so a couple months ago i relistened to w359 and made a 18000 word document while doing so containing iconic quotes, my reactions, feelings, et cetera. heres some highlights with varying amounts of context. (theres lowkey spoilers for the whole series btw)
""""i empathize too much""""
crazy how i still vividly remember walking outside [my old job] and to starbucks while listening to the spider ep... trauma
i mean i dont love it but it makes me feel things
GABRIEL THATS TOO ON THE NOSE
"let me have my badass space chick victory cocktail"
god like i AM team what wrong with handcuffs but I WOULD NOT HESITATE to kill hilbert for hera
the girlssss are fightinggg
THE SAD W359 MUSIC IS KILLING ME
like memoria who maxwell who jk jk
i love you renee minkowski marry me
local idiot's heart is in the right place
HARPOOOOOOONSSSS
lovelace lovelace lovelace loveLACE LOVELACE
"maybe she's some kind of clone thing" EIFFEL... this is day 1!!!
i hate these self sacrificial idiots
no no no not this music again ill cry
yall are so emotionally stunted it fucking hurts but damn if you dont care
literally how are they still alive
i want to hug her so much omg
alan rody shut the FUCK up im crying
rip zach valenti's throat
face the death reality via math
jacobi being a piece of shit
maxwell said lets kill hilbert rights
this is a kepler hate blog
minkowski thinking her emotions dont matter to the mission oh ho ho
"youre gonna straighten up" cutter they cant theyre not straight
maxwell and jacobi show up and blow up lads
"and you should really be more careful with your queen" KEPLER WHAT DOES THAT MEAN
wolf 359 stop making me stan these literally terrible people
FUNZO FUNZO FUNZO
i am caring about men tonight lads
theyre both awful sure go ahead have history
hilbert you interrupted their emotional moment they wouldve had a MOMENT
hera said im gay
ohhhh nooo interpersonal conflict makes me sad
hug minkowski rn
FRIENDSHIP IS MAGIC jacobi and maxwell are iconic
minkowski how did you not kill him
how much do yall use the words "good enough" and "cant"
"are you an alien" GOD the Hints
"one of our... sexier jobs" vs "this is gonna said less sexy after that"
eiffel stop cockblocking them
y'all's choice of pronouns IS illuminating
PROTECT HERA AT ALL COSTS
aw eiffel... minkowski... communication is KEY
oh yeah THATS what the psi wave regulator is for.... SURE
hilbert read the room
JACOBI you can't just describe minkowski like that without giving me a heart attack
how many times have all these bitches almost died
SORRY ANYTHING THEY SAY I LOSE IT
oh minkowski finally flipped (VALID)
oh wait that fact isnt fun at all and im literally crying
LIKE sometimes you save someone's life at great personal risk only to kill her a little while later
minkowski cries to “back to before” from ragtime
i feel to many things about the gals here idk what to tell you i love them thats the problem
its gay and it hurts!
lovelace laughing at people who can and will kill her... hot
OH WERE STARTING LOVELACES SELF SACRIFICE ALREADY
they let lovelace say FUCK
OH WAIT NO I FORGOT ITS WORSE
THANKS FOR MURDERING ME WITH YOUR TEARY ANGRY VOICE
ouchie anyways gay or no but also gay
hilarious and sad at the same time?
MAXWELL dont be a bitch... i expect this from jacobi and honestly i actually expect this from maxwell too but i dont like it
NO NOT THIS MUSIC
BROTP BROTP BROTP
i cant say anything else im too busy crying
UGH I COULD WRITE ESSAYS ON MY THOUGHTS ABOUT THIS THE MESSAGE THE TAKEAWAY BROADLY THE PERSONAL EMOTIONAL ANGUISH THE DESIRE TO HUG HERA ITS
im mad but thank you... all of you... explain...
stop stop stop im literally so tense gone straight from sobbing to freeze instinct
GOD I HATE ALL THESE SURVIVALS GUILT IDIOTS
OH theyre all about uncertainty... the what ifs... okay... ouch ouch ouch
give everyone awards for bolero
eris are you gay
she said gay rights and AI rights
like i know i know we been knew but goddard really is so awful
Hera stop narrating Lovelace’s ongoing existential crisis
HOW IS THIS NOT GAY (I know how it’s not gay but. Let me have this)
KEPLER stop giving Lovelace insecurities and existential crises
Team back off lovelace for the win
like not to be dramatic but her arc is beautiful
oh boy thats my girlsssss
THATS FLIRTING MINKOWSKI
god i love that concern for your gf keep it up minkowski
COMMUNICATION? WITH THIS CREW? BOLD
GOD angrey hera is great
you know hera is having the time of her life witnessing it
eiffel you just ruined their romantic moment
minkowski is gonna kill them
a much better gayer more altruistic light
WE’RE ALWAYS TALKING ABOUT COMMUNICATION
WAIT I WAS BEING CANON DAMN I THOUGHT I WAS BEING CREATIVE AND PERHAPS OOC BUT IM IN THE CLEAR I GUESS
god hera has needed to snap at eiffel for so long
i can already feel myself about to get hit with the tears... the emotions
that shit hits different renee
The implications that Goddard like destroyed global warming omfg
it’s the moral grayness babeyyy
when it hits you with minkowski's shaky sigh first thing you know its gonna hit different
MINKOWSKI i need you to. love yourself as much as i love you
GOD the mutual concern they always have for each other is touching whether or not you think its gay. i think its gay
HERA WOULD YOU ASK A COW TO NOT BE A COW
oh of COURSE they cut coms first
lovelace is man, butterfly is quote, it says "is this flirting"
jacobi i need you to chill
but jacobiiiii thats lovelaces schtick
oh eiffel... you fucking idiot who gets really lucky sometimes
this game of chicken where theyre both chickens and kepler doesnt know any of that and each of them only know half
minkowski said im an ethics teacher now
who taught minkowski empathy in high stress situations?
yeah so i stay hitting the nail on the head
“kepler SHUT UP” is what brings everyone together
this is, como se dice.... kinda gay
this statement does not bode well for that
“Maybe less talking to yourself” he says to himself
ugh, to be Pop Culture Man™️
RACHEL i love you even tho I also hate you
Rachel if you make one more hand joke I’ll lose my mind
HER NAME!!!! IS HERA!!!! And I love her!!
i have a vivid mental image of post-series eiffel doing stand up like chris fleming style
"my crew has made it very clear through a series of looks and gestures that one more slip up and i am out, thats it, so im taking this job very seriously"
"minkowski is very overprotective in a weird, erratic way, like when your seat belt randomly locks and its like i appreciate what youre trying to do but im going 4mph in a drive way."
