I know Sunrise is producing this, but I swear I’m watching a JC Staff show. Anyway, this episode picks up where the last one left off. As Keita mourns Mayu’s death, the eerie similarity to his mom’s death causes him to get more obsessed about doppeliners. Which causes everyone to worry about him, from his beautiful keeper, Akane, to his well-intentioned, but ultimately unhelpful, homeroom teacher. Meanwhile, the thug who failed to kill Kuro receives dire punishment from an outrageous looking villain, who’s an apocalypse-short of being in fashion.
Meanwhile, the supposed leader of the master roots appears to be your standard corporate stooge. But apparently he’s using company resources (or at least video surveillance equipment) to identify potential roots for some reason. I knew Japanese konbinis were pretty swanky (I’m always terribly disappointed when I walk into a US 7-Eleven.), but who knew it was a potential big brother in waiting.
Meanwhile Keita comes home to find an intruder chowing down on some cabbage. I don’t know how bare Keita’s fridge is (you have to assume it’s pretty well stocked, what with Akane doing everything), but when a girl is dreaming of hamburgers and bibimbaps, but ends up having to eat leaves of cabbage, I think you have to put some serious thought into stockpiling the fridge with better foods. But Kuro munching on cabbage raised her moe score though.
Apparently, Kuro didn’t break into the house, but was welcomed in by Akane, because she seemed like someone Keita knew. Which I guess is normal. But I don’t know why Akane would then walk out of the house and leave Kuro alone in there. Even if all she was doing was taking a short trip to the konbini. Seems like leaving a homeless looking girl, who your friend might or might not know, alone in their house would be a recipe for catastrophe. Keita probably felt the same way, because he then proceeds to throw a fit and kicks both Akane and Kuro out of his house (although not for the obvious reasons).
It doesn’t take long for him to feel guilty about kicking Kuro out of the house and he tracks her down sitting alone in a park. As she scarfs down the largest onigiri I’ve ever seen, she explains more about the doppeliner system to Keita. It’s actually a very well explained bit, and clears up what tera is (it’s like luck), and how the whole sub/root system works. They still haven’t explained what’s so special about a master root, but I expect they soon will. As Kuro prepares to leave, the post-apocalypse villain (PAV) tracks her down. While she disposes of his henchmen easily, she ends up getting her ass kicked by PAV and his invisible whip. Witnessing the carnage, Keita tries to call the police, but doesn’t get far, before he’s stabbed in the heart and left to die. Luckily for him, Kuro uses the momentary lapse in PAV’s attention to knock him away and escape with Keita.
This leads us back to the beginning of the story. To save Keita’s life, Kuro apparently trades hearts (or maybe it’s tera) with him, binding the two into a contract in with a hand Geass effect to boot. The two of them then team up to do super-power punches and knock the PAV into next week (more or less).
I mention Geass above, because Keita’s statement about the contract and his fate reminded me a lot of the contract that Lelouch entered with CC. I guess we’ll see what sort of power Keita ends up receiving from this. But he seemed to get control of it surprisingly quickly (and conveniently). Actually, Kurokami has had a handful of scenes that have reminded me a lot of other shows. For example, last week when the Konbini voyeur gathered the master roots together, it harkened back to some FMA memories when all the Homunculi were gathered together at the mansion. Also, Kuro finding Keita’s place reminded me a bit of when Index landed in Touma’s balcony. And the whole konbini video surveillance scene seemed sort of NOZOMI-esque to me. Not that these are bad things, more just observations.
So far I’ve been impressed by how well they’ve managed to pace the action with the explanations. The dialogue is clear and doesn’t drag things down. And the action is quick and engaging, which keeps the show from feeling monotonous.
Next week: some dirt on the konbini voyeur?