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Episode 7 – Ramparts of Ice

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With every episode, I appreciate Ramparts of Ice‘s refusal to fall back on expected relationship dynamics more and more. Normally, you get a group of four cishet teenagers, two on each end of the gender spectrum, and within three episodes I can tell you who is going to fall in love with who, what the source of drama will be, and so on. That’s not necessarily a bad thing, since there are plenty of perfectly predictable romances where I love the characters deeply, but it’s a delightful surprise when it makes some unexpected moves while still avoiding contrivances.

Going into this episode, I thought I had a good handle on things. Miki likes Minato. Minato likes Koyuki. Koyuki would realize she has feelings for Yota, and Yota is in love with his stepmother. Bada-bing, bada-boom, messy teenagers having lots of feelings. Nobody’s love is requited and everyone is miserable, but somehow they get through it. Happily, that’s not what is happening!

In this episode, we dig into Yota’s own issues, but first we get an amuse bouche of Koyuki’s rich stew of mental trauma to go along with it. Turns out, her parents are divorced, which shattered the image of a functional family she had growing up and left her struggling to connect to the other, exacerbating the sense of isolation she had developed from being bullied. Her father seems to have exited the picture entirely, harming her self-image as a person who is loved, and her single working mother has made Koyuki something of a latchkey kid. Loneliness makes us vulnerable; I suspect this was another factor that led her to try dating Igarashi, even though she resented his teasing.

Yota, on the other hand, feels shut out. His stepmother is nothing but kind to him and his younger siblings clearly adore him, yet he’s internalized a sense that he doesn’t really belong. The thoughts that he doesn’t really fit in at home torment him at night; while Koyuki has responded to her trauma by shutting people out, he’s become too accommodating and fails to care for himself. 

To get a bit personal, I couldn’t help but think of my own family watching Yota’s. I am, after all, a twin with an older half-brother. Our dad and his mom divorced when he was young, and our dad moved to another city and met my mom, who is only twelve years older than my older brother. I love my brother, and I know he loves me and my twin, but did he resent us? I know for a long time he felt like we were the family our father had chosen over him. Did it haunt him the way it haunts Yota? Am I projecting too much from a story onto someone who I’m afraid to try to fully understand for fear of discovering old scars?

Similarly, Koyuki worries that by trying to connect her situation to his own, she’ll be overstepping. Still, she takes the step of trying to reach out to him. It’s a wonderful moment of growth, her recognition that even if their situations are different, they may be able to connect over their sense of displacement in their own homes. Koyuki at the start of the series would never have dared attempt this; she would be convinced that there would be no way they could come to understand each other, that the gulf between their situations was too great. It’s the expected character arc, of course, but isn’t the point of a show like that getting the satisfaction of seeing a closed-off character open up?

Their sweet scene on a park bench ends with a confession: Yota likes…

….

….

Wait for it….

Miki! Not his stepmom, not Koyuki, but Miki. And Koyuki doesn’t respond with an unexpected-to-her upswell of jealousy, but sincere delight that someone who knows all sides of Miki likes her, and not just the genki-girl idol image she projects to her classmates. There are even some fun flashbacks to Yota’s sudden clumsy moments, connecting them to being around Miki. Foreshadowing! 

It’s incredibly sweet how happy Koyuki is for Miki, without a single thought about her kinda-maybe-sorta having romantic feelings of her own for Yota. She’s happy for her friend, and I’m happy both that she’s happy and that the show has some juice beyond established genre beats.

Will it create complications that Miki looks at Koyuki and Yota and only sees that the two have incredible chemistry? Hmmm…

Rating:



Ramparts of Ice is currently streaming on
Netflix.


The views and opinions expressed in this article are solely those of the author(s) and do not necessarily represent the views of Anime News Network, its employees, owners, or sponsors.

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MangaGamer to Release Umineko When They Cry – Saku Game in West – News

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Company to also release Secret Affairs: Sweaty Midsummer Rut game, Beat Valkyrie Ixseal physically on USB



MangaGamer announced on Friday that it will release the Umineko When They Cry game, Umineko no Naku Koro ni Saku: Nekobako to Musō no Kōkyōkyoku (Umineko When They Cry Saku: Symphony of Catboxes and Dreams, or Umineko When They Cry – Saku), in the West. The company also licensed the Secret Affairs: Sweaty Midsummer Rut game and will release Beat Valkyrie Ixseal as a physical edition on USB on June 25.

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Image courtesy of MangaGamer

MangaGamer‘s version of Umineko When They Cry – Saku features newly drawn character sprites to match the Steam version’s upgraded visuals with an option to switch between them and Ryukishi’s original artwork.

The game originally launched in Japan for PC in October 2019. It launched for PlayStation 4 and Nintendo Switch in January 2020.

The visual novel includes all eight main chapters of the Umineko no Naku Koro ni: Majo to Suiri no Rondo and Umineko no Naku Koro ni Bara: Shinjitsu to Gensō no Nocturne games, as well as three short stories titled “Tsubasa,” “Hane,” and “Saku.” It also bundles the Umineko When They Cry spinoff fighting game Golden Fantasia CROSS.