"so when something like this happens you have to at least consider going away for a long time and living on a cursed space station"
"you know how when maxwell and hera are talking ive never felt less needed, you know, like ‘cause you guys would be totally happy alone on a rock in the middle of a lake"
"this is the kind of body you look at and go he'd probably be ok in space without a space suit"
the whole "theater kids" video is actually him going off about minkowski
minkowski is too swole for her own good
jacobi im gonna need you to take the redemption arc more seriously
i love my crazy crazy bitches
this FUCKING music
GOD HOW DOES PRYCE JUST ALWAYS GET WORSE
she just like mutilated that man he is doa absolutely destroyed one hit ko
can you tone down the gay, sweetie
you did it you broke rachel and Goddard down to their bare essentials
GOSH shes so AWKWARD
so damn jacobi was just IMMEDIATELY ride or die for maxwell
this is too much for my poor baby heart
pryce & carter literally are just like lets do eugenics, lets do genocide
when hera says ill pull a yall and sacrifice myself for minkowski and lovelace
god like cant believe KEPLER got a redemption arc (well not arc but you know)
ah yes the most tragic scenes all take place at once :)
I HAD TO STOP LISTENING TO BRAVE NEW WORLD CAUSE IT MADE ME TOO CRAZYYYY
THE SCRIPT SAID IT NOT ME
i love space moms!
this fucking music ALAN RODY IM SUING FOR DAMAGES
like the document also does have a lot of like deep thoughts and meta and parallels and discussion of motivations but this is just fun random things i said
3 notes
·
View notes
Re-watching Joker Game: Ep 12 XX Double Cross
So, as I proposed a re-watching, here I go continuing on doing the re-watching. Hopefully someone else will join! ^_-
Also, hopefully there’s someone out there that read all this stuff… as I know it’s pretty long… shame on me for analyzing things too in deep…
Mind you, what follows are my ramblings over Ep 12, comprehensive of my impression on how the frames were structured and so on with some occasional reference to the other Joker Game media.
Also, for personal comfort, I’ll use the characters’ names even if the anime hasn’t stated them yet. In short, as this is a re-watching and not a first watching, you’ll also get a telling that’s mixed with my knowledge of the future. Consider yourself warned.
And now, let’s start.
And we’ll start with a change compared to my previous ramblings for the previous episodes.
Instead than waiting for Ep 11 to comment the preview for this episode, I’ll do it here as otherwise it would be a random unconnected bit at the end of Ep 11. The same will go for future previews.
Now, the preview, as the one for Ep 2, takes part in an… unknown place with plenty of square tables. From the various previews we’ll see people go here often to drink, smoke, play chess, play cards, even eating. The tables and the chandeliers in it are slightly different from the ones in the D Agency kitchen so it’s a different place. It bears a resemblance with the place in which the spies go drinking together in a recent illustration. As Gamo could get in, we can speculate it’s outside D Agency (though the fact he had two chance meetings with two different spies, Odagiri and Jitsui, feels a little odd so it feels more like it’s just an out of canon thing).
Anyway, back to the preview’s plot. We’ve Amari and Odagiri drinking together. Odagiri starts the discussion commenting he heard Amari broke up with his woman again. Amari confirms and from Amari’s reply we can figure out that Amari didn’t break up with THE SAME WOMAN again but that this woman is just the last of a long list. Amari claims there’s no point in remaining with a woman for too long… which makes him sound like a jerk… but there’s to remember the D Agency boys can’t get attached to someone and this will be the core of Odagiri’s episode. Amari is acting like he’s expected to act. His relationships don’t last long because they aren’t expected to. He’s not supposed to find a girlfriend and remain with her.
Odagiri won’t openly express agreement or disapprobation but we can have the feeling he’s not really that comfortable with this and this is Odagiri’s problem. He doesn’t like how the others can manage to remain completely unconnected, nor he’s capable to do the same. In the preview, to Amari’s reply, he comments ‘We’re all beautiful in passing’ but he’s quoting someone and he’s doing so while staring to his own glass, the wine in it reflecting his image and actually, it’s his image we see talking and not him. All visually hints at how Odagiri isn’t reporting his own thoughts but what he’s saying is just… a fakade.
And now let’s dig into the episode.
We start with what looks like a blizzard… which nicely ties with how snow was also falling in the previous episode. Only it gets obvious soon that the two aren’t placed in the same time period or in the same place as, after showing us a line of people walking in the snow…
…we will soon realize those aren’t Germans but Japanese soldiers, and that their uniform is the one worn PRIOR to the Joker Game episode (which dated 1939) so we’ve to be in 1938 or prior to it.
Thanks to the novel (and to @kyuukancorbie who provided me with info about the novel ^_-) we can actually speculate we’re in September, 1936, watching a scene from the large scale Army maneuver in Sapporo.
The camera focus on the face of a soldier. It’s clear enough he’s not feeling well, that he’s ill and that needs to be supported by another soldier to stand. As we watch the face of this poor soldier, a face unfamiliar to us, someone, clearly a superior officer, is scolding him for ‘the way he acts when he receives an order’.
Why it’s a smart choice? The soldier isn’t obeying and this is bad… but the audience is brought to immediately side with him. We see he’s not feeling well, that he can’t stand on his own, it’s clear that the guy scolding him is asking him too much. Psychologically we’ve already decided his superior officer is the ‘bad guy’ and the anime will continue to work on enforcing this idea (LOL, situation will tie some nice parallels with Ep 1 in which we were helped to figure out immediately that Gordon was the bad guy, actually this episode will parallel Ep 1-2 more often than not, I could almost write an essay about this…).
The camera now pans on the whole soldier’s body, starting from bottom and moving toward the top.
Yes, he’s being supported by another soldier as he can’t stand on his own (don’t you feel sorry for him? Isn’t the one yelling at him a jerk? That’s the hidden message in the whole thing) and it turns out that the one supporting him has a familiar face… though his skin is a lot more tanned so one might not recognize him (evidently he doesn’t usually stay in that cold but was moved there from someplace sunnier) and it doesn’t help that the coat he’s wearing covers most of his head. Anyway guys let’s say hello to young Odagiri.
The scolding voice, which clearly doesn’t belong to Odagiri, goes around talking about how this is for their motherland and that the sick soldier should be content to die for the sake of it, yadda, yadda.
We don’t see the one doing the scolding. He’s just a voice for now, our visual attention is focused on the soldier that’s being sick, on how cruel can sound such words as they’re being said to someone who can’t even stand on his own. Not seeing the speaker is also meaningful because the speaker isn’t just saying his own thoughts. His words are the standard words a superior officer would say to a soldier in such conditions. We don’t really need to see him or to imagine him. Everyone will do, because every superior officer was supposed to say such things.
And here Odagiri speaks up. He seems the voice of reason to us and to our modern mentality but, back then, what he said was probably sounding like heresy. Odagiri complains it seems silly to him to die for what’s just an exercise and that the sick soldier isn’t fit to be a scout.
Sadly, while Odagiri’s words well embrace the modern mentality, back in the past soldiers were an expendable commodity for superior officers. We saw it previously, with Mutō planning to sacrifice Sakuma so as to cover up his mistake and get rid of D Agency. Sakuma was still willing to put up with it and commit Harakiri even if he knew he was being used and, in the novel, he’ll realize his disliking for being used as a pawn isn’t fit for a soldier (the anime will let us believe he’s all right with rejecting the idea… when in the original version he knew it was a thought that wasn’t acceptable for a soldier to have).
So, predictably, Odagiri gets scolded… and, while he’s scolded we hear the officer calling him by his true name. Well, surname. Tobisaki. Which in the novel was merely a name he took for a job. But well, let’s go on. We still don’t see the one doing the scolding, but we see Odagiri’s face shifting when he’s accused of claiming his superior’s orders are ‘foolish’. He figured he made a misstep but it’s too late to take it back.
And we continue with the parallels with Gordon in Ep 1. Remember how they made him look threatening by showing us his yelling mouth with his teeth well visible? Well, guess what? They do the same with Odagiri’s superior’s officer. Close up of his yelling mouth with teeth well visible.
Let’s face it, the visual is telling us this guy is going to bite someone and therefore he’s dangerous and, in short, bad.
You don’t even need to hear what he’s saying. Even if you don’t know Japanese and turns off the subs, it’s clear that this guy, who’s yelling to a sick soldier and to the one supporting the sick soldier, is a jerk.
