tomoko over.

  • Although Tomoko is presented as being cool, confident and composed, it turns that even she can feel embarrassment. Here, after she lets slip that she was counting on a maps app, she suddenly blushes and falls silent – doubtlessly, Tomoko had been trying to contain her excitement for the moment and appear dependable to Yui. This moment brings to mind the age-old stereotype that men never ask for directions or rely on maps, and as it turns out, this has nothing to do with visual-spatial coordination and is more of a matter of pride for some folks.

  • Yui had been quite nervous about Tomoka visiting her, and spends a bit of time cleaning her room up so it looks spotless. This effort impresses Tomoka so thoroughly that her heart flutters. The pair enjoy the cakes that Tomoka’s brought – she yields her strawberry to Yui, who, like K-On!‘s Yui, believes that the strawberry is the heart and soul of a cake. The symbolism here is simple enough; Tomoka loves Yui enough to give her the strawberry as a sign of the extent of her feelings.

  • Once the cakes are cleared away, Kase-san and Morning Glories‘ most heart-pounding moment occurs; Tomoka desires to take her relationship with Yui to the next level, and while Yui isn’t sure of what Tomoka means by this, she decides to go forwards. Had things gone all the way through, Kase-san and Morning Glories wouldn’t be family-friendly, although by this point in time, longtime readers will probably have guessed that I would talk about things anyways. Before anything can happen, the phone rings, defusing all of the tension in the moment and releasing it via comedy.

  • The next segment of Kase-san and Morning Glories is set on the girls’ class trip to Okinawa. The class trip is a classic part of anime, either taking students to the historical streets of Kyoto or the tropical beaches of Okinawa. The choice seems entirely based on what an anime seeks to convey, and Okinawa appears to provide a very carefree locale for everyone. By comparison, the amount of history in Kyoto makes for a much more introspective experience.

  • Yui’s best friend, Mikawa, had initially opposed Yui’s relationship with Tomoka, but over time, came to be quite accepting of things – by the Okinawa trip, she’s more than happy to photograph the happy couple, and accompany them as they shop for souvenirs. Because Kase-san and Morning Glories is an adaptation of the manga, some elements seen the manga are simplified or omitted. Some of these would’ve been helpful in providing viewers with more of a background as to how things between Tomoka and Yui unfolded, but on the whole, I felt that Kase-san and Morning Glories did a satisfactory job of how the pair’s relationship progressed.

  • I completely relate to Mikawa here: one of my favourite things about being on vacation is the fact that hotel beds are always so comfortable; having an entire queen-sized bed to oneself is incredible, and it feels as though I’m on a cloud when I sleep. Ever since the move, I’ve been enjoying this particular luxury, and although I tend to sleep on the side of the bed closer to the alarm clock, being able to spread out makes for an especially relaxing sleep. Similarly, while we’ve now had nearly two consecutive weeks’ worth of heat warnings, the presence of air conditioning has been a blessing: home feels like a hotel.

  • One subtle cue is that whenever Yui becomes embarrassed, flustered or otherwise excited, a small leaf appears on her head. Here, she enters the baths, but instantly changes her mind after seeing Tomoka’s smoking hot body; Yui is a little uncomfortable with her own physique and decides against taking the bath. The tension this creates worries Tomoka, who becomes uneasy and wants to level with Yui to ascertain what’s happened. Body acceptance is something I’ve not seen in too many anime, although in reality, it is a major concern for both women and men alike.

  • Body acceptance isn’t something I normally talk about: I’ve generally been okay with my physique, and if and when I’m asked, I have no qualms wearing a swimsuit. While I’ve not a model’s physique, I am at peace with my appearance, knowing that as long as I continue to keep up a decent exercise routine, I’ll continue to feel like I’m in good shape. Having said this, social standards have no bearing on how I perceive myself; how comfortable I am in my own skin is largely dictated by how I physically feel, rather than how I look. If I wake up and I feel lively enough to hit the day running, I’m confident I’ll have a good day. On days where I feel sluggish, I will myself out of bed and hit the gym anyways.

  • In the end, once Tomoka and Yui hash things out on a beach together, the issue becomes sorted out, and the pair end up frolicking in the warm Okinawan waters. The trip ends on a high note, and the moment shows how Yui and Tomoka’s problems are those that need to be talked out. This segues into the film’s final act; as graduation approaches, and Tomoka’s path begins diverging from Yui’s the strength of their ability to communicate is put to the test. This is where the bulk of Kase-san and Morning Glories‘ conflict and themes come from.

  • Yui initially tries to take things in stride and wishes that Tomoka would succeed in her aims; Yui’s own aspirations are a little more humble, and she has decided to apply for a local post-secondary to pursue her interests. However, a side of Yui feels conflicted, unable to imagine life without Tomoka. I have mentioned that this conflict is not one I relate to readily; when I was making the transition away from secondary into post-secondary, my decision was made purely based on what I thought would be best for my career.

  • I’ve never been a believer of choosing one’s post-secondary or faculty based on what my friends were doing, simply because university lasts four years, but a career lasts a lifetime, and the costs of returning to education and picking a different career path is a costly one. Even though I wound up being the only person from my secondary school’s graduating year to be admitted into health sciences, I was far from lonely: I made friends with half the people in my graduating class in the first year alone, and still hung out with my old friends during breaks.

  • For Yui and Tomoka, however, the pair are in a romantic relationship, and the decision becomes more difficult. Their situation is dramatically different than mine, and so, while I hold my own thoughts on how to choose one’s path, I will not say that my approach is necessarily the correct one. Everyone will have different backgrounds, and what worked for me won’t work for everyone. Spotting this is an essential reason behind why I was able to enjoy Kase-san and Morning Glories even though the stated outcome is so different than what I experienced.

  • As such, when Tomoka and Yui struggle to be true to themselves and appear consigned to their chosen paths, even though it means separating, as a viewer, I nonetheless felt compelled to root for Tomoka and Yui, hoping that the pair would find a solution that would work for both of them. This particular aspect of being an anime fan comes as the result of over a decade of watching anime and writing about it to with some level of critical thinking; just because I don’t agree with a message doesn’t mean that a message doesn’t have value.

  • Similarly, if something didn’t work for me for this reason, someone who’s lived a completely different set of experiences may, perchance, relate immediately to what’s happening in Kase-san and Morning Glories. Their experiences are no less valid than mine, and in this scenario, my first inclination is to hear them out. This is something I’ve found that some anime critics are lacking: when a work is inconsistent with their own experience, they are swift to deem said work as “mediocre” or “trite”, making no attempt to understand that there are some folks out there who may happen to relate to something. This is why I’m always more cautious when I deal with folks who claim to write from an “objective” perspective.

  • Conversely, people who make it clear their perspectives are based on their experiences are always worth hearing out. Back in Kase-san and Morning Glories, the day has finally come for Tomoka to head off for Tokyo. It appears that this is the end, and that Yui has resigned herself to the path she’d previously chosen. Here, I note that Yui is voiced by Minami Takahashi. Takahashi is best known as Uma Musume Pretty Derby‘s El Condor Pasa, Machikado Mazoku‘s Lilith and Lucoa of Miss Kobayashi’s Dragon Maid. Conversely, Tomoka’s voice actress is someone that needs no introduction: she’s voiced by the legendary Ayane Sakura (Cocoa of GochiUsa and countless other roles).

  • The colours of this sunset, as Tomoka heads off, are much more saturated than they’d been when she’d shared that first kiss with Yui. Previously, I’ve felt that rich colours during a sunset serve to emphasise to viewers the finality of a moment, and from a certain point of view, this sunset marks a sort of turning point in Kase-san and Morning Glories. The old status quo is gone, and Tomoka is fully committed to pursing her career.

  • However, it just wouldn’t be a story without a bit of an epiphany: in this moment, Yui decides that her feelings for Tomoka outweigh her wish to attend a local university. The sunset’s vivid colours also could be seen as symbolising that for Yui, she’s also seen the sunset of one part of her life. No longer doubting what she wants with her future, she decides to pursue Tomoka with all her heart. I personally would’ve liked this decision to be spaced out over a few more scenes, showing Yui making the necessary changes and committing to her choice; this is ultimately what I felt to be the biggest omission from Kase-san and Morning Glories.

  • Had Kase-san and Morning Glories included this as a part of the story, Yui’s decision would’ve appeared more reasoned, and less impulsive. Small details like these can indeed bridge the gap between scenes and give the characters’ decisions a more rational basis. Because of how I approach things, I have no objections to reading between the lines and interpolating what needs to happen in order to realise a story’s outcome, but in general, I feel that works are more successful at conveying their intended message if they leave fewer elements ambiguous.

  • These aspects of Kase-san and Morning Glories notwithstanding, I had a good time watching this film and seeing its portrayals of how love can prevail, and that all it takes from an individual is a little courage to pursue the unknown. From what I gather, Kase-san and Morning Glories represents the beginning of the journey, so folks interested in checking out what happens next, or perhaps to gain a better feel of what happened in the manga’s portrayal of the beginning, would benefit from giving the manga a whirl.

  • I am not one to deny characters of a happy ending, and here at Kase-san and Morning Glories conclusion, I am glad that Yui found the courage to do what she feels is right. Overall, Kase-san and Morning Glories earns a B+ in my books; it represents a very optimistic story of how following one’s heart leaves one with no regrets. It would’ve been nice to show in the film that for her decision, Yui manages to find a future route that works for her; this would eliminate any ambiguity as to whether or not Yui scarified her own future for Tomoka’s sake (as a bit of a spoiler, she doesn’t) and yield a more satisfying, definitive ending.

While I do not wholly agree with the message that Kase-san and Morning Glories sends, I nonetheless found this OVA to be enjoyable, as it shows the awkward and uneven progress that often accompanies a relationship where both partners are getting a feel for things. Miscommunications are sorted out without incident after a little bit of rumination, both partners are unsure of how quickly (or slowly) to take things, but the feelings are very much real. For this reason, Kase-san and Morning Glories remains a fantastic film for its portrayal of how a first relationship might unfold. The dichotomy between my response to Kase-san and Morning Glories‘ themes and its execution may prima facie appear contradictory, but in reality, there isn’t anything so unusual about this outcome: I can enjoy something even if the message isn’t one I agree with, as it represents a chance to see how another mind (i.e. the author’s) might approach a problem. Through Kase-san and Morning Glories, Takashima suggests that it’s okay to throw caution to the wind and trust in one’s feelings. In my own experiences, I’ve always weighed my decisions and make them based on what I think to maximise my benefits in the long term. Although I’ve ended up with a few regrets as a result of my choices, on the whole, I tend to make more decisions that leave me satisfied with their outcomes, and moreover, the decisions I’ve come to regret, I’ve also accepted responsibility for. The gap between what I’ve seen and what Takashima indicates through Kase-san and Morning Glories might be at odds, but considering how vast the world is, there are almost certainly situations where, were one to be in Yui’s shoes, her choice would be counted as correct; just because something didn’t work for me does not mean it is universally inapplicable in every situation. This is why I’m able to watch series without disliking them: I understand that an author’s experiences will be dramatically different than my own, and that through their work, I am able to gain a little more insight into a mode of thinking that I otherwise would not consider. The ability to reflect on one’s own biases in the context of an anime is something that I’ve found to make for a good discussion, and this is something I try to apply to other things in my life, as well. This has worked reasonably well for me, allowing me to broaden my horizons; from an anime perspective, this means trying new shows out and being pleasantly surprised by them, and in reality, it means being open to new experiences that enrich my own life and knowledge.

Umayon: An Anime Short Review and Reflection

“I’ve often said there is nothing better for the inside of the man, than the outside of the horse.” –Ronald Reagan

When Tracen Academy’s Horse Girls are not training for races, they’re found participating in make-up exams, shooting promotional videos for their school, put on Shakespearean plays, challenge one another to eating competitions and even act as Super Sentai to protect their neighbourhood from nefarious elements – Umayon is a series of shorts featuring Uma Musume Pretty Derby‘s most iconic Horse Girls as they navigate through life in an adorable and amusing manner. With each episode being a mere three minutes long, Umayon provides an insight into the world of Horse Girls and suggests that outside of the emotional intensity and focus that goes into each race, the Horse Girls themselves also exude a spirit of fun and can work as hard as they play. Umayon thus joins the ranks of Azur Lane: Slow Ahead and World Witches: Take Off in providing gentle, light-hearted humour, allowing characters to be invovled in outrageous moments that further accentuate everyone’s traits. Such series are, by definition, intended for fans of the series: they require prior understanding of the world and its characters, so for folks looking to get into Uma Musume Pretty Derby, Umayon is not the optimal route for doing so. Conversely, for viewers who found enjoyment in the original series, Umayon represents a hilarious series that pokes fun at some of the elements in the TV series and also gives the writers a chance to parody other series using elements that are unique to Horse Girls. While oftentimes considered as being frivilous, animated shorts like Umayon are superbly enjoyable because they give writers a chance to explore things that would otherwise not work in a standard series – having BNW go hunting for Rhinoceros Beetles amidst a training camp, surprise one another during the traditional test of courage or, most impressive of all, rig a race with strange parameters that allows Gold Ship to trivially win, would never fly in the original Uma Musume Pretty Derby. However, such antics work well as a series of shorts, offering a gentle parody of some of Uma Musume Pretty Derby‘s more outrageous elements.

Compared to most fans of Uma Musume Pretty Derby, I am a relative newcomer, having picked up and watched the series only last August. As it turns out, horse racing is a popular sport in Japan, and over twenty thousand races are hosted throughout the country on an annual basis. Here in my hometown, horse racing is a newer event: there are a few equestrian tracks around the city, but the first major one is located north of the city and only opened in 2021. Conversely, rodeo is immensely popular here; Calgary hosts the Calgary Stampede, one of the world’s largest rodeo events and possessing history dating back to 1886. Unlike horse racing, rodeo events are rowdier and built around activities that ranchers would have cultivated as a part of their work. Despite the dramatic differences between racing and rodeo, however, both events share some commonalities. Aside from obvious similarities, such as how horses are a key part of both, and that gambling drives much of the interest, the crowds for horse racing and rodeo exude a similar energy, even if the manner in which said energy is conveyed is different. Having lived in Calgary since time immemorial, seeing the spirits around the city and Stampede events being reflected in Uma Musume Pretty Derby is a show of the series’ commitment to convey the atmospherics surrounding horse-driven events. The crowds in Uma Musume Pretty Derby rival those of the Calgary Stampede’s rodeo in both exuberance and vigour. Small details like these are sufficient in creating a convincing, compelling world for Uma Musume Pretty Derby, and while the regular anime excels in conveying the tenour in and around races, being able to see the Horse Girls off the field in a series of shorts greatly enhances one’s appreciation for the characters.

