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Sogo, Kaon and Felia set off on a road trip to the mysterious Altar of the Abyss to try and restore Felia’s powers.
This is an interesting episode for Comet Lucifer because it’s engaging in aspects that I was expecting to be tiresome, and disappointing in aspects I expected it to step up. The result is an episode that’s perhaps a little light on substance compared to what we were expecting, but makes up for it in humour and some solid character development.
Really, the thing which disappointed me the most about this episode was the lack of forward plot progression. It’s extremely unclear exactly what the ‘Altar of the Abyss’ even is or why Felia needs to go there, and Moua never really elaborates on his initial statements about it. It seems to be a recurring problem with the show that people simply take things at face value without, you know, reacting like actual human beings would and demanding more granularity. That’s fine for moving the plot along briskly and efficiently, but it doesn’t do much for worldbuilding or, frankly, my opinion of the characters. I thought that the road trip would finally be an excuse to get into the action and escape from the relative safety and mundanity of Garden Indigo. Instead, although we’re briefly teased with progress, we end up in another small town and the episode largely revolves around domestic drama again. There’s nothing inherently wrong, but with the series officially half over you’d have thought we’d be cranking up the stories that matter on a large scale.
The good news is that the domestic drama is really rather good, and certainly meant that I enjoyed this episode a great deal. If there’s a trade-off to Comety Lucifer‘s stubborn intent to become dramatic, it’s that it means it can keep being dumb and humorous with little to no penalty to the ongoing narrative. Thus the absolute highlight of this episode is Roman and Otto’s arrival in their gigantic stupid robot to defend the honour of his determined-to-be-bride. These two have been dark horses since day one but they’re slowly developing into genuinely affable (albeit still totally pompous) comedy heroes. I’d be surprised if they don’t join our trio on their journey at this point.
The other major domestic issue on the table is the suddenly relevant love triangle between Sogo, Kaon and Felia. I’m torn on this because as a plotline dear god it is perhaps the most cliched thing imaginable. And yet…it still works on me. Maybe I’m just a sucker for this kind of teenage angst but it’s still pretty adorable to see Kaon trying to talk her way in and out of being the flower girl. It’s made more palatable in this situation because it’s clear Felia really is completely unknowing of what’s actually going on and it’s easy to believe Sogo is as dumb as a brick and just can’t see what’s obviously in front of his face. They seem to button up any jealousy issues pretty fast too what with Felia and Koan’s rather bizarre confrontation/epiphany while hiding from the bad guys. Like all love triangles this has the potential to become tedious pretty fast but for now it’s fluffy and innocuous enough to be charming instead. That pretty much goes for the entire show at this point – it doesn’t have enough substance to be anything major but it’s damn entertaining and heartfelt in its own unique way.
- The one genuinely intriguing plot development here might be contained in the flashback to Gus’s past. The mysterious sniper who saves him looks a LOT like Do Mon, which would be a really interesting direction for hsi character to take.
- Kaon may act like a tomboy but she certainly doesn’t dress or carry herself like one, which is what happens when you design for fanservice first and character relevancy second.
- With Roman’s increasing goofy likeability my greatest fear is that Kaon will actually fall for him for real, which would also conveniently clear the way for Sogo/Felia to happen. I always root for the childhood friend in situations like this so let’s hope Kaon doesn’t get palmed off on this stuck up idiot.
- The clear implication at the end is that ‘Agent Honeybee’ is Vee, the lady who runs the bakery. She’s pretty much the only named character it could be.
- The bull showing up in the new end credits is the best thing ever.