Also, note the background. Not only the snow is heavily falling and the wind is blowing but the other soldiers are continuing to march. They don’t even dare to turn to watch what’s going on. And the sick soldier is too sick to do anything. The core of the scene is Odagiri. Fundamentally our eyes are focused on him. He’s alone here. The other soldiers are background. The sick soldier is so sick he could as well not be there. And his superior officer isn’t shown.
We’re pushed to focus solely on Odagiri. And now, when the superior officer becomes visible and rips the sick soldier away from Odagiri’s supporting arms, we’re all supposed to react like Odagiri. Get out from the frame, you jerk. We’d like to push him away… like Odagiri does. But this is a luxury Odagiri wasn’t allowed to have.
‘Gyakusei’ [虐政 Oppression] starts being played in the background and the title is rather fitting.
He only pushed away the superior officer and caused him to fall on his ass in the snow… but this is a crime in the Army. We see that now all the soldiers are stopped and staring at him. Even if we’ve no idea how the Army work, this is visually enough to let us figure out that Odagiri has committed something like a capital sin.
Even the superior officer (the credits refers to him as Dai taichō 大隊長 “Commander” but his grades are the ones of a Major…) seems to be shocked… his reaction almost unnatural as Odagiri has merely pushed him, it’s not like he’d tried to kill him… and all this helps to deliver how terrible it is what Odagiri did. Odagiri wasn’t supposed to react at all. Like Sakuma with Mutō, he was merely supposed to bow to his superior’s will.
Also, the fact that the man is finally shown, is a hint he’s actually going to become ‘relevant’ in the story, that we won’t be able to ignore him any longer, in fact, the next that happens is that Odagiri’s superior officer goes into a rage, his face getting red and his expression furious in an almost comical manner. This means he’s going to cause troubles, troubles Odagiri can’t avoid.
Meanwhile poor Odagiri is gazing at him in shock, which is a clear hint he acted out of instinct and not out of will to be disrespectful or to attack the other, the sick soldier lying limp in his arm, a clear hint that Odagiri was right, that poor guy couldn’t take anymore, they would have killed him if they had continued to force him to go on. In short the visual is all for supporting Odagiri’s side… as we hear his superior officer ordering to grab Odagiri because he ‘used violence against a superior officer (he gave him a slight push) and refused to obey (insane and cruel) orders’.
As the officer yells and waves his arm in emphasis, Odagiri evidently grasps the gravity of what he has done as he let his companion go and that one slumps on the ground, either unconscious or unable to support himself, while everyone else is standing still, watching the scene.
There’s to say the anime pulls out beautifully how really, the superior officer’s insistence for the soldier to obey order was asinine, the guy couldn’t move anymore, asking him to keep on going was really asking him to die for a training exercise, and how, despite this, for the Army, Odagiri’s tiny action of disobedience that was meant only to protect a companion and not to really hurt the officer, was so very grave that everyone is standing still around him in shock. The world had stopped around Odagiri because he had slightly pushed a superior officer.
A digression here. Well, two.
First. In this bit we could hear Odagiri talking. I’m not knowledgeable in Japanese but here, his manner of talking and his tone feels different from how he usually talk, he’s more similar to how Sakuma talked with Mutō. In short, he’s sounding like a soldier and therefore he changes his tone.
Second. The superior officer. Admire his design and the manner he moves. He’s ugly, shorter than Odagiri and since he’s wearing a coat this makes him seem even larger. He’s unimpressive and his reaction, which seems a huge overreaction, makes him almost ridicule. He seems a child throwing a tantrum. It’s clear he’s being unreasonable and making a fuss over nothing. This subtly increases the sympathy a viewer is meant to feel for Odagiri a lot. Fundamentally they constructed Odagiri’s superior officer so that we would feel like siding with Odagiri.
And now let’s go on.
The scene changes and the next with see is a construction likely made with wood. It’s not snowing any more but the roof is covered in snow and ice. Either it’s a jail or it just hosts a cell. Anyway, inside the cell, there’s poor Odagiri. They had taken away his coat and he’s wrapped in a cover, trembling, seated on the floor and curled up on himself, his face buried in his knees. He’s just trembling but, since we can’t see his face, we might even been lead to think he’s crying. He’s a miserable thing and I’m sorry for him.
Then, just outside the cell, a familiar cane held by a familiar white gloved hand appears. Yeah, this is Ep 12, and the anime by now know that we can recognize Yūki by his fake distinctive trait.
Yūki asks Odagiri if he’s the one called ‘untrainable’. Because yes, if you take sides with a poor companion against an insane superior officer all of sudden you’re untrainable even if you’ve managed to reach the grade of second lieutenant.
In reply Odagiri raises his head a tiny bit, enough to allow us to see his eye. We can see that no, he wasn’t crying and now he’s frowning hard at Yūki. Even though he has said nothing, it’s clear he doesn’t trust him.
Yūki asks him what he plans to do when he leaves the Army… because I take they’re kicking Odagiri out. Odagiri looks away… and the poor guy seems a little lost… and here I’ve to compliment the guys drawing the scene because we really see little of Odagiri yet they managed to give to that little we see ‘feelings’ it could transmit to us. Also, his cheeks seem a little sunken… did they fed Odagiri while they were holding him prisoner?
Odagiri comments that’s a good question and that he could move to Manchuria and become a roving bandit. From this answer we can guess how lost Odagiri is. Out of the Army he has no place to return if he’s considering to move to Manchuria to become a bandit.
The camera now shows, in reply to Odagiri’s answer, Yūki’s grinning mouth.
Note that we hadn’t seen his full face yet, but who cares, we know it’s him… yet at the same time, the fact his face was hidden to the view, is meant to give us another info. Odagiri doesn’t know this man. Yūki’s ‘lack of face’ is a hint that he’s unknown to Odagiri. Anyway at this Yūki smiles, moves closer and crouches down so as to speak close to Odagiri’s ear.
What Yūki tells him is basically an invitation to try to take his exam (of admission to his spy school).
A time break here. If the incident with the soldier happened in September 1936, there’s to remember D Agency was founded in Autumn 1937 (though its foundation was proposed in 1935). Sakuma joins D Agency in 1938, and watches the guys as they take their entrance exams as well as they trained there. So this should mean some time has gone by the incident and Odagiri’s meeting with Yūki… or Yūki is just preparing his moves knowing they’ll have to allow him to open D Agency. Who knows?
Now… Odagiri clearly had outstanding abilities as he managed to handle Yūki’s training (and the novel says he always graduates first place from his schools… which makes me think Sakuma should be older as they apparently don’t know each other yet Odagiri, being so good, should have been sort of noticeable if he were of his same age). Odagiri is also the one who decides to leave the school, it’s not Yūki that kicks him out. But what I wonder is ‘how did Yūki found him?’ Was he keeping an eye on the untrainable soldiers that were in the Army? To Odagiri in particular because he was pretty good at school? Does this mean that in the Joker Game universe it was Yūki who personally searched for candidates for his school? Did Miyoshi and the other meet Yūki and received the same proposition? Was Yūki searching for a certain type of people in particular? Were they all ‘broken’, rejected by their family, hence they’ve no problems to live completely disconnected by the others?
Anyway, at Yūki’s words, Odagiri looks at Yūki, really looks at him for the first time and we finally see Yūki’s face. Well, not the whole of it but enough of it to say we’re looking at Yūki’s face. Because yes, the visual is telling us now Odagiri is starting to be interested in Yūki and knowing him.