Screenshots and Commentary

  • It goes without saying that Umayon is a series purely for fans of Uma Musume Pretty Derby: the shorts demand requisite knowledge of how Horse Girls race, and there are small jokes here and there that are dependent on knowing other aspects of the show. With this background, the jokes connect; the first episode deals with Special Week, El Condor Pasa and Grass Wonder square off in the classroom as they are made to do a re-test after botching their exams.

  • Here, the joke is that on an exam, speed is irrelevant, and score is what counts; while Special Week is first to finish, she fares the worst of everyone. Good humour is subjective, but having read about how comedy works, from folks who’ve nontrivial experience in the field, I’ve seen commonalities. All good comedy is derived off subversion of expectations; there isn’t anything about this approach that demands a specific cultural or social background, and this is why the best comedians are able to succeed anywhere in the world.

  • For instance, Steven Chow’s films are almost universally funny simply because he’s able to create incongruity in actions and their consequences, while Bill Watterson uses time and space (in a medium like newspaper comics, no less) to allow viewers time to process the mismatch between a scenario and its context. Neither Chow or Watterson’s works depend heavily on complex self-referential humour or demand familiarity with a culture to appreciate; the bulk of the comedy is almost always universal, and then subtle references to meta-humour or jokes requiring cultural knowledge are more subtle, enhancing a moment.

  • How well a work utilises this two-tiered approach is what determines how well it fares outside of its intended audience. If a work is able to appeal to a general audience, and then possesses nuances that enhance the experience for those who’ve got a background in it, it is likely to receive wider acclaim. A work that appeals to a general audience, but lacking in depth will be considered average, while works that appeal to niche audiences will similarly be poorly received unless one was familiar with its topic. Girls und Panzer and Yuru Camp△ are examples of works that is general enough to attract viewers, but then explores their chosen topics with enough depth to impress people with a deeper knowledge of the topic.

  • Uma Musume Pretty Derby tends towards being more accessible, but small hints of the characters’ real-world namesakes and lovable characters, coupled with a fully-fledged exploration of the universe means that the series is able to be very successful. We recall that I did not start watching Uma Musume Pretty Derby until last August, but upon finishing the first season, I found myself impressed, and this is even though I’m not any experience in watching horse racing as a sport, or in playing the mobile game itself. This speaks to how well-presented Uma Musume Pretty Derby is.

  • This post on Umayon marks the first time I’ve written about Uma Musume Pretty Derby while the Calgary Stampede was running; although horse racing and the rodeo are drastically different, watching Uma Musume Pretty Derby and seeing the Tokyo Racecourse’s grandstand reminded me of home. While Tokyo Racecourse has an impressive capacity of 223000, here in Calgary, the GMC Stadium’s grandstand has a total seating capacity of 17000, compared to Tokyo Racecourse’s 13750. Moreover, our grandstand has a fully enclosed suite in its upper levels for private functions and events, speaking to differences in their functionality.

  • Umayon actually dedicates two full episodes to the Horse Girls’ food misadventures. Here, Special Week squares off against Oguri Cap and Taiki Shuttle in an eating contest, with the goal of demolishing a massive bowl of ramen in the least amount of time possible. In the end, Special Week and Oguri Cap draw for first, while Taiki Shuttle brings up the rear. The commentators speak to things like strategy, bringing to mind the likes of Adam Richman in Man v. Food. While I’ve never done a food challenge before, my general approach for eating larger foods is to always crack down on the vegetables first, as they tend to cool the quickest. Then I move onto the meats and wrap up with starches.

  • This past weekend saw me enjoy lunches that were quite different than my usual routine: yesterday, I picked up a fish and chips lunch (pollock and potato wedges, which was especially tasty) from the local grocery store’s ready-to-eat value meals section as a quick meal prior to a dental appointment that had unexpectedly been moved up three hours. The dental office had managed to reach me at the last second on Friday, and I was more than willing to take an appointment three hours earlier than my original slot. The weather on Saturday had been standout, and after my appointment concluded, I took a walk around the downtown core under a brilliant afternoon sun, passing by my old office building and a pleasantly busy Steven Avenue Mall before heading back to pick up a few things and return home.

  • Today, I spent the morning doing a slower leg-and-core day at the gym before stepping out to relax at the bookstore and then enjoy a grilled chicken and spring roll vermicelli (topped with a shrimp roll) from the Vietnamese restaurant across from my place. I was especially impressed with how flavourful the grilled chicken was, and the spring rolls themselves were packed with meats. Vermicelli has become a favourite of mine because of how well the flavours mingle, and how varied the textures are; overall, I’m pleased to know that I’m within walking distance of a fantastic Vietnamese and Japanese restaurant.

  • Back in Umayon, Mejiro McQueen visits a casual noodle shop with Ines Fujin, Fine Motion, and King Halo. While Mejiro McQueen and King Halo are unfamiliar with more casual establishments, Ines Fujin walks everyone through the etiquette of ordering and eating at these places. King Halo mistakenly orders a mega-sized version of the ramen and struggles to finish it, resulting in much comedy, and in the end, although King Halo is barely able to walk after a titanic meal, she and Mejiro McQueen are thankful to have accompanied Ines Fujin on such an outing. Of course, Ines Fujin is already planning out their next trip.

  • The vignettes in Umayon are completely unrelated, and there’s no overarching story, but this flexibility allows the series of shorts to go on whatever direction the writers choose. I vividly recall watching Biwa Hayahide, Narita Taishin and Winning Ticket overcome their own internal struggles to face one another again on the racetrack, but here, the three end up getting caught up in a hunt for beetles. It’s a hilarious change of pace, made more amusing after Winning Ticket kicks a tree to dislodge the beetles, only to end up breaking open a hornet’s nest. The three only escape by jumping into the ocean.

  • In another episode, several of the Horse Girls are presented as being super sentai, and while they attempt to throw down with their sworn enemies, Silence Suzuka ends up being disillusioned after spotting how unfair their unit fights. While the Horse Girls are generally true to their personalities from Uma Musume Pretty DerbyUmayon capitalises on its comedic setup to mix things up; Silence Suzuka was stoic and reserved in Uma Musume Pretty Derby as Special Week’s role model, but  here in Umayon, she’s much more expressive.

  • One thing I’ve always wondered is how race horses get their names, and while it is usually the case horses are named based on their lineage, so long as owners pick names that fall within certain criteria (they cannot be named after people without express permissions from said individuals or their families, be anything offensive, be named after racetracks or named after winning horses, to name a few), owners can actually be creative in their naming. During the Stampede’s rodeo event, I saw horses with names as creative as those from Japan (Special Delivery, Borderline Untimely and Born Fearless were some of the horses in events like Bareback and Saddle Bronc).

  • I would therefore imagine that in Japan, horse names can use both fully Western names (like Grass Wonder, Gold Ship and Special Week), or combination of Japanese and English naming (Mejiro McQueen and Silence Suzuka). Here, Daiwa Scarlet and Vodka go at it again; this aspect of Umayon is true to the rivalry seen in Uma Musume Pretty Derby, and it is easy to see the pair spar over something as trivial as a test of courage. Matikanefukukitaru, another horse girl who has a fondness for all things supernatural, tries to spur the two on, and while the pair enter the test intent on proving the other wrong, scares from Haru Urara, Manhattan Café and Gold Ship send them packing.

  • What’s truly scary is the fact that the real Matikanefukukitaru never accompanied them into the forest. While being scared by their friends would’ve been somewhat terrifying, the thought that they’d actually encountered a ghost causes the pair to faint. Although one might be inclined to believe Matikanefukukitaru was lying, others confirm that she never went into the forest with Daiwa Scarlet and Vodka. It suddenly hits me that I’ve never written about Matikanefukukitaru as a central character in Uma Musume Pretty Derby, and for this, I’m thankful: at thirty-one characters, her name would be a pain in the lower backside to type out.

  • The idea of eliciting a confession on a coastal cliff brings to mind the likes of Gochuumon wa Usagi Desu Ka?‘s Phantom Thief Lapin, and this means that both Phantom Thief Lapin and Umayon must be parodying a trope from detective anime or live-action dramas. I’m not especially familiar with this genre, so I have no idea which shows popularised this setup and, on this token, I would be quite open to hearing from readers which series may have been the origin for this setup.

  • The finale to Umayon‘s first half was especially fun to watch: with the past eleven episodes focused on various slice-of-life aspects surrounding Horse Girls, it was a fun return-to-form for a series that is known for its racing. This time around, we have Gold Ship and Tokai Teio providing the commentary, while Tamamo Cross, Super Creek and Hishi Amazon running the race itself. Competitions in Umayon appear to be constrained to three individuals at a time, but each and every time, this has worked to the shorts’ favour, allowing characters to really bounce off one another.

  • Now that I think about it, I’ve never seen Hishi Amazon, Super Creek or Tamamo Cross in the spotlight in earlier iterations of Uma Musume Pretty Derby: this is a reminder of how many characters there are in Uma Musume Pretty Derby, and theoretically, there isn’t an upper limit of how many seasons production studios could make with Uma Musume Pretty Derby so long as the stories were all compelling and engaging: Uma Musume Pretty Derby‘s second season, for instance, gave Mejiro McQueen just as much focus as it did Tokai Teio, and this helped viewers to see more of Team Spica’s Horse Girls where in the previous season, Special Week was the star of the show.

  • The race course Gold Ship’s designed is diabolical and non-regulation in every aspect. It is only in a slice-of-life parody that this concept would work, and suddenly, I find myself wishing that Girls Und Panzer: Motto Love Love Sakusen Desu! would receive a similar adaptation. I’ve always had a fondness for slice-of-life focused presentations of anime that have a significant world-building piece; since these anime focus so much on the activities, they leave less time to show what life in such a world could be like. Here, Tamamo Cross has switched into a kindergarten uniform, while Super Creek’s donned a housewife’s garb. Poor HIshi Amazon is embarrassed and enraged to be wearing a magical girl costume and is seized with a desire to beat up Gold Ship.

  • As it turns out, Gold Ship orchestrated the entire race so she could win it. I do not believe I’ve ever seen Gold Ship win before in Uma Musume Pretty Derby, and while Umayon isn’t likely to be official, it was still fun to see Gold Ship go through all this extraneous effort to score a win where typically, old-fashioned training would be needed. With this post in the books, I’m one step closer to wrapping up all of the animated Uma Musume Pretty Derby content: unless I’m mistaken, Umayon‘s second half is all that I have left. I admit that I am a little surprised to have found myself Uma Musume Pretty Derby to the extent that I did, and that Uma Musume Pretty Derby may have contributed to an increased enjoyment of my first-ever rodeo this year.

Earlier this year, Uma Musume Pretty Derby fans were pleasantly surprised to learn that a third season will be released somewhere in the future and deal with new Horse Girls, such as T.M. Opera O, Admire Vega, Narita Top Road. However, rather than being released in a traditional format, this third season will be streamed. Moreover, Umayuru was also announced and has a known release date: it will begin airing in Autumn 2022. The fact that Uma Musume Pretty Derby has enjoyed sufficient success as to receive a third season and new series of shorts speaks to the series’ successes – sales of the anime have been uncommonly strong and have even edged out highly successful series, while the mobile game is widely played and quite accessible. Unlike Kantai Collection, which was dependent on Flash Player and required players register through an unwieldly lottery system, Japanese users can simply log into the App Store or Play Store, download the game and find themselves, quite literally, off to the races. With a compelling world, lovable characters and an accessible presentation of horse racing, it is easy to see how Uma Musume Pretty Derby has found success where other series based on games had not; it is rare for anime based on games to be successful because game mechanics do not necessarily translate elegantly into a story. However, Uma Musume Pretty Derby succeeds because it is able to bring out the emotional tenour surrounding each Horse Girls as they strive to be the best racer possible. From Special Week’s desire to become the best and win for her mothers, to Tokai Teio’s admirable efforts in overcoming numerous injuries so she can race alongside Mejiro McQueen, Uma Musume Pretty Derby has, insofar, given viewers plenty to root for and enjoy. A third season will, regardless of its format, be no different, and this would be quite exciting. Until then, viewers do have Umayuru to look forward to, and having seen Umayon, more daily tomfoolery from the Horse Girls is always welcome.

You Never Let Us Down: Watashi ni Tenshi ga Maiorita! OVA Review and Reflection

“If your actions were to boomerang back on you instantly, would you still act the same?” –Alexandra Katehakis

When summer vacation arrives, Miyako reluctantly accompanies Hinata, Hana, Noa and her mother, Chizuru, out to the countryside for a camping trip by the lake. Despite Miyako’s objections, she eventually dons a swimsuit and enters the water to join the others. As the day draws to a close, Miyako ends up helping her mother to set up the tent and begins preparing dinner, before sitting down to make s’mores with the others. When night falls, a strange noise in the bush shocks the group: they find that it’s none other than Kōko, who was originally set to join them but got lost along the way. Kōko recalls her rather one-sided friendship with Miyako, and during Halloween, while Miyako becomes excited to see what costume Hana will wear, Kōko and Yū both appear: it turns out that Kōko’s been itching to have Miyako model her latest creation, and has even managed to convince Yū to help her in persuading Miyako to give things ago. When Hinata, Noa, Kanon and Koyori show up in costume, Miyako is thrilled with how adorable everyone looks. However, Hana is late, and she’s defined expectations by showing up in a rather grotesque costume. Miyako later recalls meeting Hinata after the latter had been born, and how quickly they bonded. With this, I’ve crossed the finish line for Wataten!‘s OVA, which was released with the BDs a few months after the series had concluded back in 2019. Although Wataten!‘s initial premise had raised more than a few eyebrows, the series would come to present an endearing story about how the right influences and experiences can push individuals out of their comfort zone and also temper some aspects of one’s personality so that they may better present themselves and their feelings towards others. In Wataten!, Miyako’s effort to pursue Hana ultimately leads her to lend her own skills and hobbies towards others beyond Hinata, whom she dotes on, and in doing so, Miyako becomes better-adjusted as a result. Wataten! originally left with Hana expressing that, while she’s still occasionally put off by Miyako’s actions, getting to know her better had shown Hana that Miyako’s intentions are genuine, and not something to trivially cast aside.

