That was a highly satisfying and immensely beautiful conclusion; certainly one of the best episodes of the entire show. However, it was also plagued with several lingering flaws that, though not even moderately detrimental, were unfortunately noticeable. Following the great, but decidedly dramatic eleventh episode, this conclusion superbly handled the dichotomous emotions that were present within the narrative, portraying Rikka’s tormented past surprisingly well and with a particular tranquility that really worked in establishing a wistful atmosphere, while also deftly suffusing the episode with an abundance of humorous antics that consistently lightened the emotionally reflective tone. This wonderfully climactic episode solidified the show as one of the best within this comprehensively strong season, thoroughly elevating itself beyond the mere mediocrity that commonly resides in romantic comedies.
My favorite sequence, by far, was the entirety of the last several minutes. Rikka’s jump into Yuuta’s outstretched arms was considerably effective, as it visually paralleled the moment she attempted and consequently failed to jump into his arms prior to finding that her cherished home had been destroyed, which compelled Rikka’s gradual deterioration into an emotionally fractured existence, but, as a terrific bit of foreshadowing, Yuuta, in this particular instance, succeeded in catching her, which was a subtle, but powerful, contrast, illuminating that their complex bond was no longer one of fragility and that, as displayed by the following scene, she was ready, through his assistance, to move on from her past torments. Of course, the emotional highlight of this sequence, and the entire show, for that matter, was the highly meaningful moment when Yuuta, for the first time, indulged his “Dark Flame Master” persona, so as to show Rikka the Ethereal Horizon that she had so longed to glimpse since her father’s death. The incredible visuals and the appropriately subdued, but sweetly romantic, musical selection, perfectly complemented the deeply felt significance of this climactic revelation, culminating with her final goodbye to the father she hadn’t been previously capable of letting go. Really, this was an intricately profound moment that was immensely satisfying and exceptionally well-directed. Their sunset bike-ride along the ocean was framed with a beautifully colorful aesthetic that effectively emphasized the significant altering of Rikka’s chuunibyou inclinations and the thoroughly meaningful development of their relationship, drawing upon the emotional turmoil that had plagued them for the last few episodes. I also loved the closing, surprisingly insightful and succinct narration, as it comprehensively articulated the meaning behind their romantic journey, while illuminating the oft-hidden depth of the syndrome that had afflicted each of them at some point in their lives.
One of the most emotionally effective moments was the scene in which Yuuta initially discovers that Rikka had permanently left her apartment, as a somber atmosphere pervaded throughout this sequence; one that really emphasized their mutual sorrow and the possibility that this separation from one another could very well indicate that their newly-realized relationship would be painfully fleeting. I really liked the momentary recollection to his previously unheard advice for Rikka, since this moment was a defining point in her isolation that was, at the time, necessarily silenced. Another fantastic sequence was Yuuta cycling towards Rikka’s house, in which, upon encountering Kumin, he learns of his seemingly fated existence with Rikka, as Kumin elaborated on Yuuta’s heightened significance to Rikka for the last two years, as the vestiges of her earliest memories with Yuuta are displayed, illustrating that he once unknowingly motivated her into adorning the useful façade she wore in order to cope with her mourning, which, though rather convenient and somewhat predictable, greatly depicted that she had always loved him. The direction throughout this integral realization was superb, interspersing several significant flashbacks with Yuuta’s struggles to reach Rikka, culminating with a striking shot of Yuuta and his bike suspended in midair, isolated against the distant lights of the city he was frantically approaching.
Shinka’s wistful conversation with Yuuta illuminated the seemingly flawed and needlessly excessive approach to forcefully dealing with their delusional tendencies, as she perceptively alludes to the distinct possibility that everyone possesses a unique quality within, then mentioning the idea that it’s partially foolish to attempt to extinguish this aspect of their personalities altogether. Once again, Shinka is portrayed as the most knowledgeable of the group, by far, and it was nice to see this touched upon one last time, since it’s an effective element within her thoroughly evolved characterization. Though really enjoyable and quite amusing, Kumin's confident transition into a wielder of the "wicked eye" was rather contrived, since, along with Sanae's transformation, they somewhat felt like unnecessarily heightened reactions to Rikka's "disappearance".
The final scene in this episode strongly mirrored the opening sequence in the first, as Yuuta’s perspective is altered by Rikka’s descent from her balcony onto his. I felt it was a nice parallel to the nature of their first meeting, and, though not particularly subtle with it‘s intentions, it was a really effective closing shot. I'm hoping that the conclusion also intended to imply a realized balance within her chuunibyou persona, rather than a continued usage of it as an escape from reality, as said balance was somewhat perceptible in the livelier, far more natural tone of her words at the end.
Although rather predictable, the developments within this episode were quite satisfying, aside from several conveniences during the first half. Though I initially expected to be thoroughly unsatisfied by such a development in which Rikka reestablishes the chuunibyou aspect of her characterization, I, instead, felt that this partial reversion and slight evolution was handled quite delicately, to the point where it didn’t particularly disappoint, since it doesn’t appear that she’s inclined to fully embrace all of the detrimental elements that once resided in these fantastical delusions. However, though the previous episode foreshadowed this eventual outcome, I would have much preferred a conclusion that was a bit more ambitious in it’s moralistic suggestions, since a complete abandonment of her naïve adolescence, though partially explored here, wasn’t entirely attained, which would have indicated a more compelling and unexpected conclusion to Rikka and, in part, Yuuta’s development.