‘Kikan’ [機関 Agency] starts and we gets Odagiri telling us the same shortened version of Sakuma’s explanation of what D Agency is that he gave us in Ep 1. It’s worth to remember this summarized version is the version we hear at the beginning of each episode, each time said by a different spy.
Then this ends and we get…
…the opening. There’s not really anything to mention about it as it’s the same Opening we saw in the past. Odagiri is the third spy that appears in it and he’s walking with his hands in his pockets. Around the end of the opening we also see him removing the headphones he was wearing and that, were apparently, part of a machine to send messages.
Anyway the opening ends and we resume with ‘Joker Game’.
We start… with a scream. What we see (the first floor of a house) is clearly through the lenses of binoculars, a hint we’re watching things from the point of view of someone keeping under surveillance the place. The binoculars focuses on the woman who has just screamed and that was watching something inside an apartment through the open door before running away.
Next we see Odagiri removing the binoculars from his face with a surprised expression. Yes, he was the one keeping the place under surveillance. It’s interesting how the visual shows he was pecking from two curtains, another hint that no, he didn’t just happen to watch out with a binoculars, he was pecking at the house secretly.
The girl who had screamed meanwhile is calling for the police running through the street and under a house. As she passes in front of it, we can see that one is the house in which Odagiri was. Odagiri’s gaze focuses on her. He frowns then returns his attention on the house.
‘Suiri’ [推理 Reasoning] starts being played.
Note how, so far, we’ve seen Odagiri focusing on the girl. We could almost think she was his target when actually it was the guy inside the house. While Odagiri’s actions can seem normal, I’ve the feeling they’re a mistake for a spy as, in order to look at the girl, he’s not focusing on his target’s house.
The scene changes (though the musical background remains the same) and we’re in an apartment. There’s another girl sitting on the floor with an apparently shocked expression and there’s curious peeking from the door, near to which there’s a flower vase with, in it many camomile flowers, the ones Schneider bought.
We can’t see what they’re watching though we can guess something terrible has happened and this is good to keep the suspense but also because we, as viewers, more or less end up on having the same amount of info on the scene that Odagiri is having at the same time in which he’s having it. So, when Odagiri appears on the door as well and pecks inside, finally, we’re also allowed to see what’s happened inside. There’s a dead man lying on the floor and a note on the table. It’s in German but says ‘I’ve lost all hope. I want to die.’
We’re shown again the girl sitting there in shock, a subtle hint we should remember her, that she’s not like the other curious pecking at the door (also note how pretty is the glass behind her… I love Joker Game attention for details like this one)…
…then Odagiri’s surprised face. His voice comments that the target he was watching died, which makes his mission an inexcusable failure. As he thinks so we see again the inside of the room which includes Schneider’s corpse, the girl sitting there and the flower vase.
Note how strict Odagiri is with himself. If the guy committed suicide like the note says, there was little he could do to prevent it. Even if one of the girls had gotten in and… let’s say, then shoot him there would have been little he could have done. Yet he thinks this is an inexcusable failure.
The scene changes again (but we still have the same musical background) and we move back to D Agency. On the screen appears the writing 1939, Spring. Yes, we started this anime series with an episode placed in 1939, spring, and we end it going back to 1939, spring. It’s sort of coming to a full circle. Actually it will be a coming to full circle as we’ll discover at the end of the episode.
And now we’re shown a picture of the corpse, only in the photo he’s not a corpse yet. It’s a not so subtle way to tell us we’re going to talk about him now and yes, Odagiri’s voice starts to talk about the deceased. Also, the picture shows him clearly while he’s doing journalist work. Why this is smart?
Odagiri tells us he was a writer for Berlin Allgemeine. He doesn’t explain what Berline Allgemeine is, but since Schneider is apparently writing on a notepad info from an interview, other journalists around him making questions and taking picture we can easily figure this is not a… let’s say a cooking magazine.
And now we move from the photos (which Odagiri took) to Odagiri himself. It’s a nice visual choice, especially because we see Odagiri when Odagiri says Schneider was suspected of being a (double) spy… like Odagiri is a spy.
Odagiri now tells us what happened on the day in which Schneider died and his day seems normal enough only it’s actually all hints. Schneider brought flowers from a street vendor (and it’ll turn out the street vendor was actually one of Schneider’s spy contacts) and headed for the apartment of Nogami Yuriko, his lover and a theatre performer. And now we know who was the girl who ran away screaming. Odagiri tells us Schneider and Nogami met a year ago THROUGH A FRIEND OF NOGAMI (yes, the one who’ll kill Schneider out of jealousy).
Note that, as Odagiri speak, we see Schneider buying the flowers and Odagiri following him, then the man goes into Nogami’s house and Odagiri spies him from the opposite apartment.
It’s relevant to note how evidently Schneider spent a lot of time at Noriko’s since Odagiri took possession of an apartment in front of it. Well, Schneider isn’t just her boyfriend, he’s the one who even furnished Yuriko’s house so...
Odagiri goes on in his story and explain how Nogami was out that day but came back with her friend, Yasuhara Miyoko, after 3:00 PM as they had arranged to eat cake together. As he says so we see the two women walking closer and then entering in the apartment in a rush under Odagiri’s gaze, which, but maybe it’s just me, seems more focused on following Yuriko than Miyoko.
Let me digress a moment on Yuriko and Miyoko’s look. Note how Yuriko’s skirt is blue and Miyoko’s is red, how Yuriko’s jacket is clear and Miyoko is darker, how Yuriko has dark hair while Miyoko has clear one. They’re set up to be visually opposite. Remember how when discussing Ep 1 I mentioned how people found hard to distinguish the spies and how I commented this was a deliberate visual choice? Here we see how the anime was completely capable to make two relatively similar characters (women, with similar looking clothes) could actually stand out as different. We won’t mistake Yuriko for Miyoko and vice versa.
Next we see Schneider’s face. He looks clearly dead and this visually explains why the girls rushed in the apartment. Odagiri then comments that the police thinks Schneider’s death is a suicide. As Odagiri says so we’re shown the suicide note, which is a subtle way to explain us why would the police think so and then we see again the scene Odagiri should have seen when he went to see the inside of the apartment, Schneider lying on the ground, dead, and Yasuhawa Miyoko sitting on the floor, a subtle reminder she remained in the apartment alone with Schneider and could have altered the place. The vase with the flowers is also visible.
We’re back to D Agency the camera focusing on Odagiri and then moving away from him so as to include Yūki as well (and all the other boys seated at the table) as Yūki asks him if he thinks Schneider could have committed suicide because he figured out Odagiri was spying him and thought he had no chances to escape.
The camera continues to back walk from Odagiri as Odagiri shoots down this possibility, subtly including in the screen the other D Agency members, who’re seated at the same table at which Yūki is seated.
It’s a visual hint they’re going to start to be involved in the action as well. In fact they start with pointing out things. Miyoshi asks Odagiri to explain the suicide note (since Odagiri rejects the idea it’s a suicide) and Jitsui points out (for our benefit) to how the handwriting was Schneider himself. So Kaminaga asks him if Odagiri believed Schneider was killed by someone else and the note was forged. It might seems hard to believe for us (and has someone noticed this would be a closed room mystery?) but Odagiri’s reply helps us to put things into perspective so that Odagiri’s idea doesn’t seem dumb.
Schneider is a double spy, Germany or Russia could go after him. Actually we saw in Ep 6 how Russia killed people who were betraying them... and if we think that’s someone that powerful and possibly well trained, after 11 episodes seeing spies doing amazing things we can accept that yes, someone could have gotten in, killed Schneider and forge the note easily.
