Character of the century, right here.
It’s not hard to see why ~*Erased*~ is so popular and highly rated. In all my years of watching anime, I can’t think of any characters as instantly endearing and likable as Kayo. She’s the damsel in distress trope, dressed up in cute little girl form with a touch of tsundere to boot – a weeb’s dream, huh? The voice actress behind Kayo (Aoi Yuuki, known for voicing Madoka) delivers raspy lines that ramp up from shy and quiet whispers to fully confident speech.
My favorite anime, Eureka Seven, takes its full 50 episodes to build up Eureka’s character from a stone-cold, emotionless wall to an emotional and outspoken love interest. With Erased, the same thing happens but over only 6-7 episodes. It’s Eureka Seven-level character development in its rawest form, and it’s just so satisfying to watch.
Unfortunately, after taking out the most interesting character, the last third of the series can’t even get close to the magic of the first arc. I read some people saying it’s just that fans felt like their SatoruxKayo pairing got ruined, and I think that’s essentially right. The overarching mystery plot got thrown away early on in favor of developing Kayo’s character and a romantic drama subplot. This bit got out of control, dominating each episode until Kayo basically gets cut out of the show… cold turkey. My and others’ feverish addiction of Kayo can’t be satiated by simply returning to that husk of a mystery show! I don’t care who the killer is! Give me more Kayo!
Time to read the manga. I heard that ends differently.
Two weeks ago, the iron juggernaut of Kabaneri exploded off the screen, ramming its hardcore action right up into my heart. Despite missing my brain entirely, Kabaneri won me over with its intensity and over-the-top energy. This week, though… not so much.
Continued from last time… Meiko kicked Taneda out of the apartment because Meiko’s mom (Momko) came over.
Taneda took Kato’s keys, planning on sleeping over at Kato’s place for the night. However, he runs into Meiko, who’s walking around outside after having yelled at Momko. They go back home and see that Momko has left, leaving a note on the table saying that she knows Taneda lives there. As Meiko and Taneda have sex, Taneda reveals that he’s very distant with his workaholic parents, and is jealous of Meiko’s relationship with her mom.
The next day, Meiko and Taneda meet up with Momko at some fancy restaurant, and they have an extremely awkward conversation. Meiko can’t stand it and leaves for a bit, and Momko tells Taneda:
A long time ago, I graduated from a college here and worked in the city. The times being what they were, I ended up back in Akita. She probably doesn’t realize it, but Meiko sees me as someone to avoid becoming. And that’s probably why she doesn’t want to come home.
There are times when I wonder what might have happened if I’d done things differently, but… am I happy? Yes, I’m very happy.
Anyway, I think the two of you should be free to do whatever you want right now. When you’re young, you think the only way to happiness is the hard road… but it’s actually much simpler than that.
Mr. Taneda, please take care of Meiko for me.
Meiko walks in as Momko bows to Taneda, and then they leave, etc.
I included Momko’s entire monologue up in the summary because aside from Taneda talking about his parents, this is the only part that really matters in the chapter. Momko’s advice is basically Asano’s advice – this is the first instance where any character really tries to answer the central question: “what does it mean to be happy?”
Momko’s answer: to be content is to be happy.
It’s a really… mature response that directly contradicts how Meiko and Taneda are leading their lives. Whereas Momko has found happiness in her family, Meiko and Taneda think that chasing and achieving their dreams is the key to happiness. Yet Momko doesn’t rule out this “hard road” — she says that Meiko and Taneda need not take such a path, but she still wonders what could have been.
It’s a really vague answer to a really vague question, but Momko’s monologue really succinctly and effectively gets the point across. The line about the hard road in particular is worded so well:
When you’re young, you think the only way to happiness is the hard road… but it’s actually much simpler than that.
