「夢喰いメリー」 (Yumekui Merī)
“Why do you care? Why do you want to help me? Why am I so important to you?” Why oh why indeed. I know, how about, “because if I don’t, there would be no story!” This works also, “because you’re a girl!” Or “because my powers happen to help your goal, so why can’t you just understand and stop being so effin’ tsundere?” Yeah. That works.
I wonder how much of a coincidence it is that Yamauchi Shigeyasu picked a show that had a plot structure eerily similar to Casshern Sins. Both shows follow an episodic structure, with each additional conflict pushing character development until the characters are ripe for the final arc. There’s no problem with this, but there is a problem with the impact of things. This episode tried to go for that, “fell in love with the monster” twist, showing the “our side of the story” for the Dream Demons, which typically comes a bit later. Too bad none of it really worked.
Do I care about the president who was just introduced now? No, and I don’t care for her love either. I first thought it was a problem with time, but twenty minutes is a universe of time to tell a story, even a deep and thought provoking one. Go see Pale Cocoon for proof. Now Chris, he’s much more interesting. He’s more ambiguous in his intentions than the previous demons, and he poses the thought, what is Merry actually doing when slapping the demons into oblivion? And why does she even possess such a power to do so for that matter? Does she really send them back, or is she just unknowingly destroying their existence? The morbid reality seems more fitting for the show.
So Rayman-kun got owned, got slapped while he was getting owned, and ended up with a smile. But that’s okay! President is happy still. What kind of shallow cliche “moral of the story” was that? The whole deal was just so.. simple. It felt more like the last ten minutes of a two episode arc. The emotions just didn’t work for me, and I believe it’s far more likely of a poor execution (or writing) than me not being easily “moved.”
There’s also Isana talking to that transfer student, who didn’t reveal anything except that, “you shouldn’t get to know me because I’m not worth your time.” And that she can disappear at train stations. Great, another one of those (she’s a filler character too). I dove into this series hoping for something pretty complex, but when you really take a look at it, it’s all just pseudo deep. Preaching about dreams and hopes, love, and the human condition? Why don’t you show me some scenes where I actually feel these values shine through the characters, rather than feeling like you plagiarized it out of a general psychology book, and then we’ll talk. The slow pacing doesn’t help either. Try harder next week Merry, because even your new-found maid fuku couldn’t save you today.