Fruits Basket – 22 – An Answered Prayer

Or: Why Kids Are Total and Complete Trash, Volume #3,692

Present-day Hanejima Saki’s “Waves” aren’t just a rumor about her, or some kind of occult quality she happens to believe in. They are an actual power, like ESP. I shouldn’t be surprised—this is a world where people turn into adorable animals when hugged by the opposite sex—and seeing how much a younger Saki suffered from the inability to control those powers really puts the person she now is into perspective.

But here’s the thing: she didn’t become a different person. She’s always been the same person: quiet, kind and gentle, and loyal to those who love her. Her problem in the past was, she feared her powers, and when human laws couldn’t be employed against her, she decided that whatever horrible bullying she received was punishment she was due.

Kids bullied the hell out of Saki, and it wasn’t until two shitty boys were holding her down to make her eat a live newt that she finally thought I want this boy to die that her ability had a physical effect, knocking the kid out for hours.

While its understandable for her to fear her power and even hate herself for it, that position totally ignores the fact that the little shit instigated things, and bears most of the responsibility. If he’d simply treated her with kindness, he wouldn’t have been hurt.

This week we also learn the extent to which Hanejima’s family loves her. It would be all too realistic for her mom and dad to one day reach their breaking point, but that never happens, and their love, protection, and desire for her to be happy never fades for an instant, even when she starts considering herself nothing but a burden to be discarded.

When the environment at school gets too bad—she has to sit and be burned and fight with everything she’s got not to fight back lest she hurt her bullies—the entire family moves, and urge her not to give up. Her devoted little brother Megumi wears all black in solidarity, and prays that one day someone will come who will love Saki as he does and end her crushing loneliness.

That day comes at her new school, where there’s no black in the uniforms, so she paints her nails black as a “mark of sin”, that original sin of harming the boy that she’ll never forget or forgive herself for. While in line for lunch, Honda Tooru chats her up. Little does Saki know that Megumi’s prayer has been answered in the form of this odd, ditzy, extremely polite and upbeat girl.

Of course, back then Tooru and Arisa were already hella tight, so they invite Saki to lunch with them, and won’t hear any objections based on her low self-worth. They make it clear to her that no matter how strange she may think herself to be, they’re just as strange, and welcome her company.

For the first time, a peer tells Saki “see you tomorrow,” and to her delight, they say “good morning” to her the next day, another first. As much as Saki tries to stick with her M.O. of staying away from people, she finds herself with Tooru and Arisa all the time, until even the once-oppressive sun seems to take on a gentler color.

All her progress with her new friends is suddenly threatened when two classmates ask her about her old school, having heard nasty rumors. But while Saki isn’t the one who burned a girl’s arm, she does own up to almost killing that boy, and for that reason, she believes Tooru and Arisa should distance themselves from her before they get hurt.

Needless to say, Tooru and Arisa..don’t do that. Not two minutes go by after Saki flees that Tooru catches up and declares that no matter what she does or doesn’t know about Saki, she loves her, and doesn’t want to stay away. Arisa joins them and asks simply: Does Saki want them to stay away? Of course, she doesn’t, and so they won’t.

The rest is history! In time, and probably in large part to emotional support not just from her family and two BFFs, Saki learns how to control her power, and the voices vanish. Now, as we know, she only uses it “a bit” to teach shitty people a lesson, but isn’t in any more danger of losing control.

But even if she’s more or less cured from a malady that was as life-debilitating as it was mysterious, she still wears all black, as it keeps her calm, while Megumi keeps wearing black for the same reason. His prayer was answered, but more importantly, Saki never gave up.

Fruits Basket – 21 – Prince Yuki, The Witch, and The Demon Queen

The cold open was so different from what I’m used to with Fruits BasketI momentarily thought my fansub might be a mislabeled episode of some dark mystery or maho shoujo anime. That is, until the appearance of Hanajima Saki, just before Minagawa Motoko wakes up from her nightmare in her hair bonnet.

Motoko is the third-year rep for the Souma Yuki fan club, Prince Yuki, of which we haven’t seen much since much earlier episodes. But along with her first- and second-year counterparts Yamagishi Mio and Kinoshita Minami, Motoko is committed to “getting rid” of the vile “witch” Honda Tooru.

They believe she has stolen their beloved Yuki’s heart with an evil spell, but she’s under the protection of the “demon queen” Hanajima Saki, whom they must defeat in order to get to Tooru.

If it sounds like these three girls have a case of chuunibyou, well…it kinda is, what with the specialized jargon, military-like procedures, and serial pose-strikin’! But mostly, they’re simply jealous of Tooru and Yuki’s relationship, despite knowing next to nothing about it, and believe their numbers give them the right to determine what’s best for Yuki.