Wataten!‘s OVA is contingent on viewers having already seen the original televised run: there’s four distinct vignettes weaved together to give viewers a collection of stories that show how Miyako’s changed since Wataten!‘s beginning. It is plain that for Hinata, Miyako is willing to do most anything, and so, when Hinata expresses a desire for Miyako to get out more and experience life more fully, Miyako accompanies Hinata, only to find herself enjoying things more than she’d expected. However, there is another aspect that drives Miyako’s growth: she eventually meets Kōko properly and finds herself shocked at how Kōko views their friendship. From an external observer’s point of view, Kōko regards Miyako the same way Miyako originally sees Hana, going to great (even unhealthy) lengths to win their object of affection over. From the story’s standpoint, Kōko fulfils a very important role. By making Miyako uncomfortable, Kōko is able to show Miyako how difficult she’s making things for Hana. Realising this is what leads Miyako to dial back her emotion: although she still loves Hana very much, Miyako slowly begins to master her impulses so that she’s not frightening Hana away at every turn. Of course, what would really be valuable is if Miyako could express this towards Kōko, as well: like Miyako, Kōko is well-meaning and skillful in her own right, but common sense seems to be defeated by infatuation wherever Miyako is concerned. However, Kōko’s behaviours are not fixed in stone: Wataten! has shown how over time, characters will change for the better as a result of their shared experiences, and consequently, it is not inconceivable that even Kōko could learn to reign things back some to build a more meaningful friendship with Miyako, of the sort that she dreams of in her mind’s eye. Wataten!‘s flawed but loveable characters forms a majority of the series’ charm, making this journey of development particularly enjoyable, and because everyone is distinctly human, this corresponds to the possibility for further stories to be told. This fact is not lost on the writers: a film, Wataten!: Precious Friends will premiere in Japanese cinema later this year to advance things further.

Screenshots and Commentary

  • Because there is a Wataten! movie, I determined that while I’ve got the opportunity now, I should wrap up my journey here before the film releases; I typically leave some time between finishing a series and the OVAs so I can return to them with a fresh set of eyes and determine whether or not the OVA is successful in capturing the same feeling the anime conveyed. The main drawback about my approach is that I have a tendency to procrastinate, and one risk about this is that I’d only realise I’d have an OVA to watch once the movie actually screens.

  • For Wataten!, the only thing I know of the release date is that it’s somewhere in the autumn, and given how anime films release, overseas viewers usually have an eight to eleven month long wait. As such, I’ll probably get to writing about the movie next September or so. Although I initially passed over Wataten! as a result of my schedule and struggled to regain my motivation in watching this series, I ended up doing so earlier this year. For my troubles, I was met with a series that proved surprisingly heartwarming and amusing despite its initial impressions.

  • Having said this, Wataten! getting a movie came as a bit of a surprise for me: the TV series had ended on an excellent note, and this OVA acts as an encore of sorts. From a thematic perspective, Wataten! had done a thorough job of portraying Miyako’s growth: she starts as someone who exudes questionable tones but, as a consequence of being open to new experiences, slowly acclimatises to interacting with others. The anime closed with Hana remarking that, while she still finds Miyako a little dubious at times, seeing her try so hard to be her best self has convinced Hana that they can be friends nonetheless.

  • Although she’d not brought a swimsuit and was intending on doing some photography, Noa and Chizuru both planned ahead: it turns out that Kōko has Miyako’s measurements on hand (and now that I think about it, Kōko feels like she’s into Miyako to a much greater extent than any of the stunts Miyako herself had pulled when trying to persuade Hana to cosplay), and both Noa and Chizuru had anticipated some resistance from Miyako, so they’d bought a swimsuit for her using this knowledge and even prepared a waterproof case for her camera.

  • The camping trip in the Wataten! OVA would suggest that while Miyako is more receptive towards hanging out than she had been previously, it still takes a nontrivial amount of effort to get her to do so. Hinata is particularly versed at coercing Miyako into doing things, and in retrospect, this is no similar than Miyako attempting to win Hana over with sweets. The joke here, then, is that despite being quite a ways older than Hinata and the others, Miyako is still child-like in some ways.

  • Back in Wataten!‘s OVA, Miyako ends up being dragged into the water, where she finally relents and joins the others. This outcome speaks to how everything can seem more imposing than it is, but once gets over that initial hurdle, it becomes easier to continue. For Miyako, now that she’s actually in the water, she’s able to relax a little and live in the moment, joining Hinata, Hana, and Noa in enjoying the lake water. The same holds true in reality; once the inertia of starting something is overcome, one will typically find it easier to get into things, whether it’s a new project or anime.

  • This particular camping site is located in a generic location: Wataten! is a series where the focus is on the characters, rather than the characters and their surroundings. In series that allow it, location hunts are an immensely enjoyable activity, allowing me to explore a setting and feel as though the events of a given work could’ve really happened. Conversely, in series that are set “somewhere in Japan”, the message I draw is that the characters are the sole stars in the show, and that the events of that story could happen anywhere and still succeed in conveying its themes.

  • As a safety measure, everyone’s donned life jackets to ensure they don’t sink in the lake: unlike beaches seen in other series, there are no lifeguards around, but fortunately, Hinata, Noa and Hana are well-behaved and keep close to shore. In this way, what started out as something she was disinterested in becomes a morning of bliss for Miyako, and in the OVA, it does feel as though the effort needed to persuade Miyako to participate was much less than what it’d been when Wataten! first started.

  • I first had their poutine when I was doing my open studies term. I vividly recall watching Tamayura ~More Aggressive~’s finale during a lunch break during mid-Autumn, and in fact,  The Fried Chicken Poutine is one of the simpler poutines on the list of poutines I’ve tried, but Waffles n’ Chix delivers such a good poutine that, when food trucks began regularly appearing on campus, I made it a point to have lunch there at least once a year. After entering graduate school, I remember enjoying this poutine again after a getting Unreal Engine set up for my thesis work, and again when I finished watching Gakkō Gurashi. According to the blog archives, they used to add a dash of maple syrup to their poutines, and while this practise stopped in 2015, their poutine remains top-tier, the perfect fuel for a busy, and productive day.

  • Back in Wataten!‘s OVA, while Hinata, Hana and Noa get dinner set up, Miyako and Chizuru pitch the tent before joining the others for dinner. Barbeque is a popular activity in Japan during summers, although anime portray skewers and thinner cuts of meat as being popular, whereas over here in Canada, barbeque means burgers, hot dogs, wings and whole steaks. I’m moderately competent with cooking, but grilling is an area I’d love to get into: there’s something immensely satisfying about the sizzle of meat on a fire, likely a consequence of our evolutionary origins.

  • It takes Chizuru a bit to light the coals, bringing to mind a similar moment from Yuru Camp△ when Rin struggled to get her binchotan fire going. While the others become worried after the third attempt, it turns out there’d been some fire starter floating around that greatly accelerates the process, and finally, the fire’s hot enough to cook on. Having watched Survivorman for as long as I have, in the absence of any additional fire-starting material like paper, my first inclination would be to gather dried leaves, punky wood, small twigs or pinecones to start the fire, and then add larger twigs or small branches to keep the fire going.

  • One returning joke from Wataten! is Hana’s propensity to butcher even the most basic of meal-prep: the slice of meat she lays on the grill crumples and falls through the grating into the fire, being burnt to a crisp in the process. Worried Hana will burn up their stockpile, Noa offers to lay the meat on the grill. Being bad with food has long been employed as a comedic device, there is a biological basis behind clumsiness: opposing dominance between one’s hands and eyes create a delay in spatial-visual perception, resulting in errors in coordination that manifest as clumsiness.

  • The TV series had presented Chizuru as being a little intimidating (she once tied Miyako to the ceiling for having spoiled the girls’ appetites), but as the anime continued, it becomes clear that she loves her children very much. Now that I think about it, Chizuru somewhat resembles OreGairu‘s Shizuka in appearance, and here, she introduces Hana, Hinata and Noa to the idea of toasting marshmallows over an open fire. This is a longstanding camping tradition that’s seen in virtually every portrayal of camping on television and in film; recalling this piqued my curiosity, and I found myself wondering how marshmallows came to be an indispensable part of camping.

  • As it turns out, marshmallows were originally intended as a medical supplement, with sap from the Marsh Mallow (Althaea officinalis) plant being mixed with white meringue and rose water to form a candy that could help soothe the throat and boost immune response. Because Marsh Mallow sap is difficult to gather, in the 1900s, confectioners eventually replaced the sap with corn syrup and gelatin, forming today’s marshmallows, and although the origins of marshmallow roasting is lost to time, it is thought to have coincided with when s’mores became popular. After Hana’s luck runs out when she overcooks her marshmallow on one side, causing it to fall off the stick, Chizuru gives Hana an alternative recipe that is less likely to fall.

  • The addition of a roasted marshmallow to crackers produces a ‘smore, and Hana digs in. Watching Hana eat has always been adorable: I liken it to watching rabbits eat, something that I also find immensely cathartic. From what I’ve read, adorable things resemble children and activate the brain’s amygdala, triggering a release of oxytocin, which helps defeat stress. The reason why this is hardwired into people is to promote looking after offspring, and moé anime have made a science of this: such series elicit the same sense of warmth as one might experience when watching videos of small animals.

  • When night falls, Chizuru falls asleep immediately, and the bushes suddenly begin rustling. Since this is Wataten! and not a horror flick, it turns out the source of this commotion is none other than Kōko, who was apparently invited along with everyone but got lost in the process. The OVA subsequently transitions to a flashback of what Kōko makes of her friendship with Miyako: even back in high school, Miyako had been introverted and stoic, but Kōko saw this as Miyako having an aloofness about her that made her particularly appealing. However, Kōko struggled to break the ice, and settled for following Miyako around.

  • The transition over to Halloween is smooth: one of the things I particularly liked about the Wataten! OVA is how the transitions between the vignettes were handled. After realising it’s Kōko who’d been given them a scare, the OVA portrays Kōko’s perception of her relationship with Miyako, and this ends with a scene of Kōko walking past Miyako’s house with Yū. In the present, the story returns to Miyako, who’s positively aglow with excitement at the thought of seeing Hana in a Halloween costume.

  • When the doorbell rings, however, it’s Yū and Kōko who show up. Yū was a very welcome part of Wataten! despite having made only a few appearances: she’s even younger than Hinata, Noa and Hana, and befitting of a child, brings with her an adorable aura that adds to Wataten!‘s already cuddly and warm atmosphere. It turns out Kōko’s brought Yū along as a secret weapon of sorts: there’s a cosplay she’d been wanting Miyako to model, and figured this would be the best way to convince Miyako without going to further measures.

  • Kōko herself is dressed as Wendy from Where’s Waldo: created in 1986 by Martin Handford at the behest of David Bennett, Where’s Waldo features intricate drawings that require players to locate the iconic character. Earlier iterations just featured Wally (Waldo in North America), but later books would feature lookalikes and additional characters to find. Over the years, Where’s Waldo challenges have become progressively difficult, and here in Wataten!, I imagine that this would be the easiest game of Where’s Waldo anyone would have the opportunity to play.

  • Thanks to Yū, Miyako reluctantly agrees to wear the costume that Kōko’s made for her. It’s a perfect fit, and also indicates to viewers that while Miyako wears a tracksuit which conceals her figure, she’s technically no slouch in appearances: it’s commented that if Miyako were to spend a little more time tending to her own appearances as she does on her cosplay and cooking, and go out more often, she’d probably turn a few heads, although her reaction suggests that she’s unlikely to be fond of this outcome.

  • Miyako’s look of mortification says it all; for me, more so than Hana’s initial cold attitudes towards Miyako, it’s Kōko that evokes the strongest change in Miyako. While Kōko is very overbearing and even resembles a yandere at times (albeit without the violent tendencies), when the chips are down, she genuinely looks up to Miyako and has stepped up to help Miyako out previously. Assuming one could accept that Kōko’s tendencies are probably here to stay, Kōko is a good person to have in one’s corner. With her desire to see Miyako wearing her outfit satisfied, Kōko and Yū take off, giving Miyako time to change back into her usual outfit.

  • Later, Hinata arrives along with Noa, Kanon and Koyori. In a turn of events, everyone’s dressed up precisely as Miyako had envisioned in her mind’s eye (with the key difference that Miyako had imagined Hana wearing all of the outfits). Halloween has always been a fun time to dress up and get candy: this tradition is one that I grew up with, and as a child, I went as a wizard. Once I hit secondary school, I kitted myself out in an old karate gi and went as a white belt for the in-school costume event. In university, I picked up a basic Stormtrooper costume, although I’ve never bought a blaster to go with said costume.

  • Trick-or-treating used to be quite popular in my old neighbourhood, but as the demographic aged, we’d received fewer and fewer visitors, until the global health crisis hit and we sat the event out. Having now moved, I’m not too sure how trick-or-treating works now that I’m not in a detached house. However, old traditions, namely watching both It’s The Great Pumpkin, Charlie Brown and Garfield’s Halloween Adventure, have endured. Regardless of whether the HOA’s rules allow for trick-or-treat or not, I do plan on picking up some KitKats (my go-to Halloween candy) and watching my favourite Halloween specials.

  • The joke’s on Miyako, who’s noticed that Hana’s late: the observant viewer will have noticed that including Miyako herself, all of the costumes that she’d imagined have now been shown, so whatever Hana’s brought to the table will be something else. The humour in this scene comes from the fact that viewers will be well aware of the fact that Miyako is expecting something adorable, but Hana will almost certainly defy expectations in some way. This comes to pass as soon as Hana shows up: while Hana herself may have captured Miyako’s heart, her definition of cute stands in stark contrast with the norm.

  • Viewers are thus left to take in the situation, and Wakaten!‘s OVA switches over to its final vignette, a flashback to how Miyako became close to Hinata. Even before Hinata was born, Miyako had been most excited to finally meet her younger sister: she’s holding a stuffed penguin in anticipation, and it’s clear that Miyako has probably asked Chizuru on how to properly hold a baby: the cradle hold is one of the easiest positions for infants, with one hand supporting the baby’s head and neck, and then the other hand supports the baby’s bottom to create a cradle of sorts.

  • From the very moment Miyako meets Hinata, she begins to realise that she’s important to Hinata: although Hinata had suddenly begun to cry, seeing Miyako soothes her, and she suddenly begins smiling. This is a sign that the sisters are closer than Miyako realises here; in this moment, Hinata’s smile is more of a reflexive smile, a response to a comforting situation, but a baby’s smile is still precious, and Miyako is immediately filled with joy to be holding Hinata. From this moment on, the sisters are as close as can be, bringing to mind the likes of K-On!‘s Yui and Ui, and GochiUsa‘s Mocha and Cocoa.

  • With this last vignette, the Wataten! OVA draws to a close, and I’m left in a position where I’m as caught up as can be for Wataten!. I don’t mind admitting that while Wataten! had been on my radar since I read the season previews back in 2019, my own doubts about the series after one episode and the fact that my schedule at the time had been quite overwhelming, so Wataten! ended up falling off my watchlist. I am glad to have picked the series up again; time and time again, I’ve found that whether they’re series on my own list, or from recommendations, I tend to enjoy most of the anime that I watch to completion.