Hatano though reminds us of a detail. Odagiri, who’s also an amazing D Agency spy, was surveying the place. If a foreign spy/killer had tried to do all this, well, maybe he could have technically done it but then someone like Odagiri would have had noticed him trying to snuck in (or out).
A couple of words on how the scene is viewed. While the camera is over the D Agency students when they speak, it’s not so below to Odagiri (just barely) we can feel the anime is trying to remark a difference in moral position as it did in EP 1 with Sakuma and the D Agency members. The difference in placement is more because we’re meant to see things from Odagiri’s eyes, a bit like how, when we saw Miyoko and Yuriko, the visual was making sure to let us know that what we were seeing was the same Odagiri was saying through his binoculars.
So let’s go on. Yūki asks how Schneider died. There’s to note that, so far, even if Yūki has spoken, we never clearly saw his face. Even now, his question is made while the camera is showing us Odagiri’s face and, although when Odagiri will reply the camera will look in Yūki’s direction, the camera is high over all of them (Odagiri included) and Yūki is the farthest from it and looking down. We can’t really say we see his face. As for the visual… my feeling is that we get such shoot when Odagiri answers like that (Schneider died of asphyxiation from cyanide poisoning) because that’s a neutral info given by whoever did the autopsy that’s sort of looming over them.
On a sidenote… the big table around which the D Agency students are… is actually formed by four tables put together. I guess in the anime they’re still a bit short on budget so they can’t buy a big one.
And so now we finally see Yūki’s face. It’s his profile and not from Odagiri’s point of view and it’s on an even level. Yūki’s eyes are closed, a hint he’s deep in thinking. At this point Yūki makes the question that, to Yūki, basically answers to how Schneider died. Yūki asks Odagiri if he’s saying that, when Schneider died, he didn’t notice anything.
We’re shown Odagiri’s profile and, from the look on his face, we can see he feels as if this is a scolding. Remember how he felt his mission ended up with a failure?
In truth, Yūki likely isn’t so much interested in scolding him, just in making sure that’s the case. Yūki trained him so it should be technically not possible for Odagiri not to notice anything. If he hadn’t something had distracted him and Yūki knows the only thing that could have distracted him. Sadly, due to the many changes between the novel and the anime this point works on a different level compared to the novel, but it’s still worth something. Yūki, in this precise point, figured out how things went (in the novel he figured out only who was the culprit, but was missing some details, here he has them so he clearly figured out how things went).
Back to the story. After showing us Odagiri looking uncomfortable the anime shows us the other boys… or better only the lower half of their smiling faces. The eyes not only aren’t shown, but there are shadows that implies they’re also kept in the dark. We’re back to Odagiri’s perspective. The other spies are just faceless to him, people who’re making fun of his for his own inability. Though he held his ground during the discussion, the atmosphere is clearly oppressive to him and he feels nervous, inferior. They aren’t his friends, they’re there to judge him and make fun of him.
It’s a bit like how Sakuma saw all the spies smiling when he realized he would have to commit Harakiri because remember? This episode traces quite a bit of parallels with the ‘Joker Game’ episode.
Also something worth mentioning is how the room is filled with smoke. The three ashtrays are filled with cigarette butts, though we see only Miyoshi, Kaminaga and Fukumoto are smoking. Evidently the others had been doing the same previously. The room is as foggy as the kitchen was when Sakuma was playing the Joker Game.
Yet, I don’t think the others are there to really make fun of him and they hadn’t even figured out things like Yūki did as they don’t know about Nishiyama Chizuru and aren’t in Yūki’s league. Actually, later on, we’ll see they aren’t even there to make fun of Odagiri as some of them will try to find elements that can support Odagiri’s theory.
Meanwhile the camera is now high over everyone. We’re practically looking at them from a point high above them all. Enjoy the oppressive and still atmosphere as Odagiri doesn’t know what to say.
The music in the background stop abruptly and, while we see Odagiri’s eyes looking down, Amari starts speaking. He picks up a photo and asks if Schneider was fluent in English. The camera moves on the photo he’s looking, the one of the suicide note and we see that, on its corner, there is a really small sign.
The musical BGM is now ‘Seion’ [静穏 Quiet].
Tazaki wonders, like we could do, if it’s just from testing the pen.
Amari agrees it could be that but we get a close up of that small sign and so we can see that, as Amari will say later, that small sign looks like two X, side by side… which might not tell much to us and, especially to Japanese viewers but Fukumoto comes to everyone’s aid by pointing out that in English double-cross means to betray so it can be that Schneider betrayed someone or was betrayed by someone.
As Fukumoto says Schneider might have been the one who betrayed someone the camera goes on Yūki. Maybe this is a hint that Yūki figured out that Schneider dumped Miyoko in favour of Yuriko and this pushed Miyoko to kill him. Maybe not. The novel and the D no Maou manga can’t help us to figure out things as, in them, the solution to the case is pretty different so do your pick.
Amari asks Yūki what does he think in this regard.
Yūki finally opens his eyes, which is a hint he has finished thinking and has taken a decision and starts issuing orders. They’ll let the matter slide and prioritize taking control of Schneider spy network. He then assigns jobs to all the boys. As soon as he issues an order, the boy mentioned stands up and walk away to fulfil his mission. As the boys leave they pass next to Odagiri. They’re smiling.
To Odagiri, as he stand there, frowning, their smiles likely feels like malicious smiles of someone who wants to make fun of him but I’m not so sure that’s what behind Fukumoto or Amari’s smiles. After all they offered a possibility for Odagiri’s idea that Schneider was killed by someone else to be true, didn’t they?
To be honest though the audio and the visual are a little off as Fukumoto has already left when Yūki made his name… ^_^;; I wonder if this got fixed in the dvd release…
Anyway Odagiri ends up remaining alone with Yūki. The camera is showing him from a side. We can see that now his head is lowered, is gaze is downcast and he’s sweating slightly as he asks Yūki want he wants him to do.
Likely his frowning face was a mask, a way to hide his true feelings from the others. Odagiri is uncomfortable and clearly feels like he failed. He tried to be tough when the others were there but now… we can see he’s not so tough. He even hesitates slightly when speaking to Yūki…
Yūki is also shown by his profile. Him and Odagiri are sort of in opposition, though it’s not like we’re one against the other. It’s just they’re in opposite places, the spymaster and the spy under him who has failed to accomplish his job.
Yūki is shown with his eyes closed. This sort of hint he’s thinking. Since Yūki evidently came to a conclusion on what had happened he’s likely not thinking at the case, but more at what to do with Odagiri, how to shape the order he’ll give to him. We see him opening his eyes and, as the BG music ends, the camera shows us a close up of his face. It’s the sort of scene that tells us Yūki is in control here, that he’s the supreme boss. He tells Odagiri to investigate the woman that was at the scene. Note that he doesn’t make the name of the woman that was at the scene and that actually there were TWO women at the scene. Odagiri is surprised and starts with saying ‘but she…’.
We won’t know what will happen afterward as the scene will switch, but it’s clear that when Odagiri started speaking he had already decided to which one of the two Yūki was referring. Let’s note that Odagiri knew it was Miyoko who introduced Schneider to Yuriko so BOTH women had a connection with him, even if us, viewers, don’t know yet. It’ll turn out though, that Odagiri immediately assumed Yūki was talking about Yuriko.
While this could be due to the many changes between novel and anime, let’s pretend it’s planned. Overall this would mean that Odagiri instinctively defended Yuriko. Yūki’s sentence was meant to be ambiguous on purpose. Yūki figured the culprit is Miyoko but Odagiri is so focused on Yuriko he only worries about her. It would be a nice psychological touch. But well, as I said, the scene switched before Odagiri had the chance to end his ‘but she…’ sentence, so let’s see what happens afterward.