While Motoko, Minami and Mio all have the same idea of Saki’s home (a haunted western mansion surrounded by graves), they’re surprised to find it’s…just a normal house. Her room is normal too, aside from the persistent black-and-purple theme (she even has some of the same shoujo series as they do!).

They’re looking for a weakness…anything they can use. Instead, they find Saki’s little brother, Megumi, who was hiding in the closet and only comes out when Saki tells him to.

Megumi: New friends of yours?
Saki: No. They’re strangers that happen to go to the same school and be the same gender as me.

I love how Saki and Megumi never for a moment stop being the people they always are, but by doing so keep the three Prince Yuki reps in a perpetual state of unease and dread. Saki warned them not to say their names in the house, and later Megumi explains why that is: all he needs is someone’s name to put a curse on them…or to counter-curse their counter-curse.

When the youngest of the reps starts wanting to leave immediately, the three finally come out with it: they want Saki to tell Tooru to stop being so close to Yuki. Megumi immediately takes their position for what it is—jealousy—and in trying to explain that it’s not jealousy, just being mad about someone having something they don’t have, she just ends up…describing jealousy.

Both Megumi and the musical score turn serious when he gravely warns them not to assume they can do what they want just because they like someone, and that pushing such intense love as theirs on someone can burden or hurt them, not loving them back. He asks them to consider how Yuki feels and respect those feelings, before they end up making him hate them.

Then he gravely says their names, one after the other, which sends them bolting out of the house, passing by the youngest (and most normal) Hanajima sibling in the process. They clearly forgot that Megumi could hear them using their names while he was hiding.

Hopefully, Motoko, Minami and Mio learned something from their visit to Saki’s house about taking such strong and unyielding positions about things they know so little about…but I’m not going to hold my breath, because the next day they’ll still have their huge fan club with its book of rules, and their two simultaneous, contradictory believes Yuki shouldn’t belong to anyone, but also should secretly belong to each of them.

Saki, on the other hand, took Megumi’s words to heart about jealousy, because she admits that’s what she’s felt ever since Tooru started living with Yuki, Kyou, and Shigure and had many adventures with them and the other Soumas. She tells herself she mustn’t let those feelings of loneliness make her selfishly think her needs and desires vis-a-vis Tooru are any more important than those of others.

With that, her loneliness is extinguished when Arisa and Tooru arrive at her front door; turns out Tooru doesn’t have to work until later, so she can hang out with Arisa and Saki. That brings a big, bright, very ungothic smile to Saki’s face.

The next morning, Motoko again awakes from a nightmare involving the “demon queen” Saki and hell, let’s call him Saki’s “death squire” Megumi. Minami and Mio also had nightmares, even though Saki teases them that the “curse” won’t take effect for three days.

But like their vilification of Saki and Tooru, perhaps those dreams are nothing more than a manifestation of their ugly jealousy, which starts as less ugly loneliness. After all, not a single member of Prince Yuki can possibly be happy, since they all love him, yet cannot be with him.

*  *  *

After twenty-one episodes, who is my favorite Fruits Basket character? Uotani Arisa. NEXT QUESTION. Who is my second-favorite? Hanajima Saki. NO MORE QUESTIONS. 

Both women are as strong as they are because they are able to be upfront and honest about their “weaknesses,” and while they have no time for childish challenges thrown their way by their would-be, so-called “adversaries,” they’re not above putting a good ol’ scare into them—and not below delivering wise advice when it’s called for. Tooru is as blessed to have them as they are blessed to have her in their lives.

Finally, I’d be remiss if I didn’t mention how goshdarn funny this episode was…I was laughing from start to finish at the Prince Yuki reps’ petty machinations and while watching their absolute drubbing at the hands of a young woman (and little brother) they never had any business trifling with.

Fruits Basket – 17 – Paying It Forward

Uotani Arisa was a broken and rudderless teen, subsumed by dirt and blood from pointless beatings; lost in the darkness. Things were briefly made worse when her idol Kyouko turned out to be the “lame” doting mom of the even lamer and impossibly sweet Tooru.

And yet, when Arisa is alone and on the run from more beating than she can take in a day, who does she barrel into once more but that sweet and polite Tooru, who immediately senses her friend is in danger, grabs her by the arm, and runs.

At Tooru’s apartment, Arisa finds herself back in an atmosphere of warmth, tranquility and love that is so foreign to her it’s uncomfortable. She figures her dirty delinquent self wouldn’t change even if she had such an atmosphere at her home, with her dad. Nevertheless, she’s jealous of it, and she wants it.