  • Of late, I’ve finally begun my journey into Konobi (Kono Bijutsubu ni wa Mondai ga Aru! or This Art Club Has A Problem!, not to be confused with the currently-airing Kenobi): I started Konobi on recommendations from one of my readers, and although I can’t quite place when I received the recommendation, at the very least, I’m watching the show now. I’ll reserve my final thoughts on Konobi once I finish, but I can say that I’m thoroughly enjoying this series and will be writing about it in full once I cross the finish line. In other news, Battlefield 2042‘s finally got an update: titled “Zero Hour”, it will see the addition of a new map that I’m excited to try out.

  • Overall, I enjoyed Wataten!‘s OVA: this addition to the series doesn’t extend the thematic elements explored in the TV series, but instead, represents a chance to simply see the characters again before the film releases. Seeing how close Miyako and Hinata were ends up being a fitting way to enter the movie, and while I’ve no idea what the film will entail, experience suggests that Precious Friends will likely scale things up in Wataten! for the silver screen similarly to how Kiniro Mosaic: Thank You!! had. Time will tell where Wataten! goes with its movie, and while the release date is a ways off for us overseas viewers, I will aim to write about Precious Friends once it’s available.

While Wataten!‘s first episode may have started things on a rough footing for viewers, folks with the patience and maturity to continue the series would ultimately find it to be a heartwarming tale of how love pushes people to be their best selves. That a film is in production speaks to Wataten!‘s staying power: not every anime series will receive a theatrical adaptation, so the fact that Wataten! is getting a movie means that reception to the series in Japan has been positive. There’s hardly any controversy surrounding Wataten! in Japan, standing in sharp contrast with some reception of the series at some North American anime news outlets. Cultural differences are not responsible for this gap; Wataten! deals with how people handle and respond to falling in love, and while different cultures may approach things differently, the process is one that people can universally relate to. As such, if Wataten! had indeed been a sub-par portrayal of these topics, its reception in Japan would have been sufficiently poor so that no movie project would have been approved. The existence of a movie similarly speaks to the fact that this series was well-received in Japan, and moreover, viewers overseas have also spotted Wataten!‘s merits and joys. Because there is a movie, the conclusion is simple enough; reception to Wataten! is positive, and the initial flaws (largely a consequence of Miyako being completely unfamiliar with social convention) are swiftly overshadowed by what the series does well in its portrayal of how meeting Hana acts as a catalyst for Miyako to better herself and become more socially apt. Since Wataten! had been a story of showing how Miyako’s experiences become the agent for her growth, one wonders what would await viewers in Precious Friends. Without much more known about what the film will cover, one can reasonably surmise it’ll be a heartwarming and humourous story; I’m certainly excited to see what’s on the horizon. Given the film is estimated to hit Japanese cinema in the fall of this year, I estimate that overseas viewers, like myself, will have the chance to watch Precious Friends once the spring or summer of next year arrives.

Kiniro Mosaic: Thank You!!- An Anime Film Review, Reflection and Full Recommendation

“There will be times when your best isn’t good enough. There can be many reasons for this, but as long as you give your best, you’ll be okay.” –Robert De Niro

Third year is now in full swing: Karen’s ended up in Sakura’s class, while Alice, Shinobu, Yōko and Aya are now in Akari’s class. For their class trip to Kyoto, the girls start in Nara, where they check out Nara Deer Park and the Nara Daibutsu, a as well as Kofuku-Ji. Alice impresses Shinobu and the others with her knowledge of the destinations. The next day, after arriving in Kyoto, Honoka struggles to get a photo of her with Karen, and although Kana tries to help, various misunderstandings prevent Honoka from succeeding. After visiting both the Kinkakuji and Ginkakuji, Honoka manages to work up the courage and asks Karen for a photo, being overjoyed she’s succeeded. That evening, after sharing a bath together, the girls attempt to start a pillow fight, only for Aya to display an unexpected ferocity: she’s longed to swap love stories with everyone else. On their final day in Kyoto, Shinobu and Alice share a conversation about their future plans while at Kyoto Tower, although Aya reminds everyone that entrance exams await them once they return home. Back home, Yōko decides to practise for entrance interviews, and Aya decides to join, feeling it to be a chance to learn whether or not Yōko returns her feelings. While Alice is writing a letter back home, she begins to worry about Shinobu’s future. A squeal from downstairs rouses her from her thoughts, and it turns out Shinobu’s mother is going through old photos: Shinobu’s mother had studied in England during her time as a post-secondary student and met Alice’s mother here, which is why when Shinobu later wanted to do a homestay in a foreign country, she would meet Alice. For old time’s sake, Shinobu’s mother decides to hop on a FaceTime call with Alice’s mother after they return home from shopping. Back at school, Alice is struggling to explain to Shinobu that she wants to return home for her post-secondary studies, and upon hearing this, Aya becomes caught in the moment, thinking the time has come for Shinobu to do a kokuhaku with Alice. Once this misunderstanding is cleared up, Shinobu explains that she’s got the gist of what’s happening, having looked up Alice’s English earlier. Upon hearing this, Shinobu decides her future is settled: she’d very much like to go to England with Alice. However, the afternoon’s felt quiet: Karen’s missing, and it turns out she’s also struggling to choose her way forward. With their plans now established, everyone begins to study in earnest. While Aya, Yōko and Karen prepare to stare down entrance exams, Shinobu spends her nights preparing for the overseas exams. Izumi reflects on how once Shinobu is committed to something, she’ll give it her all, and decides to make her some fish and chips as encouragement. When the new year arrives, Akari and Sakura swing by the local shrine to pray for their student’s success. After running into Karen and learning that Yōko’s drawn bad luck, Akari decides to do a good luck dance, to the embarrassment of those around them. Entrance exams soon arrive, and the pressure from the exams is immense: Yōko, Aya and Karen are stressed beyond words. However, exams go well for all three: despite a terrifying few moments, the three have made it into their institute of choice. Graduation arrives shortly after, and while Shinobu, Karen and Yōko sit through the ceremony with a smile, Aya and Alice end up bawling their eyes out. Even Akari has trouble saying goodbye to her first group of students. After the ceremony ends, the friends prepare to part ways. Some time later, after Alice and Shinobu have settled into life in England, Karen, Aya and Yōko arrive to visit.

With Kiniro Mosaic now at a definitive end, Kiniro Mosaic: Thank You!! (Thank You!! from here on out for brevity) portrays each of Shinobu, Alice, Aya, Yōko and Karen gearing up to pursue their own futures while at the same time, remaining true to their promise of being together with one another. With their time as high school students winding down, everyone worries about whether or not they’ll be able to continue spending time together as friends, and this in turn prompts the characters to push themselves further for one another’s sake. Shinobu has her heart set on studying English abroad despite her still-weak command of the language, and ends up gaining admittance overseas to an English institute. Aya, Yōko and Karen end up at the same post-secondary, as well: Yōko and Karen move heaven and earth to succeed on their entrance exams for the sake of being together. While a few moments leave them feeling completely defeated, and even their instructors worry for them, all of this effort is met with a reward after the three gain admittance to their school of choice. In this way, Aya, Yōko and Karen get to remain together, mcuh as how Alice and Shinobu can continue to spend their futures together, as well. In this way, Thank You!! speaks to how people are willing to put in their best effort and go the extra mile for those around them, and moreover, when such raw determination and resolve manifests, miracles result. This is a heart-warming, and positive theme that is befitting of the gentle and cheerful world within Kiniro Mosaic. The film’s ending is particularly telling: although Alice and Shinobu move to England to pursue their futures, while Aya, Yōko and Karen study at a Japanese post-secondary institute, they’ll always be able to meet up again even if they are separated for the present. This leaves everyone free to cherish their old friendships while at the same time, remain open to new experiences. This aspect of high school is one that countless anime have covered, albeit in different fashions: Azumanga Daioh had left the post-secondary period ambiguous, while K-On! portrays Yui, Ritsu, Mio and Tsumugi as being able to stay together when they are admitted to the same institute. Thank You!! marks the middle of the road between these two extremes, showing how secondary is definitely not the end, and people will always have the opportunity of getting back together even if their paths diverge for the present. Consequently, Thank You!! represents an immensely satisfying conclusion to Kiniro Mosaic; after three years’ worth of discoveries, the characters are left in a better position to pursue their futures while at the same time, continue to enjoy time they’d spent together as friends.

Thank You!! enters the field populated by giants: 2011’s K-On! The Movie remains the definitive yardstick for what makes for a successful silver screen experience, and in an interview, director Naoko Yamada expressed that the biggest challenge was scaling the aesthetic and messages from the TV series into a much larger, moving experience. To this end, Yamada ended up zeroing in on how Tenshi no Fureta Yo! came about, transforming the film into an expression of gratitude through an all-new story. By comparison, Thank You!! directly adapts segments of the Kiniro Mosaic manga and ties them into a cohesive narrative, showing how everyone prepares for the future ahead of graduation. However, despite not utilising an original story as K-On! The Movie had, Thank You!! still succeeds in stepping into the realm of the silver screen. This is accomplished by opening the film with Shinobu and Alice’s class trip to Kyoto – although Kiniro Mosaic briefly portrays Alice and Karen’s homes in England, the series is predominantly set in Tokyo. Changing the pacing up by sending the cast over to Kyoto creates a feeling of adventure, and in this way, even though Thank You!! returns home for the girls’ entrance exams and graduation, the energy from the class trip carries on over to the girls’ everyday experiences, creating excitement and anticipation in viewers as Yōko, Karen and Aya strive to get into their post-secondary institute of choice. By re-tooling the manga’s story to fit the movie format, Thank You!! is able to strike a balance between the scale of a movie, and the cozier, more intimate feeling of a TV series: familiar moments, like Yōko’s straight-man quips in response to outrageous moments, or Isami’s blunt, no-nonsense attitude about Shinobu’s idea of a souvenir, are presented right alongside events with a much larger novelty or weight. Things like the class trip to Kyoto, and the graduation ceremony itself are pivotal moments for the characters, and to emphasise this, inset music is used to accentuate the emotional tenour of such scenes. Altogether, Thank You!! shows that, even if an anime film feels more like an extended episode thanks to frequent inclusion of elements that had been common to the TV series, use of devices can nonetheless create the sort of scale that gives the story a larger, more encompassing feeling as befitting of a film: Thank You!!‘s runtime and choice of moments to adapt from the manga creates a logical flow of events, showing how the girls prepare for their futures and say goodbye to the plethora of memories they created as students in such a way as to decisively, and definitively, conclude Kiniro Mosaic.

Besides acting as an enjoyable close to Kiniro Mosaic, Thank You!! also sets the precedence for what lies ahead for its sister series, GochiUsa. Similarly to Kiniro Mosaic, GochiUsa had portrayed life in an idyllic world, showing how friendships facilitate self-discovery. Both series show characters grow and mature, treasuring the time they share together as they hurtle towards the inevitable milestone that is graduation. Both series also use travel as a metaphor for stepping into the future. After graduation, Alice and Shinobu move to England, where Karen, Aya and Yōko visit. When Rize’s admittance into university is given, Chino expresses a desire to travel and gain a broader perspective of the world after realising she’d spent her life living in the wood-framed town. A glance into GochiUsa‘s manga shows that such a journey does end up happening, as Chino accompanies Maya, Megu, Cocoa, Chiya, Sharo and Rize in exploring a larger city. Visiting the city would represent a considerable departure from the everyday comings and goings at Rabbit House, or the classroom; it follows that Chino’s graduation trip would represent a major milestone in her life, sufficiently significant as to warrant a movie. Such a film would easily be able to scale up the GochiUsa experience for the silver screen, and perhaps even mark a stopping point for GochiUsa‘s animated form. While the manga is still ongoing, showing Chino’s experiences in high school, long-running series often experience the challenge of continually finding something meaningful to say. Running for extended periods may result in a work becoming stale – this is something that Bill Watterson had expressed as being his primary reason for ending Calvin and Hobbes where it did. Considering how touching GochiUsa has been in its run, this outcome would not be a had idea: allowing Chino’s journey to end at graduation, leaving her a clean slate to go exploring with, is equivalent to the blank slate that Shinobu and Alice have at the end of Thank You!!. Having taken that first step forward, viewers do have the reassurance that everyone will be able to succeed so long as they put their minds to it. This is where Thank You!! succeeds, and in doing so, also sets the bar for how GochiUsa might be able to end its story gracefully.

Screenshots and Commentary

  • According to the blog archives, it would’ve been roughly five years since I last wrote about Kiniro Mosaic‘s last instalment, Pretty Days. This would’ve been a few months before I left for Japan, and even back in 2017, it would’ve been a full two years since Hello! Kiniro Mosaic finished airing. I came upon this series after finishing GochiUsa: I’d been looking for a similar series, and Kiniro Mosaic appeared to fit the bill quite nicely. I still remember watching the first episode at the lab on campus a few days before I was set to fly out over to Taiwan, and I ended up finishing the first season just in time for the second season’s arrival in the winter of 2015.

  • While I originally felt that Kiniro Mosaic was eclipsed by GochiUsa owing to the latter’s distinct setting, in time, I would come to appreciate how Kiniro Mosaic was distinct from GochiUsa. This is one of the main joys about Manga Time Kirara series: although they may prima facie appear to be identical to one another, a closer look will find distinct flavours in each work. Thank You!! opens with a class trip to Nara and Kyoto, and perhaps speaking to Shinobu’s weaker knowledge, she imagines that Nara Park and its famous deer are in Kyoto. After Alice explains the significance of the deer as being the gods’ messenger, Karen hands her a biscuit, causing the deer to overtake her.

  • Later, Karen decides to give her own spin on the Nara Daibutsu’s story and, in a manner reminiscent to Yuru Camp△‘s Aoi Inuyama, openly lies about things, causing her classmates, Akari and Alice to step in. On paper, it sounds like it should be relatively easy to spot tall tales in such stories, but the joke here is that while foreigners might not be fully versed in specific, small details in the history of some of the sights, there are details that even locals may not be aware of. On the flipside, Alice’s knowledge of Japan is encyclopaedic, rivalling the level of detail that Go! Go! Nippon!‘s Makoto and Akira Misaki present things to players.

  • Here, Alice explains the stories behind Nigatsudo (a water drawing ceremony site) and Kasuga Shrone (shown here, home of Nara’s guardian deities). Although Thank You!! has Shinobu and Aya visiting them sequentially, there is actually quite a bit of distance between them: Nigatsudo and Kasuga Shrine are 1.2 kilometres apart as the mole digs. At a casual pace, it’d take about 10 minutes to walk on over. Shinobu and Aya express interest in these sites, but when Alice reaches Meoto Daikokusha, a shrine for couples, Aya becomes especially enamoured with it. Unlike Nigatsudo, Meoto Daikokusha is only about two hundred metres from Kasuga Shrine, making it a much easier walk.

