DanMachi II – 05 – Assets and Liabilities

In what is very much a post-climactic battle, catching-your-breath episode that doesn’t skimp on the fanservice, Hestia Familia familiarizes themselves with their sprawling new digs, which have been purged of Apollo’s, er, distinctive decor.

As thanks for joining her familia, Hestia also made sure Mikoto had a huge cypress bath and Welf has a well-stocked forge for blacksmithing. It’s nice to see Hestia and Bell somewhere other than dilapidated ruins.

Considering how all of Apollo’s assets were seized in addition to his mansion, such relatively extravagant renovations don’t seem like a problem; Hestia is rolling in cash now, and everyone in Orario wants to join the David that defeated the Apollo Goliath.

Only one problem: while Hestia is rallying the new recruits, Mikoto happens to find a debt slip in the amount of 200 million valis, incurred by Hestia for Bell’s blade. Bell faints upon hearing she spent all that money she didn’t have for him.

Just like that, the hordes of recruits scatter and Hestia’s children are contemplating some overtime in the dungeon. But she’s committed to paying back the debt on her own, and reiterates as such after overhearing Bell speak such kind words to her in the bath. As for Apollo’s money? All spent on renovations. Not the best with money, this Hestia!

Hestia Familia’s going to be alright; at least, depending on what news Shigure delivers to Mikoto about a certain fox/dog-eared woman—who features prominently on the show’s promo art and is thus probably going to play a sizable role going forward.

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Fruits Basket – 19 – The Audacity to Live

While Shigure’s editor Mitchan is on a mission to collect his manuscript, he misdirects her, and she ends up crossing paths with the latest member of the Soumas to be introduced: Souma Ritsu, or “Ritchan-san.”

Immediately, her defining characteristic seems to be “cripplingly apologetic and self-loathing” on a show where Tooru, Yuki, etc. are already here!

When Tooru accidentally hugs Ritchan, who is trying to run away for being such a nuisance to everyone, she suddenly transforms into her form, the Monkey, and Tooru learns that she is actually a he in women’s clothes, which he’s always worn since he was a young lad.

Upon transforming back (off-camera), Ritchan is challenged by Shigure and Tooru not to reflexively apologize so much, and when Mitchan returns he’s called upon to placate her. That’s when Mitchan prepares a noose with which to hang herself then writes to her parents in her will, apologizing for leaving this world before them.

Ritchan and the others are able to talk Mitchan down, and Shigure reveals he has his manuscript ready for the deadline, but then Ritchan spills coffee all over it and Mitchan faints from the shock. That’s when Ritchan decides to climb up to the roof, indicating his desire to jump off and end his miserable, worthless life.

The source material of Fruits Basket shows its age by once again making light of both Mitchan and Ritchan’s threats of suicide, only for Ritchan’s latest threat to be taken seriously by Tooru, complete with her trademark relaying of lessons she and her mom learned together and empathetic pep talk.

The juggling of disparate tones didn’t work for me, largely because it’s initially treated as a silly character quirk. That left a bad taste in my mouth that is hard to set aside even when the show suddenly takes Mitchan and Ritchan’s intermittent intentions to die seriously. It’s as if it’s trying to have its (fruit)cake and eat it too (or at least a book about fruitcake).

Tooru’s assurance that no one knows the reason they were born, but that it’s enough to just keep living until they find that reason, be it through something or someone, is definitely a welcome and vital message to all who feel like Ritchan and Mitchan sometimes feel.

But I’ll admit I was a little distracted not just by the show’s past flippancy on this subject, but the fact Tooru nearly died herself by slipping on the roof tiles.