Tooru Kyouko are more than willing to share it with her, and to soothe her crushing loneliness that has been the core of her struggles in life so far. Back in the present, we see that Arisa is no longer lonely, and loves Tooru and Saki very much. That’s when the three young delinquent wannabes finally confront Arisa, but she ignores them as if they were mere gnats.

While her story about how she became besties with Tooru is complete, there remains the rest of her story: how she became the strong, beautiful, wonderful person she is. It’s a story she doesn’t tell the Souma boys, but is generous enough to share with us.

Hanging out with Tooru and Kyouko is a positive force for change in Arisa, but that change doesn’t come as quickly or easily as removing the stems peas. She may have returned to school and studies with Tooru, but her teachers assume she’s bullying her, while her gang takes none to kindly to her efforts to go straight.

Other students are weirded out by Tooru hanging out with Arisa all the time, and rumors spread about Tooru actually being a delinquent beneath a goody-goody facade. To Arisa’s relief and joy, Tooru pays such rumblings absolutely no mind. She’s going to make an extra muffin for her dear friend Uo-chan, no matter what anyone says.

But while the bond of friendship between Tooru and Arisa can’t be easily broken, the same doesn’t go for Arisa’s bones. While in the present she credits Kyouko and Tooru with saving her, it’s not like Arisa did nothing to help her own cause, and while she might not have known it at the time, going back to her gang to tell them she’s out and facing the consequences was actually the first step towards saving herself.

Thanks to her older gangmate Akimoto, Kyouko learns of the horrible beating Arisa’s doomed to receive if no one intervenes, so the Crimson Butterfly dons her duster for one last rodeo, intervening in the fight, extracting the battered Arisa, and carrying her back to her place on piggyback.

As Arisa demeans and insults her idiotic self for not realizing sooner she was on the wrong path, Kyouko offers some sage life advice, having experience quite a bit of that life herself. She tells Arisa that sometimes you need to hit rock bottom to realize you want to change; and that neither the light nor purity of life she seeks would be possible without the presence of darkness and dirt from which she emerged.

Arisa didn’t understand the feelings she bore until she got hurt exploring them, but now that she’s come out the other side, she knows with the clarity of a mountain lake what she wants to do: to become a strong, beautiful, wonderful best friend in whom Tooru can take pride.

So Arisa abandons her delinquent past to become just that, and eventually she and Tooru befriend Saki as well. And while she is utterly devastated when Kyouko suddenly dies, she’s also eternally grateful for the things Kyouko gave her and the things she left behind, with which she can not only continue to be a better person with a kinder soul, but pay the love and kindness and wisdom she received to others.

That means not simply socking the redheaded delinquent punk (Ishi-chan) who keeps bothering her, but offering her words of advice she wished she’d received earlier: Stop acting out while you still can, before something serious happens. If you need someone to scold you, I’ll do it anytime.

Ishi is immediately smitten by Arisa’s blend of warmth and coolness, and her two friends fall in line, becoming fans of Uotani Arisa on the spot. After the credits, Ishi not only cosplays as Arisa, but wears the exact same outfit Arisa wore the day they met! Needless to say, this is exceedingly cute and heartwarming.

Just like Arisa idolizing someone like Kyouko instead of a less savory gang member, it’s almost as if the universe is looking out for these three still very young kids who have a lot of life yet to live before giving up.

Because they chose the right woman to idolize, just as she did. And perhaps, one day, when they’re better people, they’ll pay Arisa’s wisdom and kindness forward, and help others become better too. Along with Tooru—essentially a demigoddess of love and kindness—this is the enduring gift Kyouko left behind, and why she’ll never really be gone.

Fruits Basket – 16 – Her Kind of Place

This week’s cold open is perhaps the darkest scene since the show dove into Hatori’s dark past. It’s not just shot dark, it’s frikkin’ dark, full stop. A younger, short-haired, long white coat-donning Uotani Arisa comes home to a dad wreathed in TV light and surrounded by bottles who doesn’t notice she’s there. She goes to the room and sits in the dark, wondering, perhaps, why she’s even fucking alive; what the point of all this is.

The next we see Arisa, in the present, luxuriating in the pool during P.E., is as bright and upbeat as the cold open wasn’t. Despite their reputation for delinquency, both she and Saki love the pool and would never skip out on an opportunity to swim in it. But the sight of Tooru in the same school swimsuit she wore in middle school reminds Arisa of elderly people buying dinner at the konbini she works at: somehow just really sad and wrong.

So she does something about it, asking—nay, telling—the Souma boys that it’s about goddamn time they get up off their asses and show some gratitude for Tooru constantly cooking and cleaning for them, by coming along to help her and Saki buy Tooru a big girl swimsuit. After some brief Shigure lecherness, the kids hit the mall.