  • I will remark that I’ve opted to romanise Kiniro Mosaic without the extra dash: some sites choose to romanise things as Kin-iro rather than Kiniro, and I imagine this is because きんいろ is rendered as kin’iro in Hepburn. The apostrophe is meant to eliminate ambiguity; it is used to separate homophones that might be easily confused. In the case of Kiniro, if the apostrophe isn’t present, then one might accidentally transcribe きんいろ as きにろ. The dash is technically incorrect (the Third Edition of Kenkyusha’s New Japanese-English Dictionary specifies it’s a dash), having its origins from Victor-Tango-Victor and limitations in how their old custom PMWiki implementation could not handle some Unicode characters, but it’s persisted to this day, even being counted as the “correct” transcription of the title at Wikipedia. Conversely, the official English manga simply renders the title as Kiniro Mosaic, with neither dash nor apostrophe, so for ease of typing, this is what I’ve gone with.

  • The dinner that Alice and the others sit down to at their ryokan is a kaiseki-style dinner with wagyu beef as its centerpiece, reminiscent of the dinner I had at the Heritage Resort in Saitama. At its finest, Japanese cuisine is sublime to behold, resembling works of art rather than dinner; the sushi I enjoyed last week is an example of how is intricately and artfully prepared even seemingly-simple Japanese dishes are. This isn’t to say that other foods around the world can’t look as good as it tastes. Recent trends meant that even something like a breakfast poutine can look wonderful from a visual standpoint. Use of different colours and textures brings out the aesthetic in food, and one of my favourite examples is a local breakfast joint called OEB’s.

  • Earlier today, I’d been out and about on a walk around the city centre to capitalise on the fact that the weather in the morning was beautiful. I’ve not been downtown for quite some time, since my office is located in a quiet corporate campus in a quiet neighbourhood, and since I primarily work from home now. On my morning walk, I passed by the Telus Convention Centre (where the local anime convention is hosted) and Steven Avenue mall, which are within walking distance of my old building. I ended up heading up towards the river, where a park is located. They’re currently undergoing some upgrades, so I couldn’t quite walk the whole thing, but here, one is afforded a pleasant view of the downtown’s buildings. Since it’s now late May, the cherry blossoms were also in bloomHanami happens in March in Japan, but owing to climate differences, these trees bloom in mid to late May. The morning concluded with a breakfast poutine at OEB’s, located underneath this cluster of office towers.

  • The next day, the girls head on over to Kyoto. Lovingly referred to as “Anagram Lover’s Tokyo” in Futurama, Kyoto in reality is the former capital of Japan, and is one of the few Japanese cities to be spared Allied bombing during the Second World War. As a result, many of Kyoto’s buildings are older and therefore, gives the city a more historical feel about it compared to other Japanese cities, which were levelled and extensively rebuilt. The historical elements are far from everyone’s mind, as everyone is more inclined to take things easy.

  • In particular, Honoka’s taken a keen interest in having her photo taken with Karen: since the events of Hello! Kiniro Mosaic, Honoka’s developed a crush of sorts on Karen, and towards the end of the season, the two began to spend more time together. This aspect of Kiniro Mosaic was done to show how Karen was slowly beginning to fit in with her classmates: previously, Alice and Karen had known one another since childhood, and as a result, she ended up following Alice to Japan. In time, Karen would slowly come to find her own place in the sun, setting down the groundwork for her own way forward.

  • In Kyoto, Yōko, Aya, Alice, Shinobu and Karen swing by Kiyomiz-dera, a Buddhist temple known for its legendary 13-metre balcony: founded in 778, the structures seen today were constructed in 1663. Legend has it that anyone who survives the drop would have their wishes granted, although for safety reasons, jumping became prohibited in 1872. Today, it’s a popular destination, and the site could be of interest to Aya, as it’s also home to a pair of stones which, if one could walk in a straight line between them blindfolded, their romantic ambitions may come true. However, the sights up here end up being more inspirational to Shinobu, who spontaneously composes a haikyu up here.

  • For Honoka, nerves prevent her from asking Karen openly for a photo, and she ends up spending her wish at a shrine to get said photo with Karen. Karen, on the other hand, has no qualms about such a photo and is quite open to such a request. However, the moment never seems quite right for Honoka, and she even contemplates using a selfie-stick to insert herself into a photo. I’ve not seen selfie-sticks for quite some time now: they were all the rage in the mid 2010s, and while I had been in Taiwan and Hong Kong, one could hardly take a step without spotting a tourists rocking these sticks. The more advanced ones even have a BlueTooth transmitter that allows one to take the photo remotely.

  • En route to their next destination, Shinobu reveals that all of her photos are of Karen and Alice – she feels that their blonde hair makes them particularly standout at Japanese destinations. This comes at the expense of the photos they were supposed to take as a part of their day’s assignment, prompting Yōko and Aya to try and take over as photographers. The last destination of the day is Kinkakuji, and at this point in time, I can say that I’ve seen this iconic landmark with my own eyes. It’d been a grey, rainy sort of day, but even under overcast skies, the Kinkakuji’s distinct gold siding shone with a regal brilliance.

  • In the end, Honoka manages to get her photo at the Kinkakuji, and this leads everyone to want photos with both Alice and Karen. It typifies Kiniro Mosaic‘s ability to find heartwarming resolutions to the problems that characters face, and here, Aya is able to get in on things, as well. For this post, I’ve opted to go with eighty screenshots. The rationale was that Thank You!! has a runtime of 80 minutes, which corresponds to about four episodes’ worth of content. I imagine that at the time of writing, I’ve got what is the internet’s only full discussion of Thank You!!, complete with screenshots.

  • With the second day drawing to a close, Alice, Shinobu, Yōko and Aya retire to their lodgings, where a beautiful dinner has already been prepared for them, allowing for a quieter meal that stands in contrast with the more energetic, communal meal from the previous evening. Alice is impressed with the distinctly Japanese aesthetic of the room and states it stands in stark contrast with Shinobu’s bedroom; the latter is furnished in a Western style and is something I’d be more familiar with. Japanese-style rooms have minimalist design about them that emphasises simplicity, whereas in the West, rooms are designed to be cozy.

  • I imagine that the girls’ accommodations are at a ryokan: these Japanese-style inns are a ways more pricey than conventional hotels, but offer a distinctly Japanese experience. Many ryokan provide intricate kaiseki meals and have their own onsen on-site, which the girls here enjoy after dinner. I admit that my interest in relaxing at a ryokan does stem from seeing their portrayal in anime such as Kiniro Mosaic, and a few summers ago, I ended up picking up a coffee table book showcasing some of Japan’s most famous ryokan, ranging from ultra-modern establishments that blend tradition with cotemporary comforts, to classical establishments that give guests an entire wing of a building to themselves.

  • Whereas Aya had wanted to talk about romance the previous evening, everyone had been exhausted by the day’s events. When presented with a second chance, Aya immediately seizes it: this second night, everyone’s wide awake and is prepared for a pillow fight of epic proportions (in a Ōsama dare da style game). Determine to have her love talk, Aya swiftly steals all of the pillows and pummels her opponents into the ground to win. Although the pillow fight is not shown, the end results bring to mind the likes of what happened after Ip Man fought ten black belts. Aya is typically presented as being physically weak, but when romance is concerned, she acquires supernatural strength that matches the likes of Rize, her counterpart in GochiUsa.

  • While Shinobu’s already dozed off, Aya decides to ask Karen what her story is, and Karen’s reply is that her first love was Alice. As far as relevance towards Kiniro Mosaic‘s themes go, yuri manifests as desire to remain with those one loves. This is the driver behind some of the characters’ actions, spurring everyone to be their best selves, and in the process, creates a large part of the comedy here, as well. Conversely, because the relationships in Kiniro Mosaic are very clear-cut, there are no love tesseracts, and as such, what is colloquially referred to as “shipping wars” is practically nil.

  • As it turns out, when people say they’re doing “analysis” on yuri, they’re largely referring to “shipping wars”, in which they assessing whether or not the characters are a good fit for one another. My own approach towards yuri, then, would be considered sacrilegious: I care very little for these so-called “shipping wars”, since I am of the mind that the author’s intentions, through the characters they pair together, speak volumes about the larger message. Disregarding this and going off on exercises in the hypothetical leaves me no closer to appreciating what a work is about. At Kyoto Tower, Alice wonders if something’s bothering Shinobu: it turns out Shinobu’s a little antsy about missing a travel programme she’s recorded, but beyond this, would be happy to go anywhere in the world, so long as Alice and her friends are with her. It is here that plans for a trip to England are laid down, but before any of these plans can be considered, exams now loom on the horizon.

  • Upon returning home, Isami greets them, only to be disappointed by the lack of souvenirs: it turns out she’d given Shinobu a large list of things to pick up. I’ve always had a fondness for Isami: as it turns out, unlike Shinobu, who’d been head-over-heels with foreign cultures, Isami saw herself as being content to make Shinobu happy. Since then, she’s gone on to pursue post-secondary studies and models on the side. Like Mocha, Isami is portrayed as the reliable older sibling who dotes on her younger sibling, although unlike Mocha, Isami can be a bit blunt about what she wants.

  • Shinobu appears to have crossed a line of sorts after she pulls a stunt similar to Pretty Days, where she brings back “love” as a gift of sorts for Alice and Karen after a cake run: she remarks that this time around, she’s returned an armful of memories to cherish. However, what follows is even more hilarious: Shinobu apparently also captured some sacred air from Kiyomizu-dera in a bag. This moment reminds me of a souvenir one of my relatives had: a bottle with a cork stopped labelled “Fresh Air from Ottawa”. As the story goes, after I began learning how to walk, I somehow found the bottle and uncorked it, resulting in much laughter from said relatives.

  • Moments like these are why I’m so fond of Kiniro Mosaic: in disgust, Isami punches out the bag to show Shinobu her dissatisfaction. With air from any location, I imagine that short of vacuum-sealing something, the molecules will eventually diffuse over time, so even if a container were to remain sealed, it would mix in with local air whether I’d opened the cork or not. Consequently, such souvenirs are usually meant as a joke, and one’s only really paying for the price of the container and any branding it has, rather than for the air itself. Conversely, I do have a few bottles of fresh sand from my Cancún trip for an academic conference some six years earlier.

  • With the Kyoto and Nara trip now over, Shinobu, Alice and Aya return to class. For their third year, Akari’s their homeroom instructor, while Sakura, who’d previously been their homeroom instructor, is now Karen’s homeroom instructor. Thank You!! drops viewers into the middle of their third year, and in adapting content from volumes seven through eleven of the manga, skips over many of the secondary moments (such as another class play, and a Christmas party). In spite of this, Thank You!! fully captures the most emotional of the moments to create a worthy finale to Kiniro Mosaic.

  • After classes end, when the topic of entrance exams and admittance interviews come up, Aya pulls Yōko aside to practise, even though their schools of choice won’t have an interview: Aya is hoping to gauge whether or not Yōko returns her feelings, and although the conversations proceed in typical Kiniro Mosaic fashion, Aya soon finds her answer. Yōko sees Aya as irreplaceable, a comforting constant in her life. It is not lost upon Yōko that Aya’s been putting in additional effort to maintain their friendship, and this is what motivates her to do her best, as well. A look at the calendar finds that Thank You!! premièred in Japanese cinema last year, on August 19. According to the blog archives, I was playing through DOOM Eternal and watching Magia Record‘s second season at this point in time.

  • I’ve long been interested in watching Thank You!! once I found out about the existence of a film – the project was announced back in March 2020, and by January 2021, the theatrical première date was known. However, discussions on the series has been limited every step of the way, and aside from folks excited to see Nao Tōyama back as Karen, there hadn’t been much buzz about Thank You!!. Ordinarily, such films would lead folks to speculate on whether or not the film would adapt manga chapters or feature all-new content, among other topics, but owing to the gaps between releases, I imagine that excitement for Thank You!! was limited to the most die-hard of Kiniro Mosaic fans (which is natural, considering the second season of Kiniro Mosaic finished airing seven years earlier).

  • Shinobu’s room is a very clean space, free of clutter. The only hint of any personalisation from this angle comes from Alice: a glass case containing a pair of Japanese dolls, and a Kakemono can be seen, but beyond this, the room feels more like something out of a realty listing. It’s always interesting to see how anime portray interior spaces; most series have minimalist environments so that focus is kept on the characters, and as such, personal spaces are kept in excellent order. By comparison, Makoto Shinkai and Studio Ghibli fill their spaces with clutter to create a more lived-in environment.

  • While Shinobu’s mother is looking through an old album, Shinobu’s practically beside herself with excitement and is reduced to a squeaky mess; it turns out that Shinobu’s mother had met Alice’s mother back when she’d been studying abroad, but after the former had finished her programme and returned back to Japan, they began drifting apart. Noticing Shinobu’s interest in foreign nations, Shinobu’s mother would later send her overseas after getting in touch with Alice’s mother. This bit of a story shows how some things can seem like they happened by fate, and it adds additional depth to the friendship that Shinobu and Alice share.

  • After Shinobu’s mother shares this bit of history, she and Shinobu head off to pick up some groceries. While Shinobu feels like she’s got a full heart, her mother begins sulking a little and considers skipping dinner for one evening. After the jokes pass, Shinobu finds herself with a newfound determination to see her dream of studying English overseas fulfilled; her mother’s confident that Shinobu can achieve whatever goals she sets her mind to. When Alice witnesses this, she becomes filled with a desire to have a conversation with her mother, too, and thank to the powers of FaceTime, are afforded such a conversation.

  • Back in class, Shinobu notices that Alice seems a little down: and it turns out that Alice has plans to return back home to pursue her post-secondary. However, she’s worried about how Shinobu will take the news, and in attempting to explain her future to Shinobu, Alice ends up reverting back to English. I’ve heard that multi-lingual people tend to revert to their native tongue whenever they’re stressed: Tom Clancy slides in such a detail in the novel Locked On, and I read a paper titled “Why do bilingual code-switch when emotional?” that explains this phenomenon in more detail.

  • It turns out emotional intensity decreases cognitive control and spontaneously causes code-switching. In my case, I tend to think and curse in English, primarily because it’s the language I’m most comfortable with, and because I don’t know any Cantonese expletives. Conversely, when things get exciting, I do occasionally transition into Cantonese. Alice’s voice actress, Manami Tanaka, speaks English in an accented, but perfectly understandable fashion, and I have no trouble understanding what Alice is saying. After hearing this, Shinobu voices her concerns with Aya, Yōko and Karen.