Daisuke Ono voices Battler Ushiromiya, and Sayaka Ōhara voices Beatrice. Rico Sasaki performs the opening theme song “Kasaneawase no Nekobako” (Nesting Catboxes). Chiyomaru Shikura wrote the lyrics and composed the song.

New cast members in the game include:

Umineko no Naku Koro ni Saku (Umineko All in One Package) launched in October 2019. The release is a compilation disc of all previous Umineko games plus a new scenario. The included games are Umineko no Naku Koro ni, Umineko no Naku Koro ni Chiru, Umineko no Naku Koro ni Tsubasa, and Umineko no Naku Koro ni Hane. Ryukishi07 is credited with the original designs and scenario.

Source: Press release


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Episode 7 – Snowball Earth

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The episode is just a giant fight between Sagami and Yukio, Tetsuo, and Hagane. Sagami is still a fickle jealous chump with stupid motivations, but whatever. Tetsuo and Yukio fight Sagami and in the process, Yukio gets torn to shreds by a centaur-looking kaiju. The fight choreography is fluid, each attack connects like it should, and everything is paced just right. The
other kaiju haven’t reached the mall yet to attack its survivors a la Dawn of the Dead yet. Fine. The narrative has been moving right along in entertaining fashion minus some glaring flaws. I’m down for some good ol’ delayed gratification if the anime calls for it.

Somewhere in the middle of this fight Yukio reveals a loveseat he made for Tetsuo and Hagane. I like this little moment of tenderness. For a show that’s supposed to be a fun show about a boy and his robot pal knockin’ down some baddies, Snowball Earth has mostly been serious in tone so far. It hasn’t squeezed in too many heartwarming moments or jokes (unless you count some very unserious-looking kaiju), so to have a little instance of both in this scene was a delight to
watch for me. Tetsuo and Hagane had that yukadon moment a few episodes ago, which I guess is cliche, but it’s finally paid off in this moment of loveseatery. Granted, this moment is done in cliche fashion too, but considering how Snowball Earth is supposed to be standard popcorn, it’s to be expected. Nothing great, nothing terrible.

And then the CG comes in to put a damper on things once again. In theory, I could feel the impact of when Yukio slices through a kaiju. The direction and artistic vision are definitely there, yet all of the effort goes by the wayside because of the limiting CG. This could have been so much cooler to see! Exaggerate Yukio’s swinging motion a bit, maybe even distort the edges and throw in some scribbly, spiky lines to heighten the impact of this swipe. Tetsuo looks like Meta Knight with a lightsaber if Kirby: Right Back At Ya! was even more unnecessarily CG’d. And the attack itself looks like a combo activated in a fighting game.

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The worst case comes right at the 13:48 mark. Like all things Snowball Earth, it involves a switch from 3D to 2D that is delightful and infuriating at the same time. After being forced to witness the horror of Yukio being knocked around like a rag doll, Tetsuo bursts into tears. And you can really feel what he’s going through through his face alone.

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Look at how much detail is here to make Tetsuo look as sad and haunting as possible. You can feel Tetsuo’s angst through the way the irises in his eyes look like empty, black ovals, to the tears that flow down his sides like Niagara, even to how the muscles tense up all over his face. Really showing every little bit of a face like this is such a necessary key feature for close-up shots and some insight on our hero. It’s a tiny bit of visual storytelling that makes a big difference.

Just a few seconds later, we get this.

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Notice how much detail is gone. I can barely see the tears rolling down Tetsuo’s face here. Nothing about this shot leaves an impact, and becomes another drop in the “awkward CG’d shot of a character’s mouth agape from surprise and/or shock” bucket. I feel nothing. The episode does the same 2D-to-3D switcheroo later on with a crying Hagane later on. This is a case of animation whiplash if I’ve ever seen it. It almost feels like the show is playing a cruel joke on me.

Oh, and speaking of which, there’s a switch to 2D when Sagami decides to show off a little bit of his chest. Why? How? Who thought this was a good idea? Is this the show’s sakuga moment? Ummmm…………………………………

Rating:





Snowball Earth is currently streaming on
Crunchyroll.


The views and opinions expressed in this article are solely those of the author(s) and do not necessarily represent the views of Anime News Network, its employees, owners, or sponsors.

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Haru Hisakawa’s Takara Shimai Manga Ends, Gets English Release on Manga UP! – News

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Manga launched in January 2025, ended on Friday



This year’s 11th issue of Square Enix‘s Young Gangan magazine published the last chapter on Friday of Haru Hisakawa‘s Takara Shimai manga.

Additionally, Manga UP! Global announced on Sunday it has added the manga its English service under the title Jackpot Sisters.

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Image courtesy of Manga UP! Global

Manga UP! Global describes the manga:

Struggling sisters Niina and Mana receive a birthday present from their father. But who would have thought they’d end up winning a 300-million-yen jackpot?! WIth their newfound fortune, these girls strive to live the high life their own way, in this heartfelt financial comedy!

Hisakawa launched the manga in January 2025. The second volume shipped on December 25, and the third and final volume will ship on July 24.

Hisakawa’s Cat Massage Therapy (Neko no Massageya-san) manga launched in Overlap‘s Comic Qurie web manga magazine in 2019. Overlap published the manga’s third and final volume in April 2020. Seven Seas Entertainment published the manga in English in full color.

Sources: Young Gangan issue 11, E-mail correspondence


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