Yuki and Kyou are beyond embarrassed to even be in a store that sells skimpy bikinis, let alone to see one placed in front of Tooru, but Arisa demands they at least lend their opinion as to what color Tooru would look best in.

Naturally, the boys pick opposite colors: Yuki blue, Kyou orange. Saki corrects them: Tooru looks best in pink. Her mom was the Crimson Butterfly while her straightforward dad’s color was white; combine those, and you get pink. When Yuki remarks that Arisa and Saki seem to love Tooru very much, Arisa quickly confirms that assessment. After all, Tooru saved her.

That’s when three yankees spot Arisa and plan to jump her, but are totally distracted by the gorgeous Souma boys she’s with.

Tooru is very predictably reticent about accepting the swimsuit, claiming she doesn’t deserve such a gift or any gift for that matter, because she’s nuts—but Arisa and Saki insist, so a swimsuit it is. Yuki and Kyou will just have to wait until next time they’re at a pool or beach with Tooru to see what it looks like.

Yuki remarks about how much Arisa and Saki love Tooru (and vice versa), and asks if the three go back to grade school. Arisa says no, only since middle school, when she was still active in a women’s gang she joined in fifth grade. She beat the shit out of people and had the shit beat out of her, and absolutely idolized the Crimson Butterfly, AKA Honda Kyouko.

When her gangmates tell her the Butterfly’s daughter attends her middles school, Arisa keeps her eyes open for “Crimson Butterfly II,” a carrot-topped delinquent in the mold of her mom. Instead, she’s bumped into by Kyouko’s actual daughter: klutz, space cadet, and deeply kind and decent girl, Honda Tooru. Arisa can’t believe it.

When she finally gets to meet the total badass bike empress she placed on such a high pedestal, she was bound to be disappointed, but could never in a million years have thought she’d be a carefree doting parent. When Kyouko and Tooru invite her to dinner, Arisa suddenly feels very uncomfortable and out of place.

Arisa gets up to leave, and when they insist she stay, she lets Kyouko have it: she’s disappointed and embarrassed to see what has become of the Crimson Butterfly. Kyouko’s response is perfect: she “just relaxed a bit”, is all. But it’s just too hard a pill to swallow.

In her rush to leave, she left her trademark black face mask, and Tooru chases after her to give it to her, calling her “Uo-chan.” But Arisa rejects the nickname and rejects Tooru’s open hand of friendship. She can’t look at Tooru without being reminded of how low the Crimson Butterfly fell. So she goes back to beating the shit out of people and getting the shit beat out of her, because what else is she going to do?

That brings us back to the cold open when she comes home, shuts herself in her room, and can’t get the image of Kyouko and her warm, bright, happy life with her “strange” daughter out of her head. Lame as it might seem to her, it may nevertheless be something Arisa wants, but long ago thought she could never have.

After last week’s disappointing Ayame-stuffed lakeside excursion, Fruits Basket roars back into relevance with a much-anticipated look into the past of one of Tooru’s BFFs and one of the most lovable characters on the show, and it didn’t rush things, leaving its resolution for next week.

It reminded me of another excellent backstory episode of another blonde delinquent-turned respectable civilian (Onizuka Hime from SKET Dance) as well as a wonderful exploration of how much a person can change in a short time—and how much Tooru can change them just by being Tooru. More of this, please!

Oh, and as an added bonus, the three delinquents who have a beef with Arisa have a hilarious post-credits sequence where they’re enthusiastically practicing their threatening techniques under a bridge, only for their first “victim” to be none other than Souma Momiji, who inadvertently scares them off with a his terrifying German friendliness. Very good stuff.

Fruits Basket – 14 – A Selfish Wish

On the one-year anniversary of her mother’s death, Tooru announces her plans to visit her grave, but pointedly doesn’t ask anyone to join her, in another demonstration of her fanatical desire never to trouble anyone. Still, Yuki asks if he can come, while Kyon is more tentative…for some reason.

Naturally, Arisa and Saki will also be attending, as Tooru’s friends and effectively, her surrogate parents. Saki notes how Tooru can be so cheerful after losing her dear mother just a year ago, and can only chalk it up to very, very hard work for which Tooru should be praised.

As if Tooru didn’t have enough on her plate, a seemingly innocent question about which one of Momiji’s parents is German turns into a whole thing. Momiji’s mother is German, and he looks just like her, but she doesn’t remember him. When she gave birth to him (two months early, as is typical of zodiac births), both her body and mind rejected him (which can also happen).

