By the end of the second episode we have all been hanging on the cliff.
Episode 3 of Saekano Flat quickly starts off with a hyped-up showdown that subtly tells us to not worry about it at all – you didn’t miss anything important.
Two things that really happened behind the scenes, between the two episodes:
- Tomoya and his squad agreed to meet Izumi at the same place that they’ve always met (this goes all the way back to the first season).
- Izumi and her brother Iori went to buy hot cocoa drinks.
Upon arriving, Tomoya and Eriri are greeted by Iori with his ever so nostalgic villain-like entrance (again, this also goes all the way back to the first season).
I sing high praises to Fumiaki Maruto and the director for keeping simple character specific gags that still remain relevant today.
But wait. They did not agree to meet the older brother!
Distortion guitar resumes playing in the background and I can feel the intensity only getting worse off as the person standing before them is truly a rival.
Sometimes mood killer gags really do catch me off guard. At this moment Iori introduces the pair to his ‘secret weapon’ which happens to be hot cocoa cans?!
Oh. Sorry. Behind those cans lies a real secret weapon.
Intensity springs back at an instant as Izumi enters the fray, only to have it completely dissipated by the presence of Kato Megumi. I’ll gladly note this as savage#1.
Where has she been the entire time?!
Like, do you have any idea how powerful of a character Kato can be?
Iori makes it clear that ‘it’s on’. It is an all out battle between circles, one which is pursuing dreams, the other pursuing fortune.
Commence a producer battle between Tomoya and Iori, Illustrator battle between Eriri and Izumi.
Or so I thought it’d be…
If you don’t remember what Iori meant by ‘her own doing’, here it is…
It is all fun and games until Kasumi Utako‘s name gets used to even out Iori‘s scale of certainty.
Though, seriously speaking, when I am certain of something there is nowhere else I’ll be looking at except to the thing/person I want to address my utmost confidence. This somewhat creates a contradiction between Iori‘s words and his action. However, this very contradiction is truly a mere tactic to sway Tomoya‘s confidence which unsurprisingly, successfully baits him in. Tomoya attempts to reaffirm that he (Iori) really has the ‘weapon’ to go up against the author of Koisuru Metronome, to which he, now looking straight at Tomoya, responds with unwavering confidence.
Iori reminds him that it is Tomoya himself who has said, ‘games are a team effort.’
Haunted by his own philosophy, Tomoya quickly realizes that throughout the entire conversation, he has been regarding Kasumigaoka Utaha as a weapon for this visual novel and that he also did not even consider himself as a reliance further than a mere producer.
In the next day at school, Tomoya re-reads the script written for the game by Utaha to make sure that either his confidence doesn’t get ahead of him or that Iori is just downright bluffing. all the while having Kato doing the wife’s chore.
You’d be silly to not ship these two already…
Tomoya is still clouded by Utaha‘s genius writing skill to the point that he can’t do anything but praise her script, despite knowing that something is definitely wrong with it. This is pretty much the queue for Kato to straight up jab him stupid by telling him, ‘Okay, whatever you say, fanboy.’
I really have to note this as savage#3.
This is where I think Tomoya is truly stupid x2 (first time already from Kato).
He holds expectations that are usually too high for other people.
He goes on to say about how if Iori knows something will sell; it will. Frankly, as a person trying to write up a decent blog post, I couldn’t care less about quantity but obviously more of quality.
Guess who else couldn’t care less?
That’s right. Kato, as she leaves the room in mid-conversation to meet the person she considers Tomoya to be a fanboy of.
It is actually quite lovely that the conversation between Utaha and Kato is being visually presented by anything else but them talking, at least for the first 21 seconds. Naoko Yamada of Kyoto Animation has already proven to us that the legs and below’s of a character says a lot about them. The movement of a character’s legs portrays right from their physical statuses to their emotions.
Getting to the point, Utaha is flustering but we’re only given shots of her lower legs and feet twiddling.
Surprisingly enough, with a grand job of voice acting, all I really needed was to see that much and I can already imagine the rest of her physique. Kato‘s feet remain pretty much damn straight, showing that she means business.
The shots move up in portions, next we get to see their thighs.
Now for once, this is really not a fan service move in most ways. The next clue is in the picture, actually.
Kato has her hands behind her back while Utaha has her arm above her lower chest, which further adds to the clue on possible positions they can be in. I will just call them statues.
This is pretty much what most people would look like if they ever feel hopeful – hand(s) on their chest. And yes, I have to talk about their breasts.
Kato, having her hands behind her back, intends to assume the ‘cute girl wanting candy’ pose. We all know too well that Kato‘s busts size is smaller than that of Utaha‘s but this picture is implying something else different – it seems like Kato is truly in charge here. She takes it to the next level when she’s certain about Utaha‘s emotional state being abnormal as she is used to seeing Utaha rape Tomoya but never something of this kind.
Before I get to the next picture, let’s have a look at some the other scenes shown while they are conversing.
Now, Kato rips it into Utaha, just like that. She’s literally telling Utaha that the cute reactions are needless while she assumes a cute pose herself. It’s not avoidable really because face it; Kato IS cute.
As if Kato would let her off easily.
