When I said I wanted to see the Princess of Crystal again, this was not what I had in mind. That was certainly odd. . . It’s been somewhere around five weeks without a ‘survival strategy’ segment, so I guess I just forgot how completely wacky they could be.
I’m glad to see the Princess of Crystal back though, even if it seems as if she no longer serves to further the plot nor does it seem like she has a place within that plot. Sigh, oh well.
I find repetition hard to pull off effectively without over doing it. I’m not sure why Mawaru Penguindrum’s use of it makes me irritated. When we were subjected to Masako’s dreams of killing her grandfather, it just felt like wasted time that could be spent on more pressing matters. I get it that you’re trying to get across the fact that Masako wants her grandfather dead, there’s no need to stuff it down my throat. Mawaru Penguindrum’s use of repetition always seems like overkill to me for some reason.
However, I did like the instance pictured above. It was similar enough where it felt like I was watching something different while at the same time allowing the audience to make the connection themselves. When done this way, I can make my own assumptions based upon the similarities shown to me. For example: does this mean that Masako wants Sanetoshi dead even though he’s saving her younger brother?
The ending caught my attention enough to make me look forward to next week. The (95) Train is probably one of the most interesting set pieces in Mawaru Penguindrum on a visual scale. I think its clear now that Masako shares the same view of Sanetoshi as Kanba. Anyone would get sick of the guy if he kept using your youngest sibling to his own advantage and then would laugh it off as if it were only a joke. I’d be just about ready to slug him with a nailed baseball bat, good looks be damned.