The only way to save Momiji’s mother from suicide was to wipe all her memories of Momiji, something his father told him had to happen, and that he’d love him enough for the both of them. Rather than forget himself what happened to his mom, Momiji long ago decided to carry every memory, no matter how heavy. He would have preferred if his mom had “stuck with it” and tried to accept him, just as it seems Tooru had wished to be there when her mom died—but they both consider those “selfish wishes.”

The day of the grave visit arrives, and Uo is resplendent in the “Crimson Butterfly” bike gang coat she inherited from Kyouko. Yuki also learns why Tooru was so upset about him catching cold: Tooru the tragedy magnet’s dad died of complications from a cold. And yet despite losing both parents, rather than radiate despair, she’s always smiling and exuding cheerfulness. He just doesn’t get it, but he’s glad to be close to such a person.

As for Kyon, he acts super-shifty and suspicious throughout the grave visit. When he stalks off, Saki follows him, and he asks her if she can talk to ghosts (she can’t). She proceeds to explain the difference between waves (to which she’s attuned) and spiritual energy (of which she has none), and she can sense from his waves of “chaos” that he feels some kind of regret in this place.

Uo and Saki are glad Tooru is doing so well with Yuki and Kyon, but the two lads’ minds remain “ruled by dark troubled thoughts” which will, for the interim, prevent either of them from romantic thoughts (which is fine with Saki as she’s not yet ready to give Tooru away as a bride).

Kyon’s actions later that day seem to bear that out. As the wind blows the hat either Yuki or Kyon gave to Tooru off its perch, Kyon leans in close to Tooru’s face, not to kiss her, but to tell her he’s “sorry”. About what? Did he, perchance, have a part in Kyouko’s death? Is that why he had waves of regret at the cemetery, and why he feels the need to apologize?

As many mysteries still swirl around Yuki and Kyon’s past, present, and future with Honda Tooru, the one constant is that she’s not going to let anything keep her spirits down. Not losing both parents, and probably not learning someone close might’ve had something to do with one of those losses.

Fruits Basket – 12 – Someone Scary This Way Comes

This episode starts out so harmlessly…and silly. It’s a new term, Tooru, Yuki, Kyou, and the others are all second years, and the new first year girls are extremely aggressive in making their existence known to Yuki. Tooru is targeted as an “easy mark” by first year boys, and Kyou scares them off with a move that hilariously befuddles her. New first years Momiji and Haruhatsu brazenly flout the dress code: Momiji by wearing half of a girls’ uni; Haru with jewelry and white-over-black hair.

They are immediately singled out by StuCo President Takei Makoto, who seems like a character from another show, even if FB is not above slapstick. This bespectacled dingus has a thing for Yuki, and his two nearly identical female lieutenants are soon won over by Momiji’s cuteness, while Haruhatsu proves he didn’t illegally die his hair by showing him his pubes in the men’s room.

Unfortunately for this half the episode Tooru is just kind of off in the background as all these Soumas bicker and test authority. I’m well aware Tooru was not always the focus of the source material and in some cases was totally absent as the cast expanded, but the broad goofy comedy on display here doesn’t really make a strong case for keeping her out of the anime spotlight.

Tooru does not play a small role in the second half, when she’s confronted by none other than Souma family head, Akito (voiced by Sakamoto Maaya in her best honey-poison imperiousness). Tooru is caught totally off guard by the sudden and very casual encounter, and Akito never says a single thing I am inclined to either take at face value or believe.

The one person Yuki doesn’t want near Akito less than himself is Tooru, so he comes to her rescue, only to be utterly neutralized by Akito, who after all threw him in a dark room and psychologically tortured him for years until Shigure finally put a stop to it by letting Yuki live with him.

So it’s up to Space Cadet Tooru to rescue Yuki-hime, demonstrating quicker thinking than would usually be expected of her in explaining an action that could’ve cost someone else their life (shoving Akito away from Yuki). In the moment, she knew Yuki was in pain, and she did what she had to do to stop it.

In his report to Hatori about the car ride home, Shigure says Akito would later call Tooru “ugly” and not a threat to him, assured that one day Yuki would come crawling back, citing his fear of him as proof. But Akito seems like the kind of person whose threat assessments vary from day to day, or mood to mood. In any case, Tooru is far from safe, nor is Yuki.

Still, Tooru tries to refocus a clearly traumatized Yuki by joining a big ol’ badminton game with the gang. She doesn’t want to waste, or let others waste, the precious time they have, and she has no illusions about that time being infinite, or even indefinite. Something cold could come out of the shadows and freeze these poor warm people and warm life in which they’ve never been happier. But not today. Today, for a little while, they’ll forget their fears and have fun volleying a shuttle around.