One thing Kato has to find out is the meaning behind what Kasumigaoka Utaha has said earlier.
Of course. It’s not even near the end of Kato‘s pursuit. Now that the camera is closing up, the two can’t hide those 43 facial muscles that contribute to their very emotions. I find this a really neat way to distinguish between a good and a great animator – simple yet profound things about humans, translated into animation. Oh and I can’t discredit voice acting here too because really, they are having a serious conversation and screaming just won’t do.
Kasumigaoka Utaha‘s answer to Kato does everything but stop her from becoming an unforeseeable, unstoppable force that is not to be reckoned with.
Kato later meets up with Tomoya and they board the train home. For Tomoya, this is the biggest surprise ever.
Kato now actually has real determination to find out what the meaning behind Utaha‘s scripts is and ultimately her intentions, to the point that she won’t look away from the papers. I have said this in Kato‘s post before; the anime gets the impact kicks as soon as and whenever Kato is motivated. This time however is by far her biggest motivation period of all, from start of the series up until this very moment.
Tomoya, being asked of that very question, once again recalls of his moment with Utaha at the train station.
Unfortunately our main protagonist is way too dense – he’s still being covered by her majestic aura. He goes on and say that ‘it’s not like Utaha could write something he wouldn’t‘, which opens another opportunity for Kato to jab him stupid with the, ‘Okay, whatever you say, fanboy.’
Tomoya accidentally goes Eureka! mode which sparks and ignites Kato‘s motivation ten fold. The rest can be seen in this video where Tomoya gets extremely worried and confused because it is the Kato he has never, ever seen before. It is usually Tomoya himself who drags Kato to his house and not the other way around.
Who’s the real wife now, huh?
Listen carefully to the first ten seconds of this video.
“Sore dayo, Aki-kun!“
“Dore dayo, Kato-kun?“
First of all, Tomoya is literally repeating Kato‘s line back to her but with a correct pronoun. It maybe is a slang saying ‘dore dayo‘ because ‘dore‘ (どれ) already means ‘which one?‘
Although, someone can correct my Japanese here…
Because ‘dayo‘ (だよ) by itself means ‘to know/I know‘ so if that’s the case then we have Kato saying ‘I know it!‘ while Tomoya asking ‘You know what?“
Secondly, Tomoya addresses to her as ‘Kato-kun‘!
That’s basically calling her a homeboy who he can always rely on. The (natural flow of) chemistry between these two is stronger than the bonds between the hydrogen and oxygen atoms in water molecules, holy God damn!
Happy little cat… can’t find the fur ball…
Kato‘s motivation ends in an erupt because she realizes how much work there really is to do and that the two of them just won’t make it.
Michiru’s band happen to be well versed with computers and computing in general. This leads to probably the most positive part of the entire episode.
But before that, there’s this one very important scene that can’t be missed if you’re in this anime for ‘story’. I sure as hell am and this is why, let’s go!
This speaks an unfortunate future for Eriri. I cannot spoil this before episodes 5 and 6 are out.
KonoSuba has shown us the greatest thing about montage usage in its first episode; Saekano practically repeats it nearly flawlessly, though not as epic. The slideshow gives more of a plot than two episodes of Dragon Ball Z could back in the old days. The music used is of jazz composition – something I’d always hear in most comedy and detective shows. Saying that the background music aren’t memorable would be an outright lie from me. Like always, they are AMAZING.
PUT A RING ON IT
Where did all the comedy go?!
Here! here they will be! I’ve decided that I’ll look into the important stuff in an episode first, that’s all! Saekano is trying harder to squeeze comedy out of every second possible because the anime itself knows – dark, sad and teary times are about to come.
Going back to the very start of the episode, you think that Eriri would let Izumi hog all the spotlight? Let alone allow Tomoya to sweet talk to her?
No way – she’s a tsundere after all!
Kato‘s motivation got drained and so did her stamina. She fell asleep so Tomoya put her in his bed and slept with a sit up position on the side of his bed.
That was all the rest he could get until…
Next up we have the one word that is taboo in an Otaku community.
Do not mention that you have your other half…
Having the game demo completed, Tomoya plays the new routes to find out what is really wrong with the scripts. Once again, that single chord guitar BGM is giving me the chills. And like the mood of the music suggests, it isn’t ending in any way good.
“What I want isn’t change”
In a cliffhanger, Tomoya confronts Utaha on the rooftop at school to let her in on his opinion of the new routes as it is his right being the director. This is where everything dropped to the feeling of despair for me. It is as if all of Utaha‘s hard work has just been trashed down within a single minute.
Hell, I’d be feeling devastated if someone I care about tells me that my blog is shit.
That sad violin BGM did not help in making me feel any better for both Utaha or myself!
Looking forward to the next episode
No. Really. I’ve tried looking up for that Kato Megumi alarm app but it seems that the app is only available in Japan. 😦
Like I have said, from this episode onward it has really got extremely informational. It is as if Saekano has been holding back the entire time, like Saiyans just waiting to transform whenever they find convenient.
I’d like to conclude that my Kato Megumi savagery count in this episode has tallied up to seven.
Stay savage, Kato!
And see you in the next episode of ‘Looking into’! ^_^