Course 7: Goodbye Yamada
What They Say:
A runaway’s tale, a group exorcism, a woman who seldom speaks, unwitting adulthood, House Restaurant of the Waiting Family, and a return home (without milk).
The Review:
Content: (please note that the content portion of this review contains spoilers)
It’s been three days since Souma saved Yamada from her brother’s outstretched, homeward-beckoning hand. Since then, the Takanashi household has adopted Yamada as their pet (for surveillance purposes at her brother’s request), but her presence has been wearing on certain family members. The trouble is that Yamada, in what seems an earnest confession, spells out her reason for running away and not wanting to go back. Worse yet, it’s a story that’s easy to empathize with … prior to the reveal of the comedic final straw (which is pretty great in its own right) anyway. After Takanashi retells Yamada’s story to the Wagnaria crew, their ambivalent reactions parallel those of the Takanashi family. The defining difference is that the Wagnaria crew collectively decides to “inconspicuously make her want to go back home” and takes passive-aggressive actions towards that end.
These actions interconnect in a way that almost brings to mind that first shot of this season: the extended single-take walk-around/cast introduction within Wagnaria. Similarly, the execution in this episode does not get a 100% perfect follow through, but the moments where you realize you were looking through the eyes of another character or listening through another character’s ears are pretty great. Such transitions occur by way of zooming out on scenes otherwise framed to focus viewers’ attentions on one set of characters in order to expose other characters waiting nearby that then carry the scene to a different area or punctuate the exchange with a joke. (If nothing else, these interconnected events are a blast for throw-away gags regarding Todoroki’s Manager complex and the freshly coined “Yamadash.”) The final hand-off serves to transition between plot points: Taneshima thinking about Aoi while encountering Kirio and then learning about their mother.
On a character design note (having met Shingo Adachi at Otakon several years back and made him gasp at my love for Manager), it’s not surprising that I really love how haggard Yamada’s mother looks; how it’s leveraged ambiguity lends to impression and empathy is even more alluring however. That simple facial lines and body posture could relay a genuine tired-from-stress-and-worry state is a feat, but having that same slouch and scowl mean two different things to as many different characters is a wonderful asset to a series so hell-bent on comedic contrast. Cool and warm color palates compound the dramatic effect; the differences of color and lighting in select shots depicted during the accounts of Yamada Aoi and Yamada Kirio regarding their mother’s reaction to Aoi’ entrance exam results are stunningly effective in relaying tone tied to character perception.
This same technique is used, but for contrasting comedic effect, in the match cuts when Aoi first reveals her story to the Takanashis. When Aoi starts reflecting on the more tender parts of the story, the scene transitions to blue and white. When that flashback ends, the series returns to its normal palate. But when Yamada delves back in for another serving of self-pity (and her shallow reason for leaving), the flashback takes place in the usual color palate as introduced by a very happy Yamada. This subliminal manipulation of audience is the understated brilliance that is Working!!
Given the underpinnings, it’s no surprise that the end to this episode was as affective as it is; the resolution of Yamada’s living situation would seem effortless if it weren’t for the great lengths the episode goes to make you feel Yamada’s inner struggle. Such efforts include an intimate brother-sister moment with Souma and a father-daughter heart-to-heart with Otoo. Via these interactions, the show cements Aoi’s adopted family as her perceived real one and thereby creates a legitimate tension for her decision regarding whether or not to give her actual family a second chance. This is furthered by a fourth wall aspect in which we, as viewers, are associating all the humor of Wagnaria with Aoi as a part of it. What if that were to stop? Would our laughter end so much like Aoi’s good times at the restaurant? It’s all written into the psychology of the series and played upon to enhance sympathy. Otherwise, how could the almost tear-jerking arm linkage of the ending of this episode be explained?
The audience has been waiting so long for connections, and this episode delivers them in spades! First there’s Yamada actually dealing with her blood brother. Then there’s the seeming confirmation of the virtual adoption by Yamada’s desired family (the crew of Wagnaria). Then there’s the confrontation between Yamada and her mother. (Was I the only one chanting “Bus!” when Yamada runs, crying, across the street?) Then, playing off the sight gag induced by Kirio in Episode 2(?), Aoi finds (or rather runs into) a housewife in the bushes. Not only is she key in helping Yamada stumble into discovering how much she’s grown, but the housewife also agrees to come back with her to lend moral support in heling Aoi face her mother to apologize.
Not every circumstance in this episode is perfect however. Aoi’s mother tracks Aoi down to apologize (only to be interrupted mid-apology by Aoi apologizing), negating the need for Aoi to bring the housewife. Still, she does. Regarding execution, this is a bit of a stumble. There’s no need for Aoi to take the housewife along after all. This makes the reunion between Otoo and his lost beloved, which should be an emotional moment (and still is for us saps), a contrivance. The anime knows it too; listen to the relatively melodramatic backing score with its solemn guitar and solo piano. And this isn’t the only instance of folly via convenience. Earlier on, an intrusion-provoked face-to-face between Takanashi’s oldest sister Kazue and her ex-husband Minegishi is used to set up a plot point that’s all too convenient, predictable, and altogether unnecessary regarding the reveal of who Yamada’s mother is in relation to the rest of the cast. With several episodes left, however, I’m wondering what she will be used for in future episodes.
In Summary:
Frankly, this second Yamada-centric episode wows for all its execution. Almost all the funny’s understated, and hammer-over-your-head gags steeped in repetition/callback are just there to provide a balance to a particularly tender 20-someodd minutes. I never thought my tear ducts would well up for Wagnaria, much less for its side characters’ plot points, but that just goes to show how intricately this anime has threaded concern throughout its three seasons. This is turning out to be the most magnificent season yet. With so many episodes to go (we’re over the hump, people!), that means the primary focus has all the time in the world to deepen investment in and wrap up (*sniff*) the relationships between Todoroki and Souta as well as Takanashi and Inami. My tissue boxes weep for their last moments on Earth in the shadow of my trembling hand and runny nose.
Grade: A
Streamed By: Crunchyroll
Review Equipment:
Xbox360 running Crunchyroll app via HDMI to Toshiba 40” LED 1080P HDTV. Sony 5.1 home theater system.
I’m so behind on Working!!! For some reason I don’t feel as a big a sense of urgency to keep up to date with comedy anime in comparison to other anime. Still, glad to know it’s still delivering.
Definitely still delivering (in different ways too) and starting to tie some things up as well.