Fruits Basket – 11 – Giving Everything

For those who haven’t been paying attention, Tooru is a giver. She gives and gives and gives, sometimes without thinking; sometimes with quite a bit of thought behind it; and always, always without regard for any consequences that might crop up as a result of that boundless generosity. The only one she’s not generous to is herself. As has been said about her, she plays by a different set of rules.

Two of the unintended effects of this: it’s hard for her to accept anything in return, and it’s hard for anyone else to give to her without her wondering if that’s really okay. But after Valentine’s Day, you have White Day. It’s tradition. It’s the rules of society. So she’s expecting something in return for her chocolates. She just wasn’t expecting a hot spring trip, courtesy of Momiji.

As with most things offered to her, she feels unworthy, or at least feels she’d be an expensive burden. An onsen is costly, no matter how you look at it! And this, despite the fact she spent so much of her own money buying ingredients for the chocolates she gave everyone, she’s fallen behind on school trip payments. Kyou, just barely moderating his temper, asks Tooru to go have a bath, then turns to the issue at hand: just how stupid is Tooru to be so selfless with her money?

Momiji regails Kyou and Yuki with a “Funny Story” from a book he once read in school, about an “idiot” traveler who was constantly being swindled and duped out of possessions, until she wandered the forest naked. There, a bunch of demons duped her out of her body, all except a head with no eyes (shades of Hyakkimaru), leaving her only a piece of paper that read “idiot.”

First of all, this is not a funny story, WTF is wrong with Momiji’s classmates? But secondly, the fact the traveler never despaired, but only wept with joy that the things she gave up went on to help people (even if they lied about needing them). Like Tooru, her warped perspective is just something that works for her, and you can either accept it or consider not hanging out with her anymore, because she’s probably never going to change!

For all of this shows’s demonstrations that the Soumas can transform into animals, Tooru may be the most bizarre creature of them all, and especially out of place in modern Japanese capitalist society. Yet like Momiji, Kyou and Yuki, what initially, by my own less lofty set of standards and different perspective, might seem like idiocy could also be described as nobility; of representing the best of what a person could be; someone who, if everyone emulated them, would make the world a so much better place.

The proprietor of the onsen, a woman of frail health whose off-camera son is the Monkey of the Zodiac, was initially suspicious of Tooru, an outsider, of being a potentially disruptive or harmful force to her cursed child. But that was before she met her, or saw her soaking in the spring with her dead mother’s picture in a plastic bag to keep her dry. She can tell she had no reason to worry; Tooru is One Of The Good Ones.

It’s amazing Tooru agreed to go at all, considering how kingly a gift she considers a hot spring trip. By blowing everything nice other people do for her out of proportion…it can be challenging, at times perhaps even trying, to contend with that. But everyone has fun at the onsen trip.

Tooru plays the quickest and funniest round of ping pong, gets a lovely hair ribbon from Yuki, along with his full-on Prince Act, and Momiji gets to sleep beside Tooru, even though she’s just a year younger than Kyou or Yuki. But the night before she learns this, Tooru simply lies in bed thanking her mother for making all this happiness with the Soumas possible.

That may seem macabre—essentially thanking your mom for dying—but like I said, Tooru doesn’t play by those rules. Everything that happens to her, and everyone she meets, good or bad, is a miraculous gift, and she takes absolutely nothing for granted.

 

Fruits Basket – 10 – A Ripple on the Water

It’s the day before Valentine’s Day, when Yuki appears to only have one admirer’s chocolate in his locker, but only because every previous admirer (and there were many) tossed the chocolate that was in there into the trash. Kyou is also a lot more on edge, and Tooru wonders why…until Kagura shows up at the school gates and it suddenly makes perfect sense.

When Kyou rejects Kagura’s request for a date (mistaking it for a request), Kagura suggests they have a double date with Yuki and Tooru. Yuki is ready to veto the idea, but Tooru is so excited he can’t say no. Then Kagura and Shigure both make remarks about him and Yuki getting along a lot better and runs away, not wanting to hear that. When Tooru tracks him down, she tells him it’s okay for him to hate Yuki…but she plainly doesn’t get why, and still hopes she can wipe away both lads’ anxiety and pain the way they did for her.

Kyou, Kagura, Yuki and Tooru all go on the double date (to an anime film of all things!) and it all goes swimmingly, but more interesting is when Shigure visits the main house to deliver Tooru’s chocolate to the other Souma members she’s met, and ends up talking with Hatori. What about? It’s hard to say; as Yuki says, Shigure’s a particularly hard-to-pin-down kinda guy, especially where goals and motives are concerned.