  • Aya immediately jumps to the conclusion that Alice must be lovesick: in Thank You!!, Aya’s fixation on romance becomes increasingly visible. However, far from taking away from her character, this makes her more endearing. Kiniro Mosaic had shown Aya as being studious and perceptive, possessing a serious streak that occasionally gives way to embarrassment whenever Yōko was concerned. By the events of Thank You!!, Aya’s become a little more open and assertive, even if she does still struggle with her feelings from time to time.

  • Worried about Alice, Shinobu decides to hit the library and makes an attempt to look up what Alice has said so she can find a way of reassuring Alice and respond properly. I imagine that despite her weaker command of English, Shinobu would still be able to match enough patterns to get the gist of what’s being said, although a large part of competency in a language is vocabulary. This is something I’ve noticed, even when I watch Cantonese films – I’ve got a solid idea of what’s going on, but I’m missing a few words here and there, and when I get those clarified, my understanding of a given scene improves considerably.

  • While Shinobu attempts to do things the old-fashioned way, appropriate given her aspirations, Aya and Yōko decide to do things in a manner more befitting of Kiniro Mosaic: they imagine that what Alice needs is the reassurance that Shinobu still loves her, and to this end, have kitted Shinobu out with a kimono, as well as a kokuhaku script. Such moments are typical fare for Kiniro Mosaic: the series is driven by the classic manzai routine, in which humour is created between a joker and stooge. Their interactions create misunderstandings that lead to comedy. For the most part, Yōko provides the tsukkomi lines.

  • Excitement leads Aya, Karen and Yōko to watch from the bushes: initially, everything appears to proceed to plan as Shinobu reads from the script. However, the tranquility in the moment soon leads Alice to be more truthful about how she feels, and she’s finally able to voice her concerns to Shinobu. Once the truth is out, Shinobu replies that she’d actually been thinking the same thing: after giving her future some thought, she feels it best to travel and study abroad for her post-secondary. When things start going off-script, Karen, Aya and Yōko break cover.

  • Although Aya and Yōko are relieved that Alice is her usual self again, Karen becomes disheartened; whilst heading home from school, she suddenly disappears. The manga has this happen a few pages later, occurring under a completely different context. Thank You!! manages to weave these moments together seamlessly and create a smooth transition, allowing for the manga’s most poignant moments to come together for the film. Within the manga, things are split up, and this breaks up the flow of things in a different way. Whereas the film places an emphasis on how diverging paths can be difficult to accept when one initially hears about them, the manga utilises the same moments to create gentle humour.

  • The group splits up to search for Karen, who’s hiding in a cardboard box that Alice readily spots. It turns out that Karen’s feeling a little left out after learning of Alice’s plans. The two had been together for as long as Karen can remember, and while ordinarily, Karen would simply have done as Alice has done, she’s now come to greatly treasure her time here in Japan, as well. She’s torn between staying in Japan with her friends, and returning home with Alice. Alice feels as though she’s directly in competition with an entire nation, but once she hears Karen out, she’s able to offer her own suggestions.

  • Alice believes that separation isn’t going to be a problem because they’ll always be together in their hearts, and moreover, the fact is that everyone is closer than they think because of the internet. In this moment, Thank You!! makes clever use of lighting to show how Karen and Alice are feeling. Since Karen is down, she’s shrouded by shadow, whereas Alice is in the light. When Karen is able to see the point Alice is making, the shadows suddenly clear, and Karen’s old spirits return to her. Visual effects in Kiniro Mosaic are nowhere nearly as vivid as those of a Kyoto Animation work, and even GochiUsa is more detailed. However, the subtler use of visual effects here in Kiniro Mosaic are to the series’ advantage, allowing one’s eye to remain on the characters while the background gives a hint of they’re feeling in the moment without overwhelming the viewer.

  • With Karen back to her cheerful self, she announces that she intends to stay in Japan, plans on visiting England as often as she can, and moreover, has been eying the same university that Yōko and Aya had been planning to apply for. Given that Karen’s able to outline her future so clearly, it is likely the case that she’d already given her future some thought, but had simply been doubting whether or not she wanted to follow her heart and stay in Japan, or do as she’d previously done. Thank You!! overcomes this particular barrier in a manner befitting of Kiniro Mosaic: talking it out with people close to oneself.

  • During Hello! Kiniro Mosaic, in response to the antics Alice and her group were engaged in, Akari had remarked that this particular group of students were just like primary school students, and the conversation subsequently went towards how pets show a truer side of one’s personality. Manga Time Kirara series have long placed emphasis on adorable characters that exude the same aura as that of a small animal, creating a sense of catharsis amongst some viewers, including myself. This approach does not work for everyone, and some folks steer clear of Manga Time Kirara series because the characters can come across as unrealistic.

  • In a few heart-to-heart conversations, each of Aya, Alice, Karen, Yōko and Shinobu’s respective futures suddenly take on a newfound clarity. This gives everyone a clear target to focus all of their energies towards: Shinobu is especially motivated, and even Karen is psyched about working towards a future where she can be with everyone. However, Yōko’s long been weaker in her studies, and while she’s determined all the same, she ends up becoming exhausted much more quickly than the others even as they study together.

  • In particular, seeing Shinobu study with such concentration is a sign of the times: Kiniro Mosaic had presented Shinobu as scatter-brained, with an eye for making extremely intricate and well-crafted outfits, and not much of a mind for studying. However, with a promise to Alice to fulfill, Shinobu has all of the motivation she needs to prepare ahead of admissions to a post-secondary in England. Seeing this, Isami recalls how she’d been quite worried about Shinob Hu when the latter decided to do a homestay in England. After Shinobu returned home, Isami was impressed with how she’d always given her passions her all, no matter what they were. To support Shinobu, Isami’s whipped up some homemade fish-and-chips for her with help from their mother to show her support. Fish-and-chips would be a bit heavy to eat at night, but the gesture shows Isami’s kindness all the same.

  • Although Shinobu is surprised, she finds the fish and chips delicious and is thankful Isami is looking out for her. This dish is an iconic English food: originally, fried fish was inspired by immigrants who prepared fish by coating it in flour before frying it in oil. By the mid-1800s, fish and chip shops became widespread in England, and gained widespread popularity because it was an inexpensive by hearty meal the working class loved. I’ve not had fish and chips for some years now, but luckily, a good plate can be had at virtually any pub in the city.

  • The seasons begin passing in the blink of an eye, and soon, the new year is upon everyone. With exams on the horizon, even Akari and Sakura are a little nervous about their charges: for their New Year’s Shrine visit, Sakura and Akari show up to pray for everyone’s successes. Akari is especially stressed and is prepared to offer ten thousand Yen per student in her class. This corresponds to a hundred Canadian dollars per student at the current exchange rates. Of late, high interest rates in American banks has resulted in a weaker Yen, whereas the previous exchange rates had been closer to 120 Yen per Canadian dollar.

  • The weaker Yen makes it especially attractive to pick up merchandise from Japan now, and recently, I placed an order for both Violet Evergarden: The Movie and Hello! Kiniro Mosaic‘s TV animation guidebooks to capitalise on the weaker Yen, as well as to see how shipping works after I’d moved. Both books were sold out and could only be resolved via proxy shipping at CD Japan, but the weaker Yen is softening up the costs (otherwise, I’d be paying about 20 percent more). Back in Thank You!!, after making their offerings, Sakura shares with Akari the trick she used for passing exams: a dance of sorts.

  • While such a dance might seem hokey, there is actually merit in dancing: it increases circulation, and physical activity also generates endorphins, which in turn helps with concentration and focus. Slice-of-life anime often employ unusual behaviours to drive comedy, but some actions do have a scientific basis. However, dancing out in public could seem unusual: Yōko’s siblings, and Kana’s younger sister, immediately spot Akari and Sakura and feel it’s best not to look. They then begin discussing their own new year wishes. Both Kōta and Mitsuki pray for Yōko’s success.

  • Shortly after writing down their wishes (Akari wishes for her students to be constantly smiling, or, as I know it, 笑口常開), Akari and Sakura run into Yōko and Karen having a snowball fight. Here, Shinobu can be seen with an adorable hood with flaps that make her resemble a lop-eared bunny. The dance had been showcased on Kiniro Mosaic‘s official Twitter channel last year, and while this can be counted as a spoiler, it turns out this moment happens mid-movie. One of the biggest challenges associated with watching trailers is that folks who are movie-savvy can inevitably put two and two together from moments in a trailer.

  • I feel that a good trailer, and good promotional materials shouldn’t show content from the final third of a given film. Fearing that Karen could catch a cold, Akari immediately shuts down the snowball fight and gives Karen additional layers when the latter sneezes. It goes without saying that Thank You!! is basically 80 minutes of non-stop warmth, and moment such as these serve to accentuate that no matter what happens in these anime, everything is going to turn out okay.

  • This is why, even when Yōko picks up a fortune marked “terrible”, viewers don’t really need to worry too much about her exam performance: such stories are always written in a way as to ensure a happy outcome for all characters. Some folks contend that this is “predictable”, but I counter that slice-of-life series tend to worry more about the journey than the destination, and as such, “predictable” is an invalid criticism because such anime are, by definition, written around showing how a good outcome is reached. As an aside, drawing misfortune is a common enough joke for New Year’s shrine visits in anime, but as Akari states, fortunes are secondary to one’s own determination and skill.

  • Since Alice and Shinobu are studying abroad, they’re not taking the same exams that Yōko, Aya and Karen are. However, Alice is plenty worried about them and prays that they’ll be successful. The moment brings to mind the feeling my classmates and I had after we’d finished exams: amongst the health science students, we had the post-exam ritual of “press F5 in the student centre every five minutes” as we waited for the results to come out. This speaks to how strong the bonds are amongst this group of friends.

  • To lighten the moment up, Shibobu appears with a video camera belonging to Isami – she’s filming Alice for kicks and had imagined that Alice was trying not to hit the bathroom. For the class trip to Nara and Kyoto, Shinobu had borrowed Isami’s camera, and it suddenly hits me that Isami has a lot of recording devices. This brings back memories of YuruYuri‘s Akane Akaza, whose love for Akari is next-level. While Isami dotes on Shinobu, she’s also a bit strict and will not hesitate to nudge Shinobu back on course, but inwardly, she loves Shinobu very much.

  • The girls’ first exam leaves everyone defeated: the first test is always the toughest, and I recall my first-ever MCAT experience. During mid-June, I had my first-ever simulated full-length exam, a four hour experience that took an entire morning. I scored a 14 on it and, while I was rendered exhausted after the fact, I was immensely grateful that a part of MCAT preparations includes the test itself. Taking simulated exams allowed me to prepare myself mentally for the exam format and structure: as the MCAT preparation course wore on, I took several more simulated exams, scoring 22, 27 and 33 on the subsequent exams.

  • After their first exam, Yōko appears as though her very spirit is being drawn from her, much as how I’d felt after my first full-length practise exam (I would’ve been in the seventh percentile). Karen finds this hilarious, to Yōko’s displeasure: outwardly, Karen seems quite unfazed by the exams. However, on closer inspection, her bun’s on the right side (where it’s normally to her left), and her socks are mismatched. This can actually be seen as the three walk out of the exam venue; for me, one of the joys in watching anime come from catching these small details, which serve to tie different scenes together.

  • To help Karen settle her nerves, Alice lends her a pencil and promises that when it’s time to return said pencil, Karen will have passed already. Karen immediately considers using it as a die of sorts. Yōko gets in on the good luck charms: she’s still got the hairpins Aya had lent her from middle school. When Aya begins feeling a little left out, Shinobu gives her a homemade kokeshi hairpin. Although the hairpin was made in goodwill, Aya gets bad vibes out of it, as though it were a Sith artefact. Kokeshi dolls are given to children as a good luck charm, and in Kiniro Mosaic, Shinobu’s resemblance to a kokeshi doll is mentioned on several occasions. Because they’re iconic, I decided to buy a keychain-sized kokeshi while in Japan five years earlier.

  • After hearing Kana’s been accepted into her school of choice, Sakura is overjoyed. Akari is worried for her students, feeling that some of their aspirations might not have a happy ending. In fact, Akari has been so concerned that she’d forgotten that this is the same day Karen’s set to take her exam, and to take her mind off things, she’s made a bunch of plushies of her students, including Karen, Aya, Yōko and Honoka. While Akari initially appears to be a strict, no-nonsense instructor, it turns out that she is just as caring and considerate as Sakura was, but simply had a tough time showing her students her true self.

  • If memory serves, Akari had actually been Sakura’s junior when they’d been students, and while she had intended to be a proper teacher for her students, Sakura’s example leads Akari to try and strike a balance between strictness and kindness. Out of stress, Akari even begins talking to the Karen doll. In reality, something like this would be indicative that one would need to unwind and decompress. In anime, however, such actions convey an adorable sense of helplessness, akin to watching ducklings attempt to clear a flight of steps.

  • On the morning of their next exam, the tension is palatable in the air: everyone’s done everything they can to achieve their aspirations, and after a group hug, it’s off to the examination centre. Since I’m a Canadian student, I’ve never had to take entrance exams – instead, when secondary school wraps up, my province administers standardised exams for us to take, which impact whether or not we’re admitted into the institute and faculty of our choosing. I’d actually been quite nervous about my English exam: the Faculty of Health Sciences requires a minimum grade of 80 percent to gain admittance, and I was barely holding onto an 80 average in that class.

  • In the end, effort would carry the day, and the next truly terrifying exam I stared down would be the MCAT. This exam was a foe of a proportion I’d not seen previously, and while preparations for said exam would be gruelling, it left me better equipped to deal with all exams in the future. I’ve never had a head for memorisation, so I approached the exam from a first principles standpoint: know enough of the basics to quickly re-derive whatever I needed to solve a problem. Memorisation is not a sign of intelligence, and while I imagine a few classmates from my secondary school’s IB program would disagree, I can say this with authority because nothing I do in my day-to-day involves memorisation.

  • Yōko, Aya, Karen and Honoka thus sit down to take on the exam that determines whether or not their aspirations for the future will be realised. Thank You!! shows glimpses of the exam questions themselves, including geometry, Japanese literature, English and chemistry. The me of twelve years earlier would have been able to trivially solve everything without trouble, although since then, my knowledge has become highly specialised towards software development. Although I retain a fundamental level of knowledge in biology and chemistry, I am no longer able to delve into stoichiometry and predicting organic reactions as I could during the MCAT: it is fair to say that, while I am a moderately competent software developer, I’m no longer smarter than a fifth grader.

  • Upon returning home that evening, Yōko, Karen, Honoka and even Aya look completely defeated; Aya had been looking forwards to post-secondary life with her friends, and she states that if anyone should fail, she’ll fail alongside them so they can be together. This remark is made in jest, but interpreted from a certain point of view, one might see Thank You!! as suggesting friends are more important than one’s future. I’d strongly disagree with this sentiment: to draw a parallel, I’ve known folks who’ve gone to university so they could continue hanging out with their friends, but this four years would not be productive: rather than pursue the education that aligns with their career interests, these individuals were motivated simply by old friendships, and the cost can be high, as one ends up with a skill-set that may not be consistent with their passions.