It’s such a different take on happiness than what Western media (or maybe popular media) typically puts out. Motivational quotes based on “chasing your dreams” permeates everything we do. It’s the topic of shows like American Idol, the popular interpretation of the road not taken, and goes down to #yolo. It’s not just about trying to be different, but about trying to live life to the fullest and to die without any regrets.
Yet in this chapter, Momko presents a decidedly different view — one that represents older generations, and perhaps more Japanese? (I know almost nothing about the #yolo culture in Japan, so I’m not going to say anymore about this.) It’s so refreshing, yet elicited such an immediate, knee-jerk response in me. Maybe that’s Asano’s whole point. It’s hard to tell only four chapters in whether or not Asano is trying to preach Momko’s solution of contentment, or promote Meiko’s solution of chasing dreams.
At least he got me thinking.
Meiko wakes up and sees Taneda sleeping in front of the TV. They see a news story about the zoo and decide to go there for the day. However, their phone rings… and it turns out Meiko’s mom is in town. Meiko picks her mom up at the station and goes home, denying that she lives together with her boyfriend.
Meanwhile, Taneda takes Kato to the zoo in place of Meiko. They start drinking there and Taneda lets loose, talking about how unhappy he is with the world. Kato says he’s just frustrated, and that they should restart the band, but Taneda shuts him up and they start fighting about whose life is in a shittier condition. Kato says: “Before you get all depressed about the world, you have problems to solve closer to home, right? You’re a gigolo [sic], remember! And your girl is out of a job!”
Note: my book says “you’re a gigolo” but the scans say “you, your girlfriend’s bitch!” It basically means Taneda doesn’t make much money so he lives off Meiko’s income.
Meiko tells her mom that she quit her job, and her mom gets angry: “I don’t think you’re ready to be living on your own. Meiko… I think it’s time for you to come back home.” In teenager fashion, Meiko yells at her mom without any logic and runs away. What an idiot.
I’ve started interspersing my summary section with more … flair? It’s boring typing a summary of a chapter, and Solanin really isn’t suited to summaries. Most of my enjoyment comes from admiring the details of the art, and of the small nuances that can’t be told in a summary without giving a word-for-word transcript. But I’ll do it anyway for posterior.
As an example of a small nuance, take the first scene with Meiko and her mom. Meiko is unhappy about her mom showing up unannounced, but Meikomom says “These Tokyo hostels cost an arm and a leg. Besides, you don’t work on the weekends, right?” Between being forced to admit this point and worried about the reference to her now non-existent job, Meiko feels really uncomfortable and awkward, saying “Well… yeah, but…”
The great part about this scene is what’s actually drawn there: Meiko’s feet, one raised and turned slightly inward (right). I can almost see Meiko wriggling in such an awkward moment. She’s shifting her weight around and moving her feet to distract her from such a piercing reference to her job. Even though the scene doesn’t show her face, Meiko must be looking downward, trying not to give away that she quit her job.
Chapter 3 basically shoves reality into Meiko’s face. In chapter 2, she wandered around with no purpose in mind. While Meiko complains that her mom shows up, it’s a damn good thing that that happens. Otherwise, she might just laze around all day for months or years on end like me.
I really identify with chapter 2 Meiko. A lot of the time on weekends, I wake up past noon and don’t do anything the entire day. On the other hand, I have a job. Maybe it’s presumptuous of me to compare my more fortunate life with Meiko’s truly aimless one. I feel like whereas Meiko is facing some tough life decisions, I’m just bored. Or am I putting off these decisions? Who knows.
Back to the chapter: I have one minor gripe about this chapter. Meiko wants to rebel against her office lady job, against society, and against her mother. She’s so used to confiding in her mom that she reveals she quit her job, but she doesn’t even think of anything to say after that. Momko asks her what she’s going to do next, and then Meiko gets really really angry all of a sudden and runs away. Nobody would actually do that! This childish response is way too exaggerated. Sure, I can believe Meiko and her mom fighting over the job thing, but Meiko running away after Momko says she’s acting like a child? No no no no no no n