Episodes one and two were a great introduction to this series and definitely laid the groundwork for what is to come. However, this show very early explained to the audience that it was going to be a slow build and we see that build executed well in episodes three and four as we take a bit of a detour from the posts’ offices and crew to build on our individual characters.
As we left off, Violet is learning to be a better auto memory doll and as such, she is enrolled in a doll training course with several others students. Very early on, we see her excel in her technical skills but as we’ve seen in the previous episodes, when it comes to the basis of the job, understanding and effectively conveying the clients’ emotions, Violet crashes and burns. It’s not until a fellow classmate, Luculia, reaches out and works with her, that we see her progress and beautifully, as they work together, we see both this Luculia and Violet understand each other as well as their own emotions better, eventually leading to Violet successfully writing a short but emotionally effective letter from Luculia to her brother.
This episode and the soon to be talked about episode four seem to share the theme of developing empathy and understanding, from characters within the show, but more importantly, the show seems to also be asking the same from us the audience to the issues certain characters face. This brings up a main point I wanted to talk about, here that I think is important in understanding our main character and the issues she struggles with. That it appears Violet may be autistic.
This wasn’t my idea originally as I watched through episodes one and two. To be completely honest, I’m not exactly well qualified to talk about this as I’m horribly ignorant on this particular mental condition. However, what I’ve learned through others that have more authority on this, I find the fact that Violet Evergarden seems to be tackling this mental condition, or at the very least a similar situation, fascinating. While I originally thought this was an interesting theory when viewing episode three, episode four seems to solidify that this is exactly what the show is doing and, personally, that seems wonderful to me.
[Disclaimer from the team: While this anime is not out in the United States, currently, a large amount of our followers and fellow Anibloggers are not from the United States and we felt it would be good to share our own thoughts on the series along with them. This is also a bit of a statement for the US branch of Netflix. While we are happy that Netflix is helping to fund and support the anime industry and we fully support legal means for watching anime, their practices in timed region-locking content are not something we agree with, particularly in the case of this show which is available in every country except our own with no explanation as to why. Therefore, given the show in nature is the most anticipated of the past year and we have no available legal means of joining the international discussion, we felt we should write about it regardless.]
Violet Evergarden is finally here. To say that it has been one of the most-hyped anime series to come by in the last few years would be a pretty massive understatement. Whether it’s been through talks about Netflix’s choice of streaming with regards to other countries, discussion from those who have read the source material, or just sheer hype over the potential of the show shown through interviews and PVs, it seems like Violet Evergarden has seeped into conversations for a very, very long time. Does it stand up to the raging hype machine that’s been set up alongside it?
Well, yes…but I’m also a tad concerned.
Quick note for any Just Because! viewers outside of America: Lucky for you, HiDive got ahold of this one because still at the point of this writing, Amazon has not translated the signs and text for this show along with the official subs. So if you’re watching this show, might want to head over to HiDive for those translated signs on the last episode given the incredibly important use of text messaging in this show. Us Americans will just be over here crying and raising a defiant fist against our Amazon overlords who will still not turn over the full rights to HiDive.
Well here we are, the end is near, we face the final curtain, and my friends, I’ll say it clear. I’ll state my case of which I’m certain… This was such a good anime. Since the first episode, I’ve been impressed with this show and I’m so happy that Just Because! never let me down. Of the shows that we’ve written about thus far as a group on this site, this one was probably my favorite to watch. And now we’re at the end. I guess if the previous episodes were the wind up, this would be the pitch… and then the aftermath. Though, to be less haughty for a sec, it’d probably be better just to call this the exam arc ‘cause hot damn is there a lot riding on these college entrance tests.
We initially pick up from where episode ten leaves off, with Komiya readmitting her feelings. However, we see that she tells Izumi not to give her an answer until he passes his test, stating it with the assurance that he will. He promises her he will with the same earnest and serious face I’ve come to love on this deadpan boy.
The next day, Izumi fills in Souma about what’s going on with him and his exams while Souma in turn explains his relationship with Morikawa and his plans for the future. The standout moment here, however has to be when Izumi tells Souma to stay in touch with Morikawa, as it’ll get harder to message her if he waits too long. It’s thrown out so nonchalant but the meaning is easily picked up by Souma as Izumi alluding to how they fell out of touch, bringing us back to the beginning of the series and the lost friendship they thankfully were able to rekindle. It’s a nice touch to one of the last major bonding moments these two have with each other as we head towards the end. With a promise to stay in touch with Morikawa that also seems to be an affirmation to be there for Izumi as well, Souma then throws it back to Izumi, telling him to stay in touch with Natsume to which Izumi promises Souma that he’ll tell her everything when he passes his test. A lot riding on these exams, huh?
Hmm, yes, the “I’m very tired but I appreciate you as a person” look. Vintage.