  • However, I am aware that this is not what Thank You!! is going for, and just because there comes a point where Aya might be considering such a route does not mean Kiniro Mosaic is intending this to be a part of its themes. This is a critical part of being a fair viewer: unfairly dismissing a work because one was jumping to conclusions is to be insincere. Back in Thank You!!, exam results become available: Aya, Yōko and even Karen are anxious about the results. To this end, they’ve brought Alice along as moral support, and Shionbu’s kitted her out with an adorable færie costume.

  • The large crowds mean Alice initially has trouble getting to the board where successful applicants were posted, but she ends up reaching them in the end. Here, she spots Karen’s number and hastens to report back to her friends, who immediately dissolve in tears of joy. However, Alice has only found Karen’s number, and it takes Yōko and Aya some courage to look for themselves. To their immense relief, they’ve also passed, and in her exuberance, Aya decks Yōko.

  • Once the tension gives way to relief, Aya, Karen and Yōko can relax a little, with Karen joking that Aya has staved off being turned to the Dark Side of the Force. More so than passing and getting into the school of their choice, the joy in this moment comes from the fact that, for the next four years, everyone will get to be together with one another. This is quite touching, and a well-deserved outcome for each of Karen, Yōko and Aya. While everyone’s majors are never stated, it is sufficient to go to the same university because in between classes, one can still hang out with their friends during breaks and in various events.

  • Of all the people in my graduating class, I was the only one to have entered the Health Sciences programme: none of my classmates joined me, and I ended up making all-new friends as a result. However, enough of my old friends had also gained admittance to the university, so we always had a chance to hang out during lunch breaks, and on some occasions, we even ended up on the same classes. To Yōko, Aya and Karen’s surprise, Honoka and Kana are also around; Honoka had arrived earlier to check for her number, and she’d made it in, as well.

  • As the moment sinks in, large cherry blossoms suddenly begin flying through the air. This seems fitting for the moment, being a bit of pleasant symbolism to show that something new is beginning, at least until one realises that everyone’s still wearing their winter coats, and that it’s a bit early for hanami: Aya is the first to notice these “blossoms”, and it turns out they’re coming from Alice’s dress. It turns out that, perhaps when Shinobu had been sewing the outfit together, she might’ve not made it up to her usual standards because she’s distracted both by her friends’ successes, and her own studies.

  • However, one other possibility is because Alice had made her way through such a tight crowd, the movements may have loosened the threading. In the ensuing chaos, Aya implores the others to quickly retrieve the bits of Alice’s skirt that’s fallen off. While this is happening, Karen and Honoka are too busy enjoying the moment to help, and the scene switches over to Akari and Sakura, who’ve shown up to see how their students are doing, as well. Both are reduced to tears of happiness at the sight before their eyes.

  • The page quote was chosen because effort is ultimately what underlies everything in Kiniro Mosaic: whether it be Aya and Yōko putting in their best effort for a school play, Karen and Shinobu hitting the books to stay afloat, and Alice learning to express herself more openly, everything that’s happened in Kiniro Mosaic happens because everyone makes the effort to realise their goals. While efforts may sometimes fall short, there is no penalty for trying, and seeing what happens when one applies oneself is always rewarding. As a result, even if one’s best “isn’t good enough”, one at least knows where their limits lie and can look back on things without regret.

  • A few weeks have passed, and spring approaches, bringing with it cherry blossoms, and graduation. On the day of their ceremony, Alice and Shinobu are very nearly late because the latter is having trouble waking up, but with some help from Alice, the pair get out the door just in time. Thank You!! supposes that this is Shinobu being her usual self, but in the manga, everyone had taken a graduation trip over to England to visit Alice’s family and check out London’s sights. Thank You!! skips over this entirely because the film had been focused on Shinobu, Alice, Karen, Aya and Yōko finding their way: going to London, as fun as it would be, wouldn’t directly contribute to this particular story.

  • I would imagine that bringing the graduation trip segment of the manga to life would’ve entailed doing some location scouting to ensure that the animated adaptation of London was true-to-life, and recalling that Thank You!! was produced during the global health crisis, travel might’ve been trickier, hence the decision to keep the story in Japan. There is a sufficient amount of material that could result in another OVA later down the line if Studio Gokumi and AXsiZ do end up picking up Kiniro Mosaic again, but for the present, the girls’ graduation marks the end of the series.

  • En route to their graduation ceremony, Alice, Shinobu, Alice, Karen, Aya and Yōko run into Honoka and Kana: in a bit of a clever callback to the second season, Honoka’s doing her balancing act to relieve her nerves, causing the others to comment that this scene is probably going to be burnt into their minds forever. Curiously enough, I only have the vaguest memories of the days I attended my graduation ceremony, and assuming this to hold true for the characters of Kiniro Mosaic, I imagine that Honoka’s balancing act will not endure.

  • Anime typically present graduation as an emotional event: it marks the end of one era and time spent with people one would’ve become very close with. However, my own experiences with graduation were dramatically different: there were no tears to the best of my recollection, only excitement. Having said this, the portrayal of graduation in anime feels a lot more tearful than their counterparts over here in Canada – classmates appeared more interested in partying it up after the ceremony, and so, there never felt like there was much weight behind walking across the stage and shaking faculty hands.

  • The gap in reactions is symbolic, as Shinobu is quick to point out: those who smile at graduation are happy with the memories they picked up, whereas those who cry enjoyed themselves and wish they could live in the moment for longer. One touch I particularly liked was how Karen hands Aya a full roll of toilet paper, almost as though she’d foreseen that Aya would cry during the principal’s speech. Sure enough, when even a handkerchief fails to cut it, Aya falls back on the toilet paper.

  • For me, graduation never represented the end of something, but rather, a new beginning. Separation from friends never was much of a bother because even during my time as a secondary student, electronic communications like instant messaging had already been quite mature, and social media was slowly taking shape, allowing me to keep in touch with people more readily. Kiniro Mosaic‘s manga began running in 2010, a time when these technologies were present, so I imagine that the reactions harken to a more romantic era when communications were slower.

  • For Alice, her yearning to spend more time with everyone outweighs her desire to push forwards into the future, and when Shinobu replies how she’s smiling for all the good times they had, Alice is torn between smiling and crying at the same time. The last time I saw an anime graduation this emotional was Azumanga Daioh, which saw Chiyo dissolve into tears during the singing of Aogeba Tōtoshi. Conversely, in K-On!, Yui and her friends crossed the stage, all the while worrying about whether or not Sawako would find out about the farewell surprise they had planned for her; it wasn’t until Yui, Ritsu, Mio and Tsumugi perform for Azusa where the waterworks begin.

  • The sharp-eyed viewer will probably find everyone wearing their uniforms in the default setup to be unusual: two seasons and an OVA, over nine years, has seen to it that viewers have acclimatised to Yōko’s messy style, Karen’s Union Jack coat and Alice’s pink cardigan. For viewers who’d been around when Kiniro Mosaic‘s first season aired, all the way back in 2013, their journey would have been even longer. When an anime runs over such a long period of time, it can feel as though the series has accompanied them through their own experiences, too.

  • For me, the anime that accompanied me through university was Gundam Unicorn: I didn’t come upon Kiniro Mosaic until late 2014, and in retrospect, it would’ve been nice to have watched this series while it had been airing during the summer of 2013. Back then, a historic flood had ravaged my province, and I was left in a depression after my summer plans dissolved. Watching the gentle comedy of Kiniro Mosaic might’ve proven to be the panacea I needed to get back on my feet a little more quickly: I had finished my Health Sciences degree that year and was still deciding on what my own future would be at the time.

  • After the graduation ceremony, the students return to their classroom to receive their diplomas, and Akari is so overcome with emotion that she’s struggling to remain coherent. Karen’s sudden appearance surprises her, and it turns out Karen’s here to receive her diploma from her a second time, feeling it appropriate considering how much she’d been bothersome to Akari. Thank You!! does a wonderful job of showing what it must feel like from the instructor’s perspective, to watch students start in their class and then go through all of the trials and tribulations that lead to graduation.

  • It speaks volumes to how effective Kiniro Mosaic is, that even a full five years after Pretty Days, it feels like only yesterday that I finished writing about Aya and Yōko preparing for their culture festival. Despite a half-decade passing, all of the characters still feel as familiar as they did when I first watched the series, and in a manner of speaking, Akari and Sakura’s tears mirror the viewers’ own feelings at the fact that Kiniro Mosaic has drawn to a close. The manga itself ended back in 2020, and while the title had been given to Yui Hara by an editor, over time, Hara came to try and shape her stories to fit with this title.

  • In the manga’s afterword, Hara hopes that she’s managed to convey what a “Golden Mosaic” is. I would contend the manga and anime have both succeeded in this. The colour gold is associated with prosperity and success, but also could refer to the blonde-haired girls in the story (Alice and Karen). In coming to Japan and brightening up everyone’s lives, Kiniro Mosaic can be seen as a mosaic, or collection, of these moments. As the graduation ceremony rolled, moments from both seasons, and the Pretty Days OVA, are shown, each of them being positively radiant and providing a golden mosaic for viewers.

  • Thank You!! ends with Karen, Aya and Yōko meeting up with Alice and Shinobu in a gentle field somewhere in England. This spot feels like the verdant fields and rolling hills in J.R.R. Tolkien’s Shire, and in this moment, it is clear that even though everyone’s graduated and is pursuing their own futures, they still have the means and opportunity to hang out together again. We’re getting close to the end of this post now, and here, I will note that this is probably the largest post I’ve written this year: at 11151 words, this reflection took over ten hours to write, and once I’m done, I plan on taking a short break before continuing on with regularly scheduled programming come June.

  • Because Thank You!! offers such a satisfying and conclusive ending to Kiniro Mosaic, issuing this series a final grade of A+ (4.0 of 4.0, or 9.5 of 10) was a straightforward decision: this film acts as a final send-off to the series, bringing back everything that originally made Kiniro Mosaic so enjoyable while at the same time, indicating to viewers that everyone’s on a good course for the future. I hope that all fans of Kiniro Mosaic will have a chance to watch this movie when they get the chance: it is the capstone entry in a series that has been around for twelve years, and represents a swan song that brings things to a definitive close.

Overall, Thank You!! acts as the fitting swan-song for Kiniro Mosaic, bringing back all of the things that had made Kiniro Mosaic so enjoyable. While Thank You!! does not up its visuals (background artwork remains simplistic, much as it had in the TV series), where the film excels is the character animation, voice acting and use of inset music to really accentuate the emotional tenour of a given moment. Rather than attempting to go big with its visuals, Thank You!! places its emphasis on the characters, counting on their motions and dialogue to deliver how everyone is feeling as they push towards graduation. From stress and joy, to sorrow and defeat, every aspect of Thank You!! goes towards showing viewers how the characters are feeling, to the extent that by the time Shinobu and her friends pick up their diplomas, viewers are likely to be crying alongside Alice, Aya and Akari. The use of inset music to serves to further augment the emotional punch of these moments; the songs’ lyrics speak This particular aspect has always been a strength in Kiniro Mosaic: in the TV series, the hilarious moments everyone shares together, and Shinobu’s often non-sequitur train of thought, all come together to create humour and punctuate quieter scenes with laughter, bringing Shinobu and Alice’s world to life. In bringing these aspects into Thank You!!, the film becomes a love letter to fans of the series – it is aptly named, thanking viewers for having accompanied them after all this time and giving them one final set of memories to smile about before Kiniro Mosaic concludes. For folks who’ve not seen Kiniro Mosaic, on the other hand, Thank You!! would become a little more difficult to follow, and its emotional payout is diminished: Thank You!! is dependent on a priori knowledge of the series and its nuances, being meant for existing viewers who’ve been following Kiniro Mosaic since its initial airing nearly nine years earlier. With Thank You!! in the books, Kiniro Mosaic reaches its ending, wrapping a heart-warming and emotional journey up in a conclusive manner, leaving no doubt in the viewers’ minds that Shinobu, Alice, Aya, Yōko and Karen are ready to embrace what lies ahead in their respective futures.

Lucky☆Star OVA: Review and Reflections After Another Long Weekend

“I take time to watch anime. I don’t know whether I’m allowed to, but I do it anyway.” –Larry Wall

A year after Lucky☆Star‘s airing concluded, Kyoto Animation released an original video animation for the series. This OVA consists of six acts; the first details the day of Minami’s dog, Cherry, and what occurs when various friends, including Miyuki, Patricia, Yukata and Hiyori visit. Minami is saddened to see Cherry disinterested in her dinner. Later, Kagami and Tsukasa accompany Konata and Nanako play an MMORPG. While Kagami is frustrated by the gamer-speak Konata and Nanako use, Tsukasa struggles with the game mechanics. During Golden Week, Nanako ends up power-levelling since she has nothing better to do. When Kagami falls asleep while house-sitting, she dreams about being whisked away to a Cinderella-like ball by Konata, which turns out to be a martial arts tournament. Konata’s magic depletes as Kagami returns home, leading Kagami to reluctantly recite an embarrassing spell that she says aloud, to Tsukasa’s shock. Later, Tsukasa attempts to become more noticeable by beating Kagami’s team in volleyball, but ends up failing and laments that she’ll remain a side character. The penultimate act has Miyuki recall a misadventure where their group wound up lost, and despite attempting some survival tactics, ultimately are found when Konata re-enters an area cellular coverage. Although a furious Nanako lectures them, she ends up relenting and sits the four down to a late dinner. The OVA closes up with a horror-themed segment where Konata, Kagami, Tsukasa and Miyuki somehow end up becoming frogs after visiting a strange pet-shop, and a live-action Lucky☆Channel segment. This unusual collection of shorts was originally intended for release in June 2008, but production issues pushed it back to September 2008. While retaining the whimsical charm of the original series, the Lucky☆Star OVA also presented Kyoto Animation a chance to explore both side stories that occurred in parallel with Lucky☆Star, as well as a fantastical and non-sequitur moment through its penultimate act. In addition to being a fun addition to the series, the Lucky☆Star OVA represents providing Kyoto Animation a means of experimenting with different visual effects: the MMORPG segment is rendered entirely in the 3D aesthetic of a JRPG, and Kagami’s going to the ball similarly presents a chance to play with particle effects. All of this is wrapped up in an addition to Lucky☆Star‘s repertoire of amusing anime jokes, so as far as experiences go, the Lucky☆Star OVA earns a passing grade.