‘Tōryaku’ [韜略 River] starts being played.
Night or very late in the evening. While the camera shows us the Shinjuku Akakaze theatre, we can hear Odagiri’s thoughts and they tell us that Yuriko has an airtight alibi. It’s now that us, viewers, learn he was thinking about Yuriko. It doesn’t come as a big surprise to us as, while it was possible to assume that Miyoko was the friend that introduced Yuriko to Schneider, at the moment we’ve no idea about this so Miyoko feels unconnected to the case… even if actually, if we are to accept that Schneider was killed by a killer or another spy, we should suspect of her all the same.
Anyway, Yuriko was busy with a dress rehearsal when Schneider supposedly died and was never off stage for more than five minutes. As we hear this we see that Yuriko is at the theatre, acting. The BGM is the one of the theatrical piece, a violin playing a sad melody.
Her role is fundamentally a sad one. She’s a flower girl, the man she loves buy flowers from her to hand them off to another girl. He tells this other girl that, although he has to leave and might not come back, he’d like for her to wait for him and the girl, which is impersonated by Miyoko, says she will.
As they embrace Yuriko tells that she loved that man so much she is okay with him to be happy with the other girl and that she is willing to disappear from his life even if her life will be one of darkness and solitude as this will be a proof she lived. She says so smiling.
The story of the theatrical piece might seem irrelevant right now, just a sappy love story, same as Yuriko delivering her lines with a smile. We’ll learn of its importance later on.
Anyway the play ends and the scene switches.
We’re in what is a dressing room, which is filled with flowers of various types (this episode definitely has a flowers theme), and everyone in it is focused on Miyoko, praising her.
Miyoko thanks for the praises but claims Yuriko was the real star in spite of what happened. The visual shows us that Miyoko turns on a place that was likely Yuriko’s spot, only it’s empty and there are only the clothes Yuriko wore during the representation, a sign Yuriko has already left.
While one might assume from this that Yuriko has gotten over Schneider’s death, as Miyoko speak we see that Yuriko is actually standing in front of the signboard of the play with a sad expression on her face and a troupe member, who’s likely talking with Miyoko, wonders if Yuriko is all right.
‘Yōkō’ [陽光 Sunshine]starts being played, though at the beginning one might think this title isn’t really fitting…
The visual shows Yuriko’s sad face reflected on the signboard and, on the corner of the signboard that’s visible the tiny draw that represent the character Yuriko acts in the play. The connection between the two starts to get more obvious. Now that Yuriko has lost Schneider (even if not to another woman) now a life of darkness and solitude awaits her as well.
She leaves, her head lowered, and we can see Odagiri looking at her from behind a corner. Hum… okay, they might exchange him for a fanboy so it could still not be overly relevant but really, it’s quite obvious how Odagiri was staring at her here. That’s not good for a spy, Odagiri…
Odagiri’s expression is sad, as if he was sharing Yuriko’s pain.
The scene switches to show us a flower field and two figures walking through it, a woman and a child, holding each other hand.
We can’t see the woman’s face, a hint that so far she’s a stranger to us…
…but the child smiles adorably at the woman and then the two walk away. It’s here that the BGM title seems fitting. Also, the whole scene is honestly beautiful, one of the best of the episode.
As the two figures are about to disappear, a voice says ‘excuse me, sir’.
We comes back to the present to see that Odagiri is startled. The voice was speaking to him and now it’s clear what we saw before was his memory and he was the cute child. That person asks Odagiri if is anything the matter. Really, Odagiri isn’t acting at the best of his abilities as he let himself be caught on staring at Yuriko by someone who was behind him and that he didn’t even realize coming closer.
This is a HUGE hint that Odagiri might have missed clues on what happened to Schneider because too focused on Yuriko to take notice of everything else.
Anyway the person speaking to him is someone who works at the theatre and he’s carrying flowers that admirers sent to Yasuhara Miyoko. Actually, apparently all the flowers placed there (there are a lot and of many types) are for Miyoko so Odagiri hurries to assure he’s all right and quickly switches the topic claiming, while starting at them, smiling, that Yasuhara-san is quite popular.
The guy thanks him and claims that Miyoko got better and better until she became their marquee actress. Odagiri asks him if the flowers he’s carrying are for Miyoko too and bends down to sniff at them, claiming they’ve a calming scent.
The man confirms, stating they’re Miyoko’s favourite flower. He then adds that the flowers, after a while, are handed off to a nearby florist.
Note that Odagiri sniffed the camomile but those weren’t the only flowers the man was holding, there were also roses and other types of flowers… all for Miyoko.
All this discussion seems pointless and just Odagiri’s way to distract the other from how he was staring at Miyoko… but it’s actually all something we’ve to keep in mind as it’ll turn useful later on.
Odagiri leaves the Shinjuku Akakaze theatre while ‘Seion’ [静穏 Quiet] starts again being played in the background and we see him walking through the streets. When he stops to a crossroad someone that was seated there starts on speaking to him before walking away. It’s Hatano that reports him on his finding in regard to the suicide note, which he investigated as Yūki asked him. He’ll cross other D Agency members, who all will make their report to him in a similar manner (speaking as they cross him then walking away). We see that Odagiri grows uncomfortable at this.
In the end, when Miyoshi reports that nothing unusual is going on at the German and Soviet embassies but someone new might have taken over Schneider’s spy network, Odagiri snaps.
The BGM pauses as Odagiri grabs Miyoshi’s shoulder and forces him to turn, angrily asking him why he’s reporting to him.
It’s like he’s feeling mocked by their actions. Miyoshi is clearly surprised by his action, a hint that this was not the case and that he doesn’t even get why Odagiri is asking him that.
Then, he frowns and angrily pushes away Odagiri’s hand…
…informs/reminds him that this is HIS case…
…surprising Odagiri as he evidently hadn’t realized this is (still) his case.
As ‘Seion’ [静穏 Quiet] resumes on being played Miyoshi walks away, leaving a surprised Odagiri standing there thinking ‘my… case?’.
It’s either morning or afternoon and ‘Yōkō’ [陽光 Sunshine] is playing in the background. The florist is taking away the flowers from the theatre. Let’s give this guy’s back a good look. Isn’t he dressed in the same way as the florist from which Schneider bought flowers in Odagiri’s memories?
Anyway, attentive viewers might have noticed there was a car parked at a short distance, half hidden by a building, and that the car started moving when the florist left, a hint that the car was going to tail the florist.
Although we’re back on evening/night and to the Shinjuku Akikaze Theatre ‘Yōkō’ [陽光 Sunshine] continues being played.
We move to the dressing room and to Yoriko, already in her acting clothes, staring sadly at a photo of Schneider and herself together before being told she should get ready to go on.
We’re again in the theatre and they’re again playing the same scene we saw previously. At first it can seem an annoyance to see the same scene being replayed but then, as Yoriko is making her monologue, she stops talking, her mouth open and trembling as if she were finding hard to say what she had to say.
The visual shows us that the viewers are surprised and that Miyoko slightly opens her eyes. It’s a hint that something is wrong, that things aren’t going as planned. We see that a tear trails down on Yoriko’s cheeks and then she falls on her knees, weeping. She manages to finally say her line but we know that previously she saw them smiling so we know that her tears aren’t an act. She spontaneously couldn’t help but start crying.
The viewers don’t realize it as her tears too can fit the mood of the scene and start clapping.
