Myself; Yourself 9–Oh, all right, you’re forgiven

This is more typical of this episode than not.

Previews and blog rumors aren’t so reliable after all. My fears about this episode were largely unfounded, though it has other sets of problems alongside some relatively strong material. Even if this is really talking about three relatively unrelated plot threads, this ain’t filler; don’t skip it.

First off–they didn’t use the chipper music for the “previously, on Myself; Yourself” prologue. Hooray! The OP, ED, and episode preview music is the same, but it’s less intrusive for some reason. Getting off on the right foot helps, I suppose.

The first thread of the episode explores Nanaka’s background further, planting the suspicion in her (and our) mind that perhaps her uncle was the arsonist responsible for killing her parents and giving her an awful junior high experience. This part really did feel, at times, like Higurashi-lite, complete with overheard conversations, half-memories, and more emotional breakdown at the sight of a mere overheated grill. It seems the writers want to insert a lot of elements of mystery into the series, a whole lot of whodunits and whys, especially with that creepy grandma in the nursing home. They’d do well to remember that there are only a few more episodes left in the story and that there are more plotlines to wrap up, but on the whole, this episode represented a decent continuation of the emotional and logical threads from the prior episode.

This describes a lot of anime, too

The emotional climax in the ferris wheel was, as another blogger pointed out, typical–but I think Honey and Clover, which turned it into a potent metaphor as well as setting, proves that it need not be done badly. It was a needed reconciliation between the two and nicely understated compared to the previous episode’s massive emoting, which is recalled in flashback. (I disagree with another writer who said that Sana and Nanaka have no chemistry, by the way. They don’t need chemistry so much as something in common, which in this case is trauma. They are both very needy people who managed to find each other again. Not that that bodes well for the relationship in the long term, but hey, this is a romance anime…)

The next strand is the brief reintroduction of the more minor drama happening with the twins. Having failed to talk about it in the previous review, I’ll say right now that I find this thread thin and introduced too late to have much emotional impact, at least when weighed against the far more (melo)dramatic travails of our two leads. Their situation is painful and common: children who have a hard time accepting the stepmother, and it isn’t handled with much emotional nuance or detail. It basically consists of two scenes, Shuri getting slapped by her dad, and then this episode’s crying about their broken family situation with a little prodding from her brother in the ferris wheel. They were supposed to be the comic relief duo and trying hard to introduce some emotional heft to their lives needs to be handled a little less clumsily.

You need to earn moments like this.

The final strand is the one emphasized in the episode preview: the sentai parody, Animengers, and the presence of Hinako. It was not nearly as bad as I had feared; I just wonder what the heck it’s doing in this show. By itself, it’s a fine piece of meta-satire, a direct pitch to the otaku watching the show by concocting a villain who threatens their “anime lifestyle,” and perhaps at best a gentle tweak at conventions of the cliched shows it seeks to represent. They even mention A-parts and B-parts! (I only first saw TV production mechanics like this mentioned in Hayate no Gotoku.) Unlike the caramel flashback from the previous episode, though, it failed to wrap itself back into the main plot as elegantly and convincingly as that well-timed scene; I was half-expecting an actual abduction plot, perhaps involving Hinako, to start in due order. This is, of course, par for the course for this show–I am beginning to realize just how exceptional episode 8 really was–and the fact that it was actually decently funny made it go down a little better. It certainly didn’t destroy the episode.

I think this is only the second time an anime has even mentoned the B-part

Owen has written about why both this show’s structure and content are actually smart and genre-busting (“post-harem” is his term), and that there is no real filler in this show properly construed; this justifies the constant plot and mood jumping. Episode 9 continues to reinforce my belief that this strategy feels more disjointed than effective. Maybe I just like the Sana/Nanaka plotline too much to care about anything else? In agreement with his review from today, I certainly agree that an excess of drama is also bad; this is one of the reasons why [putting flame suit on–you might be surprised by the following] I couldn’t stomach Saikano. I just don’t think this way is necessarily the right way to go about giving a show variety. The main reason why I really love ef as much as I do is that the unconventional artistic measures support the show narratively and thematically, and it holds up under close scrutiny. I do not yet sense this from Myself; Yourself, and I’m not as hopeful as Owen is that this might be the case–though, like him, I hold out the possibility that they could yet pull a brilliant maneuver at the end to prove me wrong. For me, as long as they wrap up Sana/Nanaka effectively I’ll be reasonably happy. I’ve already explained why I tend to appreciate emotional intensity in anime.


Finally, the title of this show, which at first struck me as being both pretentious and meaningless, is finally starting to make sense to me. If we focus on the Sana/Nanaka storyline, it really is a story that is about coming to terms with their selves, which is probably why Me; You wouldn’t suffice. And if they are a destined couple, as they certainly are, it’s about how a “my self” (Sana/the player) and a “your self” (Nanaka) get together. Not sure why there’s a semicolon, though, rather than a period.

BTW, I love the nickname that’s been coined, Pronouns. Who thought of it first? This must be the first anime title that might get English grammarians both frustrated and excited by its possibilities.

Author: gendomike

Michael lives in the Los Angeles area, and has been into anime since he saw Neon Genesis Evangelion in 1999. Some of his favorite shows include Full Metal Alchemist, Honey and Clover, and Welcome to the NHK!. Since 2003 he has gone to at least one anime convention every year. A public radio junkie, which naturally led to podcasting, he now holds a seminary degree and is looking to become Dr. Rev. Otaku Bible Man any day now. Michael can be reached at You can also find his Twitter account at @gendomike.

2 thoughts on “Myself; Yourself 9–Oh, all right, you’re forgiven

  1. Pronouns is definitely better than I initially thought it to be, but I’d hardly say its a great anime. maybe decent.

    i find too many inconsistencies for the plot (although there are great moments when it does shine), and the side characters to be overtly flat and genuinely annoying (the gray-haired loli and aoi-chan need to GTFO).

    Mike, did you notice the MP3 player reading “Bye!” in the OP?

    lol.. animengers + creepy otakus = wtf lulz

  2. I have to agree about the gray-haired girl and aoi. Aoi sounds like her salivary glands are working overtime and the gray-haired girl is just sickening. Of course I need to follow Vonnegut’s wisdom and not be angry about it though.

    The whole “Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae.” thing. I agree with it, and I have been trying to keep myself from hypocrisy.

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