It comes as a bit of a surprise to me that until now, I’ve never actually sat down and watched the Lucky☆Star OVA in full: previously, I’d caught glimpses of things like Kagami’s ill-fated attempt to dissuade Konata from taking her to the ball, or the MMORPG segment. In retrospect, I’m glad to have done so: while this series of vignettes does not add much to Lucky☆Star in the way of story, it does represent forty minutes of comedy. My favourite of the acts are, unsurprisingly, the MMORPG segments, which has Konata and Nanako discussing their game in gamer-speak (incorrectly identified as 1337-speak in most other places online), and Kagami’s attempts to dissuade Konata from taking her to the ball. The former is hilarious because, even though I’m not an RPG fan by any stretch (I enjoy games of the genre, but do not put in a large amount of time into things), I fully understand and follow the conversations Konata has with Nanako. Similarly, Kagami’s going to the ball and being kitted with Miku Hatsune’s outfit from Vocaloid was hilarious. While Lucky☆Star has previously shown Kagami as being tsundere with a short fuse, her anger at Konata here was taken to the next level. The Lucky☆Star OVA also brings with it surprises: Tsukasa has always been a quiet, shy character, but her being defeated in volleyball proved surprisingly poignant. Although she’s a lead in Lucky☆Star, her counterpart in CLANNAD was indeed a secondary character, so this may have been a callback to CLANNAD. Miyuki’s recounting her group getting lost in camping also proved heart-warming. With a combination of bad jokes (courtesy of Konata) and warmth (Nanako relenting in the end), this vignette shows how additional time can be used to create additional contexts for the characters to bounce off one another in. I was not particularly fond of the first or final acts, although even these have their moments, and beyond the likes of CLANNAD, numerous other series are referenced. Konata’s costume references Yuki’s witch costume in The Disappearance of Haruhi Suzumiya, while the “jet stream attack” is a callback to Mobile Suit Gundam‘s Black Tri-Stars. Kagami also promises not to absorb a soul, a reference to Soul Eater. Despite a weaker opening and ending, the Lucky☆Star OVA still offers a solid experience in bringing back the antics and characters to a series that gently parodies the demographic who would be most likely to watch and enjoy such a show.

Screenshots and Commentary

  • Although the Lucky☆Star OVA’s first vignette opens up in a light-hearted, comical manner, a day’s worth of trouble causes Minami’s dog, Cherry, to lose her appetite during dinner, leaving Minami saddened. Each of the stories in the Lucky☆Star OVA are standalone tales that, while lacking context, provide an additional chance for the characters to interact with one another. I would imagine that a day of attention has left Cherry exhausted, but there was a melancholy about this first act that made it a little trickier to follow.

  • Lucky☆Star began with a focus on Konata, Kagami, Tsukasa and Miyuki, but as the series continued, the cast expanded greatly: the show had already been quite lively even with just four central characters, but adding Yutaka, Minami, Patricia, Hiyori and Izumi created a much deeper, richer world. With twenty-four episodes, Lucky☆Star harkens back to a time when creators had more breathing room to produce anime. Today, studios work on multiple series simultaneously, so things like Gundam SEED wouldn’t be possible: year-long projects divert resources away from other series. It would be exceedingly rare for slice-of-life series like Azumanga Daioh and Lucky☆Star to receive 2-cours out of the gates, and studios would instead split the series up into several seasons, so they can work on other projects, and continue on with additional seasons only if profits are good.

  • Of the shorts in the Lucky☆Star OVA, the MMORPG act stands as one of my favourites; it follows Konata, Kagami and Tsukasa playing through a game together with their instructor, Nanako Kuroi. While Konata and Nanako are experienced veterans, Kagami is able to keep up, but poor Tsukasa struggles with the game mechanics, and at one point, states that she had assumed that spell levelling was automatic. Tsukasa of Lucky☆Star had been a little air-headed but adorable in her mannerisms, unfamiliar with the otaku world that Konata, and to a lesser extent, Kagami, know of.

  • One aspect of this vignette I enjoyed was the fact that I was able to follow everything Konata and Nanako converse about; I’m not anywhere nearly as versed in RPGs as I am in FPS, but I became familiar with the terminology, and enjoy the genre, as a result of a friend’s private Ragnarok Online and World of Warcraft servers from back when we were secondary students. I will note here that the RPG jargon Konata and Nanako use isn’t “1337-speak”: it’s simply RPG shorthand. Proper 1337-speak include things like calling people n00bs, pwning foes and the like.

  • Kagami’s reaction to Nanako and Konata picking up brand-name items in-game is my own: I prefer playing games without the inclusion of exclusive items that may break gameplay. As the group go through their game, Konata, Kagami and Tsukasa note they will be offline to enjoy Golden Week, and come back to find that since Nanako had nothing better to do, she ended up power-levelling her character. Nowadays, I spend most of my long weekends out and about, enjoying the weather, do things I don’t normally do and sleep in.

  • Of all the shorts in the Lucky☆Star OVA, my favourite is when the Hiiragis go to a ball of sorts, leaving Kagami to house-sit. She falls asleep, and is surprised to find Konata at her place, insisting that Kagami secretly also wanted to go but was too tsundere to admit it. Whimsical and fanciful, this Cinderella-like arc is charming and amusing, as well: Kagami in Lucky☆Star had reigned back her tendencies somewhat and only ever expresses mild frustration wherever Konata is concerned, so dropping the pair into a dream-like world means opening things up to more outrageous moments.

  • It is here that Lucky☆Star‘s reference to other series become visible: having now seen The Melancholy of Haruhi Suzumiya in full, it’s easy to spot that Konata’s witch outfit is a deliberate call-back to Yuki’s costume for their movie, complete with a crude wand named similarly to the wand Haruhi supplied Yuki with. It is generally accepted that one should watch The Melancholy of Haruhi Suzumiya before Lucky☆Star so that all references can be understood, but in my infinite wisdom, I ended up watching Lucky☆Star first. I was moderately familiar with The Melancholy of Haruhi Suzumiya at that point, so I appreciated some of the call-backs, but it wasn’t until I did rewatches of both that the genius of said call-backs became apparent.

  • Lucky☆Star makes numerous references to other series, and as a result, is seen as a series for otaku: it is crammed with references to older works, and to an unseasoned viewer such as myself, there are many things that can feel unfamiliar. This is the reason why reception to Lucky☆Star among English-speakers is so mixed. Lucky☆Star draws most of its humour from the non sequitur conversations resulting from Konata’s profound knowledge of otaku subculture, and the frustration this creates in Kagami. As a result, some of the jokes can be difficult to follow and feel out of place as a result.

  • Conversely, those who are familiar with otaku subculture, anime, manga and Japanese games will find themselves right at home. The dramatic differences in reception towards Lucky☆Star is precisely why I hold that there is most certainly not a single, universal and objective metric for gauging slice-of-life works. Enjoyment of Lucky☆Star is entirely dependent on one’s background, hobbies and interests, so what may be flat and uninteresting for one viewer may be a hilarious and thoughtful parody to another viewer.

  • The highlight in the Cinderella vignette occurs when Konata decides to swap out Kagami’s outfit for something a little more befitting of an event. After Kagami rejects the maid and miko outfits, Konata gives Kagami Rin Tōsaka’s outfit from Fate/Stay Night. Rin is probably one of the most iconic tsundere characters around, and it is befitting of Kagami. However, when even this is turned down, Konata decks Kagami out in Miku Hatsune’s outfit for kicks, complete with the giant green onion. I’ve never understood the green onion piece, but from what little I know, it’s supposed to be significant for some folks.

  • When the little star falls from Konata’s wand, Konata is unable to restore Kagami to her original clothing: to the best of my recollection, this is the angriest that Kagami gets in Lucky☆Star, and she’s a few seconds away from kicking Konata’s ass. Despite the simplicity of the art in this scene, Kagami’s indignation can be felt, showing how expressive anime can be. Luckily for Konata, she and Kagami arrive at the venue before anything else can happen, and viewers are greeted by the sight of a martial arts tournament of sorts, where participants fight for Misao’s hand in marriage.

  • In Lucky☆Star, Misao joins the main cast later on, being a spirited and athletic character who prefers track and field, and video games, to studying. Although I suppose it would’ve been fun to see Kagami actually fight, in dreams, one’s personalities and inhibitions might still be present: much as how in my dreams, I still act as I normally would in reality, everything Kagami does in her dream is consistent with how she typically acts in Lucky☆Star. Konata doesn’t push the point and prepares to take Kagami home, but delays mean her own magic wears off, leaving Kagami in a bit of a pickle. Konata reveals an embarrassing pass-phrase that would restore everything to normal, and as Kagami awakens from her nap, she recites this out loud, to Tsukasa’s horror.

  • What Kagami says exactly has been the subject of no small discussion and remained a bit of a mystery for the past 13 years: half-asleep, she slurs the go…kitai. If I had to guess, “ご一緒に行きたい” (Hepburn goissho ni ikitai) would probably be the closest to what Kagami says: literally meaning “I want to come together with…”, it’s probably a euphemism of sorts. Although the OVA cuts the line out to avoid trouble, Tsukasa’s reaction says everything the viewer needs to know. Fans have long felt that Kagami and Konata would make for a good couple, and while it is true that banter between the two forms some of Lucky☆Star‘s best comedy, there is no evidence otherwise to suggest this is the case.

  • Misunderstandings in anime are amplified by the use of time and space; Bill Watterson has, in special collections of Calvin and Hobbes, spoken to the idea that humour also entails giving viewers time to let the outcomes sink in. In newspaper comics back when panels were large enough to support this, it would mean making use of visual breaks and empty space to create an impression that time had passed. Anime is able to use pauses to achieve the same effect, giving viewers a chance to spot what’d just happened to Kagami, and really laugh at the predicament she’s now in.

  • For me, the fourth act was probably one of the more saddening ones; tired of being a secondary character in Kagami’s shadows, Tsukasa resolves to win a volleyball match over her. Mid-match, Kanata suggests using the “Jet Stream” attack: this is an iconic part of Mobile Suit Gundam, when the Black Tri-Stars line their mobile suits up in a line, with the front suits equipping ranged weapons and creating enough of an opening for the final mobile suit to use melee weapons to finish off a target. Gundam SEED Destiny has a trio of ZAFT pilots using the same manoeuvre to devastate their foes, although one must wonder how well this trick would work in volleyball.

  • However, despite her best efforts, and even with Kanata’s unexpectedly good physical ability, Tsukasa ends up taking a ball to the face and ends up smashing the ball into the net, costing her team the match.  There was something heartbreaking about seeing Tsukasa stumbling, only to get back up and continue trying her hardest, although not all viewers feel the same way, finding the punishment that Tsukasa endures to be hilarious. Lucky☆Star is a comedy, after all, but for me, I’ve never really taken enjoyment in watching people suffer unnecessarily.

  • The arc where Konata, Kagami, Tsukasa and Miyuki get separated from their group while on a school trip offered some interesting humour: since they’ve got no cell reception, and Konata’s left the compass and map on the bus, the four can only wander the forest in the hopes they get back together with their class. Here, Miyuki is referred to as Miwiki, a callback to the fact that of everyone, she’s got a broad range of knowledge on wide topics. After attempting to ration their food and navigate the forest, Konata is surprised to learn she’s getting a call.

  • It turns out Nanako had been trying to call them for quite some time and is furious with them at having gotten lost. Here, I am reminded of the similarities between Lucky☆Star‘s artwork and what’s seen in Miss Kobayashi’s Dragon Maid, which came almost a decade after Lucky☆Star. Kyoto Animation excels in both series where visual fidelity is life-like, and in series with a much simpler design: irrespective of whether or not the world is highly detailed or more basic, the animation is always smooth and fluid. I felt that here, Nanako bears resemblance to Kobayashi., but soon, her indignation evaporates, and she invites everyone to grab some curry as the day draws to an end.

  • Now that I’ve finished watching the Lucky☆Star OVA, I believe I’ve finished off everything in Lucky☆Star. I’ve heard that a spin-off, Miyakawa-ke no Kūfuku, was released in 2013: this series follows a different set of characters but is set in the same universe. I am curious to give this one a go, although per my modus operandi, I can only say that I’ll watch this one once I’ve got the chance. Looking ahead for what I’ve got lined up here, beyond a talk for Kiniro Mosaic: Thank You!, I also am looking to wrap up My Dress-Up Darling on short order and do an introspective post on how my MCAT preparations were going a decade previously.

The Lucky☆Star OVA represented a hidden addition to the series after it’d released back in 2008, and although this OVA is not necessary to a complete Lucky☆Star experience, I imagine that fans of the series would nonetheless wish to check it out for themselves such that they can wholly enjoy the series. The challenges of being an anime fan harkening back to a time when broadband and streaming services was practically nil are apparent: in this era, the viewing rooms at anime conventions became the de facto means of checking series out. This was often the only time fans could try out different series and expand their horizons: visitors to anime conventions even planned their days so that they could strike a balance between guest panels and autograph sessions, and viewing series of interest. Nowadays, with ubiquitous fibre internet and streaming services, viewing rooms have been rendered obsolete: one could easily watch their shows at any time of year, on any device of their choosing. In my experiences, I’ve seen how viewing rooms can be seen as a burden on conventions. When I had volunteered at Otafest back in 2019, the viewing rooms were nearly vacant when I made the rounds of them to check in on things. As early as late 2014, the viewing rooms had already been on the decline: I had ducked into a room screening GochiUsa to catch my breath, and it was empty. A pair of attendees came into the room, saw GochiUsa on the screen and promptly left. My experiences have made a clear case for why conventions should consider reducing the number of viewing rooms they have. Otafest screened the first six episodes of The Aquatope on White Sand as a part of its lineup this year, a series I finished five months earlier. Were I in attendance at Otafest this year, I wouldn’t have planned my day around catching The Aquatope on White Sand, and I imagine that most visitors would be present for activities such as panels, exhibitors, musical performances and cosplay contests, which to remain popular: as anime conventions move forward, the viewing room will likely represent a drain on resources, requiring a convention to pay for both additional square footage of space to rent, and licensing fees to stream the shows. Arguments to preserve viewing rooms, beyond the fact that they are quiet spaces for fans to catch their breath, such places are essential for allowing socialisation and allow visitors sample a series before deciding whether or not one should get into it. While there is merit in this perspective, I contend there is limited value in showing recently-aired series. Instead, fewer rooms, showing more obscure and difficult-to-access content, would offer attendees with more value, while at the same time, continue to provide visitors with an oasis of sorts to take five. Difficult-to-access content, today’s equivalents to the Lucky☆Star OVA, would be perfectly suited for the re-imagined viewing rooms, allowing attendees to view shows that they might otherwise not have a chance to. While the technology and accessibility has advanced dramatically since the Lucky☆Star OVA’s release in 2008, some series still remain remarkably tricky to get to, and many of these series deserve to be enjoyed.