The most significant flaw within this episode is the absence of conclusive development for a majority of the secondary characters, since, aside from Shinka, their individual arcs were disappointingly incomplete, as, understandably, to an extent, Rikka and Yuuta's relationship was the central and all-encompassing focus. For this alone, the narrative execution should have been more impressively consistent with the subtleties it had ingrained into the story throughout the earlier episodes, such as Makoto's potential relationship with Kumin, Sanae's fluctuating shifts within her personality, and, though she played a particularly important role throughout this episode, Kumin was somewhat underutilized despite the intermittent foreshadowing of a greater purpose. Thankfully, despite these criticisms, though somewhat inconsequential throughout the earlier episodes, the secondary characters gradually became much more involved throughout the latter half of the show, and, in turn, Rikka and Yuuta‘s mutual development, rather than only possessing a tangential influence within the narrative, as shown by their assistance in helping Rikka escape towards the end of this episode.
Yuuta and Rikka’s relationship was fantastic, since they complemented each other really well, and, as such, the slowly-developing nature of their romance was completely natural and very satisfying. Although this episode lacked an exceedingly intimate interaction between them, such as a kiss or something similar, this restrained subtlety suits their characters and the story completely. Yuuta was one of my favorite characters, so it was occasionally disappointing that his development throughout the majority of episodes that followed the third was seemingly secondary in importance and, for the most part, solely connected with Rikka's. However, the final episode extensively remedied this by the realization of his ability to understand what is most important for both Rikka and himself, as well as the conscious removal of his partially flawed reluctance towards his chuunibyou adolescence. Rikka's emotional closure towards the end of this episode was terrific, as it signified an essential transition past her painful hindrances, such as the forlorn memory of her father and the inability for her to refrain from using this as a constructed layer within her artificial mask.
The romantic element within the show was it’s strongest quality, as this aspect of the narrative excellently differentiated itself from the disappointingly conventional complications that typically permeate the majority of romantic comedies, instead relying on a distinctly balanced approach to storytelling, since, aside from an occasional episode that prominently focused on an essential melancholy, the show smartly avoided, for the most part, a thorough reliance on detrimentally tedious developments or repetitive contrivances, which, for this particular genre, is a rare feat, since the majority of these sort of stories seem readily determined to heavily focus on needlessly stagnant dynamics, perpetually denoted by an exceedingly manufactured development or continuous introductions of ancillary, ultimately inconsequential characters.
The secondary characters were altogether great and considerably engaging, as their clearly defined personalities and relatively interesting characterizations allowed for highly enjoyable and often hilarious interactions, as well as some intriguing development, especially evident with Shinka. As such, Sanae and Shinka were the best secondary characters, so their numerous antics and mutual development throughout the show were highlights within each episode, as they complemented each other very well, consistently bringing out the best in one another, and although a very temporary change, I really liked Sanae’s small touch of using a hairclip while she adopted a seemingly mature personality. Makoto and Kumin were the most “unimportant” characters within the group, and, as such, their stalled relationship was expected, but it’s inability to be resolved at some point within the last several episodes was rather disappointing, since it would have effectively given both of them a layer of meaningful depth that could have provided a broadened focus within the narrative that wasn’t exactly explored.
One of the most impressive and satisfying aspects of the show was it’s tightly structured narrative. As such, the narrative, as a whole, was greatly cohesive and exceptionally well-paced, never having slipped into a tiresome monotony, as each episode methodically propelled the story and, in turn, the characters’ gradual development, forward. Although the narrative was, at times, developed in an exceedingly simplistic manner, the slight lack of noticeable complexities and needlessly divergent developments was rather beneficial to the story. Of course, there was still a certain level of compelling intricacies that were intermittently infused into the narrative, accentuated most evidently by Yuuta and Rikka’s beautiful, well-developed relationship. Though I preferred the comedic aspects of the story, the melancholic elements that increasingly filtered into the narrative throughout the latter half of the show rarely felt particularly intrusive, since, for the most part, these dramatic developments were naturally woven into the story, consistently drawing upon foreshadowed events and past emotions.
Taichi Ishidate’s direction was terrific throughout this episode and, though not quite as nuanced or emotionally evocative as his direction in Hyouka’s final episode, it definitely elevated numerous moments, such as Rikka's jump from her window. Musically, the show was solid, but unremarkable, possessing only a few selections that were marginally memorable. Visually, this episode was amazing, especially throughout the final sequence. The animation has consistently been one of the best elements of the show, as it was able to effectively capture subtle flourishes of emotion and small, nearly imperceptible movements that were essential in conveying the emotional complexities within several exceedingly significant moments throughout the show.
All in all, Chuunibyou was thoroughly impressive throughout it's entirety, excelling with it's highly enjoyable characters, the comedic elements that were filtered into the story, the masterful execution of it's narrative, and, above all, the exceptionally satisfying development and subsequent portrayal of Rikka and Yuuta's relationship. Although it wasn't nearly as great as Hyouka, it was, in it's own right, a considerably enjoyable and consistently interesting story that rarely faltered, hardly ever displaying even a modicum of mediocrity. Although occasionally flawed in several areas, KyoAni has constructed the best romantic comedy of the year.
A satisfying 8/10 for me.