This week’s Blood-C was bangin’, switchin’ up the formula a bit, whereby the battle comes first, then the lighter high school stuff. Then it does something else: it finally combines those worlds, much to Saya’s horror. We’ve arrived at the crossroads, people. The bloody crossroads.
The latest elder bairn she kills once again refers to the contract between them and humans. We don’t know exactly what the contract is, but it probably means looking the other way and letting them eat humans in exchange for relative peace, or something. Regardless, the doubt and confusion stirring in Saya starts spilling into her normal life. And it hurts her lil’ noggin, too.
A thunderstorm cancels her gym class, so they tell horror stories instead. After a half-hearted attempt by the class prez, the teacher steps in and, well, there’s no other way of saying it: she describes exactly what’s going on on the other side of Saya’s life. She’s even about to reveal the answer Saya wants so badly – what is the contract? – when Saya faints. Tokizane, who has exchanged knowing looks with her all along, catches her. I really hope this guy does someting soon. Something.
Back home at the temple, her classmate Nene, who wanted to hear the teacher’s story, comes to apologize, and boom, a massive elder bairn bursts out of the ground behind her. Shit just got real. It’s a cliffhanger, but damn, it’s a good one. After seeing a woman Saya saved earlier scream and recoil in horror when she held out her bloody hand to help her, I’m guessing some of Saya’s friends will be equally horrified when they see the bairn-slayer. Which is unfortunate, because she’s awesome.
Okay, so Nezumi’s an actor, but because he’s so pretty, he plays female roles, of course. Against his wishes, Shion goes to see him perform Shakespeare. Meanwhile, in No. 5, Safu is visiting a museum with her classmates when both she and Nezumi are hit by a strange “wind”, start to hear singing, and then pass out into a dream state.
Safu wakes up in hospital, while Nezumi is carried home by Shion, who then tells him about the parasite bee attacks. Nezumi teaches him how to dance for some reason, the lovebirds kill some time dancing, and then Shion touches Nezumi’s neck, surprising him, as he didn’t have time to dodge. Perhaps Shion’s new hair and tats lent him some powers?
The Safu and Nezumi connection threw me off a bit, especially when he said it had nothing to do with bees. What exactly is going on is still something that mostly escapes me, and aside from the shared dizzy spell and the suspicion next week Nezumi and Shion may be eskimo kissing, this episode felt too much like a holding pattern, even stalling.
“Am I raising Rin or is she raising me?” So asks Daikichi, in the midst of Rin, who seems wise beyond her years. The answer of course, is both. This week he decides to adopt her, which would give Rin his surname, avoiding teasing at school. But Rin declines. She doesn’t want a new name or a new father, she wants “Daikichi.”
It was her mother Misaka’s idea. Daikichi finally meets up with her in a restaurant – in a scene where cell phone lag echo is used for a little extra suspense. She is indeed quite young; her early twenties tops. She’s beautiful like Rin, but a little spacy, but logical, and fiddles with her hair constantly as she talks. She’s also ultimately selfish; having given up Rin so she could further a manga-drawing career. Unlike Daikichi, who put the welfare of his six-year-old aunt’s above that of his career.
She also went out late at night when Rin was a baby. Daikichi believes this is the cause of Rin’s nightmares and bed-wetting. Learning this upsets Misaka, and rightly so. But even if she no longer considers herself a mother, Rin will have a family, and will be loved, no matter what her name is. That’s all that matters. Really heartwarming episode.
More ways of the French bemuse and confuse young Yune this week. She constantly wants to be of use, but in her new Parisian life, she’s neither required or expected to constantly work. She should fine time for leisure, to celebrate her freedom, to spend the money she’s made. But she’s having trouble understanding.
When I was in Japan I was amazed by how consistently kind, friendly, and helpful shopkeepers were, whether it was a 7 Eleven or a Toyota dealership. You receive a hearty welcome and the smiles hardly ever leave the faces of those working. Yune has this same mentality, but Claude warns her that in France, being too friendly or emotional to customers can scare them away.
When a young lad makes off with a candlestick (to later sell for food), she gives chase and gets lost in the gallery, neither of which boost her self-worth. When everyone either ignores her or gives her a strange look, she decides running and closing her eyes to be the best course of action, and…it is! She bumps into Claude. He repeats to her that her safety is more important than any item in the store. Yune took Claude’s advice too seriously. But she is learning.
Oscar makes a good point about a lot of the store’s wares (before going on a booty call): when electricity and such arrive, they’ll be rendered even more unnecessary. However, even things that are no longer useful are worth protecting. Do we still need butter churns? Or katanas? Not really; but those processes are a part of culture. Such arts must be preserved. Claude means to do that, and Yuna aims to help.