One thing’s for sure: he’s in league with Akito, and while Hatori believes he and Akito using Tooru as a pawn for some self-serving purpose, he’ll neither help nor hinder his efforts, but simply remain neutral. Shigure, for his part, laments potentially having to hurt Tooru at some point in the future, but whatever “dream,” “affection,” or “fervor” he’s after, it’s apparently more important than not hurting her.

From episode start to finish, and even with some glimpses of flashbacks, Shigure remains a stubborn riddle wrapped in a mystery inside an enigma. His long-suffering young editor Mitsuru (who is about to take a box cutter to her wrist when Tooru first meets her) just wants the guy to meet his damn deadlines, but just as there’s no figuring out a guy like Shigure, there’s no rushing him either.

I’m definitely intrigued by this gradual increase in the rumblings that Shigure is Up To Something, which is effective because it doesn’t come out of left field. We always knew it wasn’t mere altruism that led Shigure into allowing an outsider in Tooru to live in his home, any more than he harbored two exiles from the main house in Yuki and Kyou simply because he’s a cool uncle. I also suspect things may not go exactly the way he plans.

Fruits Basket – 09 – Poker on a Cold Day

After seeing a bit of him last week, we’re formally introduced to another new Souma, Haruhatsu, who seems cool to some passing ladies until he gets on his deeply uncool bike with his uncool shades, clearly on some kind of mission.

Winter break is over, and Tooru has settled back into a fun daily life with the Soumas, though Yuki and Kyou remain stubbornly incapable of getting along. As it’s wintertime, Yuki also feels a cold coming on.

Despite this, Yuki doesn’t back down from Kyou’s challenge to beat him in the endurance race on the first day of the third term. Sure enough, the two blast ahead of all the other boys. Meanwhile, Uo skips entirely while Saki dramatically quits after one step and plays cards the rest of the time, to the annoyance of the teacher.

Kyou is literally tripped up by Haruhatsu, who wanted to fight Kyou on New Year’s but wasn’t able because Kyou skipped the family festivities. Now it’s go time…and Kyou isn’t one to back down from a fight.

Their mutual competitive spirit results in the emergence of “Dark Haru”, Haruhatsu’s other, more manic side, like Kagura only worse. Haru reiterates his undying love for Yuki while fighting Kyou like they’re in some kind fo martial arts movie.

Yuki notes that the two trained together when they were younger, and are both equally passionate about it. Tooru suspects Yuki loves martial arts too, but when he recalls a memory of watching the other two sparring and having his eyes suddenly covered by Akito, he faints.

The fight is called, and Haru decides the best way to get Yuki home is to carry him on his back in animal form, which is that of the Ox (though technically a cow).

When it’s just Haru and Tooru, he tells her the story of how he was always angry and losing his temper, and hated Yuki’s guts because of the “rat who rode the ox’s back” legend, and also because everyone always called him stupid and an idiot, for which he also blamed Yuki.

That all changed when he finally met him, and Yuki told him he wasn’t stupid; not really. He fell for him right then and there. With that, Yuki wakes up, not the worse for wear.

Haru suspects Tooru has had a “lightening” effect on the once standoffish Yuki and Kyou, and proves there’s something between Yuki and Tooru when he has the latter call the former by his given name and he immediately transforms into a rat.

Meanwhile, Saki has drawn a crowd to play poker by the school gates, but beats everyone running away (not literally though, as Saki isn’t fond of running). As a result of playing cards outside all afternoon in the cold, Kyou and Shigure also get colds. But Tooru is all too happy to take care of them!

Fruits Basket – 08 – All is Quiet on New Year’s Day

Everyone has somewhere to be for the New Year’s holiday…everyone but Tooru, whose parents are dead and whose remaining family is off to Hawaii. Yet no matter how hard Uo and Hana try to invite them to their places, she insists she’ll be fine, and that they should spend the time with their families.

After reveling in winter cleaning with the Soumas, Tooru learns the three are headed to the main house for the big banquet and other festivities. Tooru, not being a Souma, is not invited, but she’s content to hold the fort at Shigure’s house, even though it will mean ringing in the new year all alone.

Despite her insistence she’ll be fine, Yuki and Kyou are uneasy the whole time they’re en route to the main house. They know her well enough (it’s been four months) to know she can be a bit of a space cadet, and is prone to accidents. What if she gets hurt and no one is there to help her?

Shigure finds the two young lads’ worrying about her like their baby chick to be most entertaining, and so stirs the pot by saying there’s a burglar in their neighborhood who has yet to be caught. The final straw is when they run into Saki, who very simply and concisely asks them to consider how she’s feeling all alone at their house for New Years; to put themselves in her shoes, knowing both what she’s been through.

