「小さい子のあのバイタリティは何処からくるの？ 時代や年代を問わず、魔法少女って人気あるよね。」 (Chiisana Ko no Ano Baitariti wa Dokokara Kuru no? Jidai ya Nendai o Towazu, Mahou Shoujo tte Ninki Aru yo ne.)
“Where Do the Little Ones Get So Much Vitality? Regardless of the Generation, Magical Girls Are Popular, Huh?”
If you’re a fan of Manami, this is the episode for you. We see the multiple facets of her daily life as she balances her leadership position in the student council and giving her little sisters enough affection while her dad is out. I appreciate how much attention they are giving towards Manami’s motivations as we see what her daily life with her sisters is like, and we understand why Manami tries to do everything in her power to see them more. Her resistance against some of the overbearing members of the student council gave us better insight on how her grandfather’s passing molded how she wanted to dedicate as much time as she can to her family.
At the same time, there is also a heavy contrast in Manami’s definition of affection, and how Himeno and Mitsuyo express their feelings towards those around them. The first section gives us insight on Himeno’s bond with her little cousin Shino, and the defensiveness Shino has over her big cousin as far as who can kiss her. As the day passes, Himeno is able to realize how important it is for her to care for Shino, and live up to the image Shino has of her as a loving cousin who gives her TLC. Manami, however, is somewhat troubled by how her sisters are very direct about how they want to show their love with kisses.
In the process, we see that Manami went to the Hitomi Shizuki Academy of Romance, and tries to tell her sisters that girls can’t kiss girls. Enter Mitsuyo Akechi, who brought her girlfriend to scoff at the notion. As comical as Mitsuyo is, she’s actually provides the sisters with a mature explanation of the differences between kissing someone you like and kissing someone you love deeply, and why the latter should only be saved for that special someone in the future.
Although a bulk of the episode is on the meaning of familial love, it also gives us some background on what beliefs and media the public lives on. The scene above shows that oddly enough, such a society that aggressively pushes for racial tolerance can still look at same-sex affection with guarded concern. Whereas Mitsuyo and Inukai haven’t been seen receiving any hatred just yet for their lesbian relationship, Manami can openly consider Mitsuyo to be perverse for showing her little sisters that girls can kiss other girls.
Additionally, so much of the media consumed in the universe has a strange emphasis on democracy. Himeno tells Shino a story early on about how the world’s shift to democracy joined the story’s characters together. The first scene of the second half also has Manami’s sisters watching a sentai show that espouses the noble power that democracy can have against the monster-of-the-week. The omnipresence of government influence on what the general populace consumes is taken to it’s highest extreme, especially given that the government of this universe operates under the idea that they’re always checking up on whether you’re truly on your best behavior. It shows that even when there are absolutely no secret agents or heavily armed security officers, Centaur no Nayami can still make the characters feel like they are under the thumb of the rhetoric that allows the state to consider their oppressive rule as part of a public-sanctioned democracy.