「勘弁しろし BASARA BOY KAMU」 (Kanben Shiroshi BASARA BOY KAMUI)
“Give Me a Break – Basara Boy Kamui”
What Yuto is to Rokuro, Kamui is to Benio.
The first part of this episode is an interesting object lesson. While the cooking stuff ultimately led to an emotionally resonant moment (or at least attempted to be one, YMMV on these things), the gags that led up to it felt overly long while I was watching them. Those parts felt like two minutes worth of gags stretched into five minutes. Which is rough, right? The studio clearly felt this was buildup that needed to happen to make the end work, and they probably knew they had more airtime than they needed (hence the overly long pre-OP summary once again), but it didn’t work particularly well in the moment. And three minutes is too short to pull in content from elsewhere.
I’m not sure I have a particular point here. You might even have enjoyed the cooking gags enough to have no complaints. It does show the difficulty of balancing buildup for future payoffs with enjoyment value in the now, especially when your runtime is constrained by factors other than the needs of the narrative. I can sympathize.
Ever since Yuto arrived on the scene, it’s felt like Benio’s been taking a backseat to Rokuro. Not so much that it feels like a blunder, much less sexist or anything like that (sexism exists, but I damn well ain’t gonna ding Sousei no Onmyouji for it when there are harem shows to take to task—and I enjoy those anyway, ’cause I’m a ridiculous human being, so yeah), but there has been a lack of impetus on the Benio front. She’s wanted to get stronger for less concrete reasons, without as clear of a goal as Rokuro, and everyone’s always talking about how Rokuro is so special. Now, at least, that problem is partially solved. And it didn’t even take long, so good on Sousei no Onmyouji.
Kamui (Ono Yuuki) is to Benio what Yuto is to Rokuro. A sentient, talking kegare gives me hope for kegare as enemies, but more importantly the murderer of Benio’s parents is sure to push her buttons. Obviously. Plus, bonus points for Kamui throwing out a “But for me, it was Tuesday” moment (trope!). I highly suggest watching that movie, by the way. Most of it is drivel, but Raúl Juliá chewing the scenery (trope!) is bloody magnificent. But I digress.
Even beyond a new promising antagonist, what I most appreciated was the theme of family. Benio lost hers, and is consumed by a need to avenge them, which is sure to work out well for her *sarcasm*. Yet that loss is real. Then appears Rokuro, saving her in the nick of time and talking about their promise to eat together, and Benio is stunned. It occurs to me that, for the orphaned Benio and the orphan Rokuro, the desire for family is a driving factor in both of their lives. They have family-like relationships (Ryougo, Kinako, that old woman), but a true family? No. They might end up deciding to make one for themselves.
tl;dr: @StiltsOutLoud – Benio’s arch nemesis appears, and nearly kills her. Luckily Rokuro saves the day, and preserves their fledgling family #sousei 12
- I’ve actually made oyakodon a couple of times. It’s really good. Highly suggested!
- Ten bucks says they live because of a deus ex perverted underpants guy. That scene was flagrant foreshadowing if I’ve ever seen it.
- FYI: next episode will almost certainly be the last episode of Sousei no Onmyouji that I blog, even if it continues after that. Or that’s what I was originally going to say, but I read in a few places that there might not be an episode next week, in which case this might be the last one. We’ll see what happens/how I feel.
My first novel, Wage Slave Rebellion, is available now. (More info—now in paperback!) Sign up for my email list for a FREE sequel novella. Over at stephenwgee.com, the last four posts: I love sales jobs, Good realism is character realism, Dying idols, and Frictionless routines.
Full-length images: 32.