Although it was slightly worse than the last, this was a really good episode. The developments throughout, save for the beautiful train sequence and the ending, seemed rather insignificant, due to the thoroughly comedic nature of the episode, which is why this was ultimately a lesser one. One of the better aspects of the episode was the attempt to develop Makoto into a more layered and prominent character, as his role in the story had become a persistent flaw, since it singularly consisted of a particularly isolated and stagnant characterization, and I thought, for the most part, it worked quite well. The latter half of the episode was a considerable improvement over the material that came before, due, in large part, to Rikka and Yuuta's amazing scene by the train.
As such, my favorite scene by far was Rikka and Yuuta's moment in front of the train, as Rikka takes Yuuta's hand, and they temporarily hold this surprising connection, while the imposing train hurtles past. Of course, since this briefly dramatic and romantic interlude was framed and handled with such significance, it appears likely that these specific flourishes of movement excellently foreshadow touches of emotional conflict being woven into the story moving forward, while also subtly illuminating the natural development of their relationship. Also, Rikka's ominous words at the very beginning of the scene, though they simply could have been uttered as yet another statement from the chuunibyou side of her personality, could possibly infer the development of an imminent complication, such as something pertaining to the seemingly fractured relationship with her parents, as she appeared noticeably troubled throughout the entire episode.
I really like that Makoto's role in the story has been broadened, since a constant, unaltered relegation to a mere friend of Yuuta's who's sole purpose is to intermittently provide comedic remarks throughout the entirety of the story would have been quite disappointing. The moment Kumin touched Makoto's head was great, and hopefully it indicates the potential for an unexpected relationship between them, which would benefit the development of their characters immensely, as they're easily, up to this point, the least involved.
The comedy, for the first time, was quite inconsistent in it's effectiveness, since a few of the thoroughly exaggerated reactions occasionally fell flat, particularly the majority of those involving Makoto. The rest of the humor was as great as usual, particularly any of Sanae and Shinka's interactions. As such, their interactions are exceedingly enjoyable, especially the sequence of events that involved Shinka retaliating to Sanae's tripping interjection during class by threatening her with milk, which was then followed by Sanae quoting Shinka's own book, and hilariously culminated with Shinka consequently rolling around the room due to her embarrassment. They certainly bring out the best in one another. Even so, they really can be quite cruel at times, as displayed most by their repeatedly laughing at Makoto's shaved head, despite their promises that they wouldn't. The last scene was quite intriguing, as Touka asks for Yuuta's help upon accompanying Rikka to the beach, which likely ties into how distracted Rikka appeared throughout much of the episode.
The ending to the last episode and the hand-holding scene in this one seem to indicate a meaningful foreshadowing towards a thoroughly heightened focus on Yuuta and Rikka's developing romance, which would be terrific, since it's easily one of the most compelling elements of the show. As such, the story inevitably becomes slightly less interesting and engaging whenever it temporarily shifts it's focus away from Rikka and Yuuta's relationship, since their dynamic is endlessly intriguing, while it's also consistently able to provide considerably potential for a plethora of significant developments within the story and their own characters.
The direction and storyboarding of the train sequence was exceptional, as it was able to skilfully and deftly convey an emotional depth and complexity within their particular expressions and subtle movements. The animation was fantastic throughout, since it brilliantly captured extensive details within particular moments, such as the train sequence and the exaggerated movements found in many of Sanae and Shinka's interactions.
All in all, despite a marginally weaker episode, Chuunibyou continues to greatly surpass my expectations, as it's gradually developing into one of the best shows of the season, and I'm expecting the latter half to be quite a bit better, since it seems destined to focus on the particular elements of the show I find most interesting. Although this might be expecting a level of depth and dramatic importance within the narrative that wouldn't typically be found in what is essentially a romantic comedy, I'm hoping for a proper examination and deconstruction of Rikka's Chuunibyou delusions before the story's end, and perhaps an awakened desire to relinquish her childish inclinations and this stationary facade she's constructed. |