TRAP drops from third to eigth to ninth, worrying both Mashiro and Takagi. Takahama confirms their suspicion that Miura can be overoptimistic at times, and when another manga that kept sliding is cancelled, panic nearly sets in. Back at the editors’ office, Miura gets five different opinions by five other editors, and is initially unsure on how to proceed, but he ultimately warns against big changes to the manga. Mashrio agrees, feeling Takagi’s position hints of desperation. They’re all convinced that TRAP needs to be loud and proud about being a decent mystery, which sets it apart on Jack.
This week doesn’t let us forget that Ashirugi Muto aren’t out of the woods just because they’re serialized. One bad week could spell cancellation; there’s a crapload of manga waiting in line to be published. Case in point: both Fukuda and Nakai/Aoki’s manga are approved for serialization – on the same day. The pressure is truly on for TRAP. This episode was a quick succession of splashes of cold water, and also exposed not only the inexperience of the still very young author and artist, but the relatively green editor Miura as well.
Being inundated with multiple contradicting possible courses of action is always going to happen. Someone who’s good will take the course that is closest to matching what their gut instinct is telling them. One cannot operate without instinct in this industry – take Hiramaru: he’s loathing drawing a manuscript every week; he has all the talent and instincts, but the motivation and passion are lacking. Niizuma is pretty much pure instinct, an unsullied natural talent. Nakai and Fukuda have kept themselves going with hard work determination, and of course luck, like Takagi and Mashiro. What they really need next week is a jump in the rankings: something to reignite their confidence.
In this Yuri-centric episode, a young Yuri lives with her horrible, abusive father, a famous, renowned sculptor. He only loves things that are beautiful, and thinks Yuri is ugly, so he “chisels” away at her, leaving a body part bandaged after each session. It is during this abuse that she meets Momoka Oginome, who tries to gain her trust by telling her about a her diary, which she can use to transfer fate to living things, changing their futures. Before Yuri’s father kills her, Momoka transfers Yuri’s fate; her father and the massive tower that represented him is gone, as are her injuries – but Momoka has to pay the price, and dies. Masako infiltrates the bathhouse and makes off with half of the diary, but Yuri still has the half she stole from Ringo.
This episode began with a fresh new opening sequence, so we knew that a big episode was in store, and it didn’t disappoint one bit, opening up an entirely new can of whoopass by answering a lot of questions hanging out there, among them, who was Momoka? We finally see and hear her, as she befriends Yuri. Momoka has god-like powers. Her diary can transfer fate as easily as transfering subway routes (we friggin’ love that analogy). We also know what killed her, and that was a selfless act that saved Yuri from The Worst Father In The World. So there’s a little bit of Jesus in her, too. And how about the fact that the Tokyo Tower used to be a massive stone skyscraper in the shape of Michelangelo’s David? Weird. Wild.
Was was so amazing about this week is just how much managed to be dished out. Not only do we learn a bunch about Momoka and Yuri, but Shoma realizes the error of sending off Ringo so forcably, and comes to save the day – although, true to fate, he doesn’t have to go far, as he just happens to be in the hotel room right next to the one where Yuri has Ringo tied up and ready to do awful things to. We also have a great surprise cameo by Masako, taking back half of the diary after an excellent little battle between the two feisty women. So now we know just how powerful the diary (penguin drum…) is. And if Ringo was successful in using it previously, than it’s clear she too had to pay some kind of price for every fate she changed.
Rating: 4 ~series elevated to favorites ~