How do you rate Plot 14 of In/Spectre (TV 2) ?
Community Score: 3.9
How would you rate it Plot of
Community Score: 4.5
How would you rate set 01 of
Community Score: 4.4
© Kyo Shirodaira, Chasiba Katase, KODANSHA / “In/Spectre” Production Committee Welcome back to ! It’s been three years since the first season aired, so I don’t blame you if you need a refresher. This is the thin man: there are many yokai, so there are many yokai problems, and to mediate them, they appointed a goddess of wisdom from the human world as a just celibate female judge. That would be our heroine, Kotoko, who, in addition to being revered by supernatural entities, is a diminutive serial con artist with a fashion sense ahead of her time and a penchant for making her beloved boyfriend miserable. Needless to say, I love her very much. On a more serious note, the first episode of season two effectively reminded viewers of the series’ quirks and idiosyncrasies. The simplicity of the problem—in this case, an unexplained thud—provides an unremarkable canvas on which to can paint its usual layers of lies and truth. The funniest part of the episode has nothing to do with the actual resolution, it’s an exorcism that showcases Kotoko and Kurodo’s team dynamic. No, my favorite part was watching Kotoko make up wild stories about the manager and the monitor lizard. It’s a ridiculous fabrication, but we see her stitch each lie carefully until she crafts a picture that pleases the audience. In short, this is about . It’s a very long-winded work, built on the argument that truth always takes precedence over narrative. This remains the same as the first season, and it’s not for everyone, so I don’t expect this new series to change anyone who was previously put off by the lengthiness of the characters or how enjoyable the writing itself sounds. These are fascinating points, and they benefit greatly from the continued relevance of the arguments above. A lot has changed in three years, but the instability of truth and the prevalence of lies certainly haven’t, and I love watching an anime that handles this conflict in a man dressed like Oriental role.
the other half of ‘s appeal, while playful, is more fun and flirt. Kotoko and Kuro’s war of words—mainly between her naked lust for his body and his perpetual weariness with her antics—forms my favorite archetype of heterosexual relationships in fiction. Story The series (also kin in content and tone) is full of smart women who play clowns on Araragi. ‘ The story thrives on the playfulness of its main couple’s chemistry. Now In/Specture Introduces another good example of Yuki-Onna and Masayuki. Who wouldn’t fall in love with a ghost who saves your life as much as she drags you for your literary knowledge? The chemistry between Yuki-Onna and Masayuki was instant. You have to love each other to be able to throw insults back and forth with such directness and equal sensitivity. Masayuki in particular is a sad sack (understandable, I guess, given his bad luck), but his dialogue brightens when Yuki-Onna is around. On the other hand, she’s an interesting character in her own right. I like her methodical integration into the human world—not enough that she has to pay taxes, but enough that she is subject to inflation—to indulge her drinking and ice cream-eating vices. THIS IS THE QUALITY OF 
writing is the most important. If their dialogue is even slightly tepid, their relationship can quickly come across as contrived and sweet. Instead, its sharpness allows us to care about both characters as characters who care about each other. We need to care about drama in order to be effective. That’s why making Qinzi a secondary character in this arc is Sensible. The extra time we spent with Yuki and Masahiro made me really invested in their stories, which made me even more concerned that they might be torn apart. This culminates in the third episode’s climax, with Kotoko spinning another one she’s crafted. While she’s done this kind of scene many times before, this is the first time I’ve been upset. I was well aware of her motives (thankfully, she confirmed it quickly), but since I had grown to like the shemale couple, I put myself in their shoes and felt their rising tension and anxiety. Kotoko is no longer just a girl in a funny hat. She’s scary. I like that! It’s a beautiful and clever application of storytelling techniques, culminating in a sweet ending. Kotoko is here to solve a problem, not a mystery. I hope we get to see Yuki-Onna and Masayuki happily bickering ever since. As far as I’m concerned it’s a great way to start the season Worry. The story, characters, and other aspects of the production resume as if there were no gaps between seasons. The presentation is unassuming but never boring, which is no small feat for such a dialogue-driven show. Speaking of, acting remains the mainstay of the series. Akari Kitō against the type. Makoto Furukawa
writing is the most important. If their dialogue is even slightly tepid, their relationship can quickly come across as contrived and sweet. Instead, its sharpness allows us to care about both characters as characters who care about each other. We need to care about drama in order to be effective. That’s why making Qinzi a secondary character in this arc is Sensible. The extra time we spent with Yuki and Masahiro made me really invested in their stories, which made me even more concerned that they might be torn apart. This culminates in the third episode’s climax, with Kotoko spinning another one she’s crafted. While she’s done this kind of scene many times before, this is the first time I’ve been upset. I was well aware of her motives (thankfully, she confirmed it quickly), but since I had grown to like the shemale couple, I put myself in their shoes and felt their rising tension and anxiety. Kotoko is no longer just a girl in a funny hat. She’s scary. I like that! It’s a beautiful and clever application of storytelling techniques, culminating in a sweet ending. Kotoko is here to solve a problem, not a mystery. I hope we get to see Yuki-Onna and Masayuki happily bickering ever since. As far as I’m concerned it’s a great way to start the season Worry. The story, characters, and other aspects of the production resume as if there were no gaps between seasons. The presentation is unassuming but never boring, which is no small feat for such a dialogue-driven show. Speaking of, acting remains the mainstay of the series. Akari Kitō against the type. Makoto Furukawa
Steve on Twitter. Please tweet anything you find about Kotoko wearing a funny hat Send him a nice pic. Otherwise, catch him talking trash and treasure this week in Anime.
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