A door open and someone is leaving the stall. It’s Odagiri, who’s walking alone toward the exit. He pauses as Miyoshi’s voice comments that Yuriko wasn’t the murderer in Schneider’s case.
We see that Miyoshi was behind him, leaning on a wall. It’s hard to say if Odagiri deliberately pretended not to notice his presence of if Miyoshi managed to surprise him because Odagiri was still distracted by Yuriko.
Anyway Odagiri agrees with Miyoshi claiming no actor could fake such tears. Then he turns to Miyoshi and demands to hear his report on what he found about Schneider’s accomplices. Odagiri is calm and in control here, quite a difference from his last meeting with Miyoshi.
Smiling Miyoshi tells him it was exactly as Odagiri thought.
Evidently he isn’t angry that Odagiri was right in his theory making even though when Odagiri reported to D Agency he questioned his suggestion and, later, he got angry when Odagiri asked him why Miyoshi was reporting to him.
But let’s go back to the story. As ‘ Yogiri’ [夜霧 Night fog] starts playing, Miyoshi explains he tailed the florist… so he was the one on the car which moved after he left the theatre. The guy stopped at what looked like a florist shop but was actually a secret post for Soviet spies to exchange intelligence. Miyoshi says they communicated in code using a specific flower. A flashback shows us it’s the flower Schneider bought before dying, the chamomile.
The flashback also confirm that the florist who took away the flowers from the theatre was the same that sold the flowers to Schneider.
Miyoshi goes on claiming two spies made contact with Schneider, one was the florist, the other was…
Odagiri ends the sentence for him, claiming it was Nogami Yuriko’s friend, Miyoko.
Miyoshi asks him what tipped him off and Odagiri turns away from him as he claims it was simple. He just connected the scent of flowers that was in Nogami’s apartment just after the murder with the one of the flowers delivered to Yasuhara Miyoko.
Now… allow me a little digression here. This connection is… a little cringe worthy. I mean… Miyoko had a lot of flowers delivered to her, not just chamomile. Chamomile was only the one Odagiri happened to sniff and her fave flower but she’s receiving so many different flowers that at this point the connection becomes a little too loose. Whatever flower could ‘draw a connection’, not specifically chamomile. At this point Odagiri could have said she was the only one connected to flowers… only not really because the guy at the theatre was connected to flowers too as he moved around Miyoko’s flowers.
There’s to say thought that, due to the many changes done by the anime, this part is a complete original scene (in the novel the culprit is Yuriko and there’s not flower connection or Russian spies involvement in Schneider’s death) so it’s possible that the problem is simply that the anime authors weren’t as good as Yanagi Koji at mystery writing and ended up making a choice that doesn’t work as well as his own. Who knows.
Odagiri goes on claiming that Schneider planned to become a triple spy, and hand info to the British so the Soviets decided to assassinate him making it look like a suicide. Odagiri is smiling as he says so, evidently liking this solution.
Odagiri explains that in order to make it looks like a suicide they needed Miyoko to be on the crime scene and have some time alone there. This bit too is a bit shaky.
According to Odagiri’s theory, after seeing Schneider dead Yuriko rushed off in panic to the police station… but this wasn’t something Miyoko could actually anticipate. Yuriko could have been so shocked she wouldn’t be able to walk away, falling sit like Miyoko pretended to do. Or, as the novel remarked, could have decided to use the phone to call the police a phone that is well visible in the anime and couldn’t be removed because it needed to play a part in the anime plot as well.
Anyway, according to Odagiri, Miyoko used her time alone to place the suicide note on the table and added the double cross as a message to the English-speaking side (as if to say that Schneider was killed for attempting to betray the Soviets for England).
Miyoshi, still smiling, asks how she got the note as she surely couldn’t have him write it.
While all this is for our benefit, so as to explain things to us and let us see Miyoshi as he was killed off in the previous episode and we were all mourning him, it feels a bit weird Miyoshi hadn’t figured out. We’ve otherwise to assume he figured out but, for his own reasons, Miyoshi wanted Odagiri to voice it out. Note also how they’re talking in a public place and, since the play has just finished, people should actually get out now… unless a lot of time has passed and Odagiri was the last to leave after everyone has left? Still, people working in the theatre could and should be around. They could be overheard easily. In short although I’m happy this extra scene let me see Miyoshi again… well, it’s not really well planned.
Back to the plot. Odagiri claims it was a hint for the next code they would use… which again is shaky as writing down such code would be risky for Schneider… and, as a spy, he should be capable to remember it without writing it down. Really, for this to work we’ve to assume Schneider sucks as a spy.
Anyway the logic is that Miyoko knew Schneider would be in that apartment (let’s assume they agreed to this previously), called him and told him that what was written on the note is what she would tell him at their next meeting… and that Schneider felt compelled to write it down. Then, Schneider would decide he’ll have a glass of wine… which we’ve to assume Miyoko or someone else managed to poison… and here too the logic is shaky again because Miyoko couldn’t be sure Schneider would drink wine after talking with her at the phone, unless it was a habit of his but we’re never told about this.
Anyway the explanation ends here.
We’re back on D Agency.
We see Odagiri’s profile as he’s standing in Yūki’s office, likely staring at Yūki as the man says he was informed Yasuhara Miyoko confessed murdering Schneider and that the police thanks them, which is quite a rare occurrence. Odagiri seems… just there, as if his thoughts are actually distant. He doesn’t look firm or determinate. He’s… maybe sort of sad, tired, an inner sort of tired, lost in his own thoughts. It’s like he’s looking at Yūki but not really seeing him.
Yūki then asks if Nogami Yuriko resembles Nishiyama Chizuru.
As Yūki says so, we’ve a close up of Odagiri’s eyes. His gaze, that seemed unfocused and emotionless, changes abruptly as his eyes widens in surprise…
…and then he lowers them sadly as ‘Hifū’ [悲風 Sorrowful wind] starts being played in the background.
Odagiri remembers that, when ordered to monitor Schneider and Odagiri first laid his eyes on Yuriko he couldn’t believe how much she resembled Chizuru. As he thinks so we see a flashback. Odagiri is outside a house, peeking in it from behind a tree through the window. Odagiri must have good eyesight as he doesn’t seem close enough to see the people inside well.
Anyway, Odagiri sees Yuriko seated on a couch and Schneider coming close to her and kissing her. At this Odagiri’s eyes widen. It’s actually the surprise because that woman reminds him of Chizuru but, since he notices this only when Schneider kisses her it feels as if he was affected by the kiss.
Another flashback starts, one with little Odagiri who’s busy drawing or writing something. As we see him doing so we hear Odagiri admitting he never knew his parents’ faces, that he was left with his paternal grandparents but they were so old they couldn’t be expected to care for a child. As he says so we see the grandparents, who’re actually glaring at little Odagiri.
They don’t look like grandparents who would have a hard time looking after a quiet child like Odagiri seemed to be but as grandparents who do not want that child around… which is exactly how they were in the novel. I wonder if their expression is due to some change in the original script for the anime scene.
Odagiri claims due to this it fell on the young daughter of a nearby family to raise him. That girl was Nishiyama Chizuru, the girl we saw walking with him in the previous flashback. She calls little Odagiri ‘Hiro-chan’ and, as soon as little Odagiri sees her, his face lights up. Her face is finally shown and we see she has a striking resemblance to Yoriko.
For Odagiri she was the only one person in the world who accepted him… which hints that the rift between him and his grandparents was a little bigger than them just finding hard to raise a child.