Yuki and Kyou bump heads rushing back home to her, cursing themselves for not realizing they accepted Tooru’s polite insistence far too easily. Saying you’re fine being alone and being fine alone are not the same thing, even with Tooru. Their suspicions are confirmed when they arrive to find her holding her mother’s portrait and crying while listening to Enka music on the telly.

Wondering what the heck happened, an exhausted Yuki and Kyou collapse to the floor and say, simply, “I’m home”…and Tooru tears right back up, only they’re tears of joy. Despite always smiling on the outside, Tooru is not always happy and cheerful on the inside; the lads were right not to leave her alone on the holiday; she’s happiest when she’s with people she cares about.

Shigure meets with Hatori, Hatsuhare, and Momiji, informing them Yuki and Kyou have skipped. Hatsuhare can understand, as he himself contemplates running from things he’d rather not engage in. But Shigure tells him this wasn’t about running away from Akito (in Yuki’s case) or Kagura (in Kyou’s); not this time.

Instead, it was about running to someone, someone both in greater need and more deserving of their presence. That’s hammered home when Shigure checks in on a morose Akito. Shigure is actually glad to see the family head reaping what he sowed. Shigure is the one harboring Yuki and Kyou during their self-exile, after all; it makes sense he’d be on their side with this…situation.

Meanwhile, by spending New Years with Tooru, keeping her company, sharing mochi (and chewing carefully!), and finally climbing up the roof together to watch the gorgeous first sun rise out of the horizon, the guilt Yuki and Kyou initially felt about abandoning their formal family obligations eventually melts away.

No, Yuki and Kyou needed Tooru every bit as much as Tooru needed them. Far from being a night they’ll regret, it turns out to be a night—and morning—the three of them won’t soon forget. They get to see Tooru smile without a hint of weariness hidden behind it as she looks forward to another year with two of the four people (along with Uo and Saki) most important in her life; her real family.

Fruits Basket – 06 – Not One to Ask for the Moon

After a particularly narratively and emotionally heavy episode that ends with Tooru back where she belongs, we get something much lighter, starting with the cultural festival at school, the great success of Tooru’s onigiri, and Yuki giving his upperclassmen the going-away present of cross-dressing for them.

We also meet a Souma relative somehow more annoying than Kagura (though mercifully less violent): Momiji, the pint-sized half-German who is brazen enough to hug Tooru in the middle of school and transform into his Zodiac form, the rabbit. Thankfully Yuki manages to distract the class with his charms.

We also meed Momiji’s minder, Souma Hatori, whose animal remains a mystery for now (my money’s on Ox), and who was the one who altered memories the last time Yuki’s secret was exposed to normies. Once he and Momiji are gone, Yuki laments to Tooru how unmanly it is to be called “cute”, and she can’t deny she thinks he’s cute-looking too.

Yuki throws her for a sudden dokidoki loop when he tells her he’s sure she’d look much cuter than him in his princess dress. While heading inside, Tooru is confronted by her BFFs Uotani and Hanajima, who are concerned she’s hiding something from them from the way she’s acting around the Soumas. When she says she’s living with them, she assures them there’s nothing to worry about.

Uotani and Hanajima decide to determine that for themselves, leading to an impromptu visit and sleepover at Shigure’s house. Tooru learns (and is duly #impressed) that Shigure is an author, of both “high” and “low” literature. While Tooru is grabbing some playing cards, Uotani and Hanajima wonder if they’re actually useful friends to her anymore, considering in her dire need they weren’t there to help.

Kyou and Yuki tell them she doesn’t sweat things like that, nor does she “ask the moon” of her friends. It’s more than enough for Uo and Hana to be by her side, like they were at her mom’s funeral, like they are at school, and like they are tonight at her new home. Tooru confirms this by telling them the story of her baseball cap, which a boy (that looked an awful lot like Yuki or Kyou in silhouette) gave her when she was feeling sad and lonely years ago.

After a good night’s sleep in Tooru’s awesome bed, Uo and Hana have some breakfast and give the Soumas their official approval. Not only are they kind gents (despite their spirited cat-and-rat rivalry), but they already know Tooru well, and appreciate her. Yuki and Kyou also agree that Uo and Hana can come back anytime…as long as the Souma family secret is maintained.

Speaking of which…Souma “Memory Modifier” Hatori is Tooru’s latest “Ominous End-of-Episode Phone Call,” basically ordering her to report to the main house on her next day off school to speak to him and possibly meet Akito, the family head—who admits in a scene with Shigure that he does ask the moon. Now what could they want with Tooru?