In looking back on episodes seven and eight of Just Because!, it genuinely feels as though those episodes were in a way a fairly bubbly (by comparison) reprieve from some of the existential and romantic angst that has come from the show in previous aspects. The focus on Eita’s dedication to Natsume, the admittedly fun date that Komiya dragged Eita into, and Souma’s optimism over his possible future prospects with Morikawa all really gave the last two episodes an easy sense of genuinely not having to worry too entirely much about what the future holds. It is, of course, a naive sort of reprieve, one which comes with some of the youthful and childish kind of optimism that is so easy for us to hold on to. I guess it’s only appropriate, then, that with the episodes nine and ten, “Answers” and “Childhood’s End”, we are brought fully back into the show’s dealings with difficult questions, and some genuinely painful, adult answers.
When I talked about some of the previous episodes of Just Because! serving as the climax for a first act of the show, I feel as though I inadvertently hit the nail on the head with regards to the shifts that episodes seven and eight set in place for what might be the last (or at least most central) major arc for the rest of the show’s season. There’s always been a focus on Eita in the show (and rightly so, considering he is set as the central character of the series from the outset), but for about the first half of the season, I felt as though Eita was mainly just playing a support role, and didn’t seem to have quite as active a role in the major plotlines. We knew, for instance, that Eita was quietly doing his best to pursue Natsume and support her, but we didn’t see anything quite as in-your-face as some of the antics surrounding Souma. The central focuses for the first six or so episodes largely gravitated towards Souma and the sort of love-parallelogram that encompassed him, Natsume, and Morikawa. Now that these threads have been resolved at least to a point, it feels like the stage has been set for us to see Eita’s own tangled web of infatuation sprawl out before us.
And boy, does it ever.
Episode 7 of SukaSuka has most definitely calmed down from the dramatic, lore-filled rollercoaster that episode 6 was. In one respect, this is certainly a good thing, as the previous episode encountered a few hiccups in character motivation and narrative direction, among other things. Episode 7 returns to a very relaxed pace for SukaSuka, somewhat reminiscent of the beginning episodes of the show in how it goes about giving us some information about the world. Frankly, we learn quite a bit of pertinent information here through means that seem quite conversationally natural, and we do have some satisfying emotional payoffs in this piece, as well. At the same time, though, it feels as though we fall into some really odd places with regards to Chtholly’s own sense of self-worth, which once again leaves me feeling like this episode is a bit of a mixed bag.
Although we aren’t quite finished with the Winter 2017 season yet, and I’m admittedly not entirely caught up on everything I started watching this season, I think it’s pretty safe to say that Scum’s Wish will handily secure the position of my Anime of the Season. I haven’t seen an anime in recent seasons that has so maturely dealt with ideas such as, but not limited to, sexuality, sexual identity, views of self-worth, and the various ways in which these factors affect people and their interactions with one another. It’s a drama unlike any other I’ve seen in the genre, and each week I have consistently come back eager to see what new element of the story is going to unfold before me. In watching the show, though, it’s impossible to get around one of the integral themes that some of the characters wrestle with – are they scum for using others in the ways that they do for their pleasure? By extension, are we scum for watching these events unfold, and using their pain and drama for our own enjoyment?
So I’ve finally moved in about one thousand five hundred miles away from where I used to live and have a full-time job with slightly odd hours so it’s been a bit harder to make updates. On top of that, I had a bit of writer’s block while writing this and ended up solving it by starting up a second blog for my own passion project of creative writing at StoryTimeWithMythos. However, I will say that now that I’m moved in and finally have some free time, I’m dedicated to updating for you guys with more interesting articles and the like. The next few articles will be more about specific subjects rather than saluting an anime from my youth as I enjoy those a lot better and feel they’re much stronger discussions.
Even today, one hundred years after the remnants of the pioneers finally explored the frontier and civilization started booming, we’re in love with the idea of The West. The Western genre has covered a historical hundred-year gap from the end of the frontier to today with films and shows that explore the ideas from that time in America. It was that wonderful part of history where those who made a mad dash for land carried a gun, lived by their own hands, and occupied lawless towns near inhospitable and harsh wastelands. It’s not just America that’s been fascinated by this idea either. Many countries around the world have loved to make their own ideas from this setting. In fact, the reason the famous subgenre of Spaghetti Westerns is called as such is because they were Italian films. Nowadays, you don’t see many westerns being made. Cinema fell in love with the later genres of the 20th century that took hold after the boom of space odysseys in the late 60s through the 70s that changed science fiction from pop serials to the big hit movies of the later decades. However, that doesn’t mean the genre has died out. Recent films like The Good The Bad, and the Weird put their own unique twist on the genre and Clint Eastwood even stepped back into his old shoes to do an oscar-winning and absolutely beautiful revisionist version of the Western in Unforgiven. One of my favorite ideas that has evolved from the Western genre, though, is to take the plot, style, and characters of the Western and apply them to a new frontier to explore. Particularly, in the case of Trigun, I’m referring to the Space Western.