As we go back to the previous flashback of Chizuru and Odagiri walking together, Yūki comments that Chizuru practically raised Odagiri, then eloped with a man who abandoned her and she never returned to her hometown but died of tuberculosis.
Yūki goes on and says that when Schneider died Odagiri said he didn’t notice anything wrong. At this Odagiri raises his head and looks outside the window, to the sky. His expression is… I don’t know, a little dead on the inside, as if he’s longing for something he can’t have, as if he were a trapped man.
Yūki goes on claiming the only thing that could distract a man trained by D Agency is Chizuru’s ghost so it was a simple deduction.
Odagiri agrees as he claims that he was so focused on Yuriko he didn’t notice the other woman in the equation, Miyoko. We go back to the flashback in which Yuriko and Schneider kiss. The camera moves away from them and we see, among the many people there, there’s also Miyoko, frowning angrily at them.
Yūki then asks Odagiri if he won’t reconsider. The camera shows us Odagiri’s resignation from D Agency.
Yūki’s sentence in a way it implies Yūki knows Odagiri won’t reconsider but still he’s offering him the possibility to change his mind. Odagiri merely nods to confirm his decision. At this Yūki asks him if he knows why they don’t accept women and explains that’s because women kills when it’s not necessary.
This too is shaky in this setting (and misogynist as hell as there’s plenty of men who kill for reasons similar to Miyoko or worse and therefore unnecessary… Wind Agency anyone? Oikawa anyone? Yoshino anyone? SMERSH killer anyone? but well, that was a misogynist time…) as Schneider’s death was decided by the Soviets. It might work if Miyoko wasn’t a spy previously and decided to become one only to kill Schneider, like Synthia Grane did (she became a spy… or better an assassin, to kill the man who caused her husband’s death even if this meant betraying her country and risking of losing her child)… but we’re actually told Miyoko WAS a spy working for the Soviets, which decided on Schneider’s death so it’s not like she killed unnecessarily… she obeyed to an order, like Gamo would have done in Ep 9 when he tried to kill Jitsui. The fact that she also found pleasure in that order because Schneider dumped her for her friend is secondary. She would have to kill him just the same.
This sentence would have worked better in the novel (no idea if it’s in it) where Yoriko is the murderer and she killed Schneider because he betrayed her with her friend when she had no problems accepting his other lovers. In that case it was no order that moved her, nor job, just personal feelings.
Odagiri reasons that being completely unencumbered requires not believing in anything else in the world and abandon trivial things like love and hate, betraying what’s in your hearts that supports you and casting it aside and this is something he can’t do as no matter how hard he tries, he can’t rid himself of Chizuru’s memory… or better, if he were to abandon it, he would no longer be sure of his reason for living.
He remembers the other D Agency students and Yūki as they were seated on the table discussing Schneider’s case and admits that in the end he couldn’t become a ‘monster’ like them.
‘ Yōkō’ [陽光 Sunshine] starts playing again and we see that the signboard at the Shinjuku Akakaze theatre is being covered with a writing that says they’ll reopen soon with a new cast. The guy doing this is the same that was carrying Miyoko’s flowers around. Odagiri appears behind him, holding a suitcase in his hand and asks him if Yuriko will not perform any longer.
The guy recognizes Odagiri and then inform him Yuriko quit because after losing her boyfriend and having her friend arrested… well it was a little too much to bear. Odagiri is surprised then lowers his head sadly as he says he understands but then the guys goes on, surprising him when he says they won’t see Yuriko perform again in Japan. Odagiri can’t help but ask where is she going with quite a bit of interest. Turns out Yuriko is going to Manchuria, which surprises Odagiri greatly.
Flashback back to when Odagiri was in Yūki’s office. Yūki tosses an envelope on the table (Yūki’s table too is scratched, I’ve to admit I love those little details in Joker Game)
…and claims that’s Odagiri’s dismissal. Odagiri bows slightly (nowhere as deep as Sakuma did as that’s not a ‘saluting’ bow) and Yūki tells him he’s assigned to be a First Lieutenant (he got promoted as previously he was a Second Lieutenant) in Kwantung, Manchuria. Yes, the same place in which Yuriko went. In short it’s not like Odagiri is free to go now, he still belong to the Army, just not anymore to D Agency… but apparently Yūki at least had him assigned to where Yuriko went.
Odagiri takes the letter and moves to walk away, and maybe it’s just me but now he’s walking like a soldier.
Yūki calls him ‘First Lieutenant Tobisaki Hiroyuki’ making him stop and turn in surprise…
…then Yūki basically orders him ‘Don’t die.’ The scene loses a bit of its importance as while it’s copied from the novel, in the novel Odagiri was assigned to the first line because the Army deliberately used this method to kill off the ones that left D Agency as they knew too much… so Yūki saying so was much more meaningful since Odagiri in the novel faced a concrete risk to die… while here he’s not put in such a dangerous situation… at least at the moment (fights in Manchuria will start in May and this episode is placed in April), so it seems he’s just reminding him part of D Agency’s motto.
Odagiri turns to him, stands at attention and then bows in what is the Japanese military salute, a sign he still took Yūki’s words like an order.
Yūki asks him if he’s stupid and then asks him who bows while wearing a suit. I take it as a hint he still views Odagiri as one of his men, of his spies, even if he’ll be assigned somewhere else.
Of course, for us viewers, the story of Joker Game came to a full circle. Those words were the first that Yūki said in Ep 1 to Sakuma, who just came to D Agency from the Army, and now they become the last Yūki will say to Odagiri, who’s just leaving D Agency for the Army. They’re an anime addition but they make sense in the anime contest as give it a good sense of closure.
And with this scene ends ‘Joker Game’ Ep 12 and the whole ‘Joker Game’ anime series… which I truly hope will be continued anytime soon.
Ending theme.
Overall, while Odagiri’s episode is a good episode… well, I think the changes to the plot didn’t really help the mystery story in it. I still enjoyed the many parallels with Ep 1-2 and the whole idea of coming to a full circle but maybe this episode too would have worked better if they had turned it into a two parts story. But well, I guess it couldn’t be helped. What I seriously mourn in this episode is the absence of Sakuma. This episode takes place short after his own… and in his own it wasn’t said that Sakuma would be assigned elsewhere, so it feels weird to have him completely cut out. Sure, Sakuma wasn’t in this episode in the novel, but with the many changes the plot of the novel underwent adding Sakuma in the background, maybe just standing there during the boys’ reunion or being the one who hands to Yūki the letter that says where Odagiri would be reassigned… or just being there in the study, wouldn’t have changed things drastically. Instead the anime merely had Sakuma go just ‘POF’ and didn’t even include him in the OAV, even if his voice actor is willing to work in Joker Game some more (in the OAV he dubs the cat, Yoru) and Sakuma is sort of an iconic figure in the series as he gets included in all the drama cds (excluding the first as that one focuses on Hatano only) differently from Gamo who’s not part of the drama cd.
So… well, I’m sad he just disappeared without an explanation.
On the opposite side, I’ve to say the anime was a lot nicer with Odagiri than the novel so at least I’m glad for him.
I’m also glad they give Miyoshi a role as our poor Miyoshi didn’t really get to do much in what was supposed to be his episode… and well, it sort of helped us to mourn him, showing his still alive. Sure, we know that this episode is chronologically placed prior to his death but well… it’s still nice to think that ‘Joker Game’ ended with Miyoshi still alive.
And this was Joker Game Ep 12. Thank you to everyone who was brave and patient enough to sit through my long, long ramblings for the whole episode. I hope other people will feel like sharing what they had observed while watching it!
24 notes
·
View notes