After a dramatic flash-forward to the start of the Tokyo Blade 2.5D stage play that shows us what each of the main six characters look like, and a brief check-in with Ruby, for whom things are going well, we dive head-first into rehearsals for Blade.
We get a brief synopsis of the characters, faction, and general story, and then we watch the rehearsals unfold. Aqua is only doing this to get closer to Lala Lai’s director, Kindaichi Toshirou, for more info on his mom Ai’s death, while Akane learns how scary Kana can be when she’s going toe-to-toe with Lala Lai’s top actor, Himekawa Taiki.
Kana not only matches her performance to her fellow actors as a defense mechanism after her past career was harmed by her being too flashy, so the better the actor she works with, the better she acts. Meanwhile, the ever-calculating, researching, and analyzing Akane, locked in a rivalry with Kana for the top performance of this play as well as Aqua’s affections, is hamstrung.
Her character Princess Saya had a meaty, complex role in the hugely popular manga, especially at first when she was Aqua’s character Toki’s primary love interest. But not only did fans start to prefer Touki with Kana’s more assertive and fiery Tsurugi, but the play scriptwriter stripped all the complexity and nuance out of the Saya character.
This puts Akane at a disadvantage with regard to her personal goal to beat Kana at this acting thing and win Aqua, but she doesn’t feel it her place to complain about her character’s role to the director or scriptwriter. That said, she does intend to do a little mixing of her Ai persona with her Saya.
When Aqua learns of her frustration, and the scriptwriter GOA visits rehearsals, he does something she didn’t intend to do: go to both GOA and Kindaichi directly and tell them Akane has a question about how Saya was adapted. GOA sympathizes as he is also a fan of Saya in the manga, but had to streamline her character as a matter of course.
Suffice it to say, not everything in the multi-volume manga can fit in a two-hour play, nor would it all work in a play. All of Saya’s inner conflict would take too long to express to an audience, so her character was sacrificed for the sake of dramatic and narrative expediency.
While Akane accepts this and is prepared to move on, Tokyo Blade’s original creator Samejima Abiko (Sakura Ayane!) isn’t willing to. While she initially comes off as painfully shy and naive about how stage play adaptations work, she uses her authority as creator when she meekly, then suddenly assertively asks if they can change, well everything in the script.
Will she get her wish? I somehow doubt it; as I said, the stage play can’t be ten hours long! I’m also not yet convinced she’s an ally of Akane just because they both agree Saya got shortchanged. But Abiko’s sudden Prima Donna turn adds an additional layer of messiness to a production that already features Kana and Akane as acting and love rivals both within and outside of it.
In other words, Oshi no Ko is back and I couldn’t be happier. I remain firmly on the fence about whom to root for, so for now I’ll simply root for both women, and continue to hope that Aqua lets go of his desire revenge before he destroys himself, and instead make the best of his situation, as Ruby (formerly Sarina) seems to be doing. Something tells me things won’t go my way!
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