Fruits Basket – 24 – The Rosary

When Kyou’s mother committed suicide, everyone blamed him because he was cursed with the Cat spirit; everyone but Souma Kazuma, who took him under his wing and trained him without judgment. It was Kazuma’s grandfather, after all, who carried the spirit before Kyou, so even though he himself didn’t know what it was like, he was close to someone that did, and had empathy for them both.

Now Kazuma is back, and while he doesn’t show it around the others, Kyou is elated. He assumes he’s to go back to living with his shishou and continue his training. But Kazuma is there for something else. He’s seen Kyou with Tooru, and believes it’s time to tell her the truth about what Kyou is, even if Kyou would prefer to keep running away from that truth.

Kazuma doesn’t see much point in dragging things out. After informing Tooru, he takes Kyou’s arm and removes the rosary of red and white beads that never leaves his arm. Once it’s off, his true form is revealed, and it’s a truly terrifying, monstrous form with a smell to match. Throughout the transformation, Kyou recalls how Akito reacted (how you’d expect Akito to react—with utter disgust and rejection).

He expects the same reaction from Tooru, and while she’s initially frozen in shock, and later nauseous from the sight and smell of him, she still dutifully chases after him, completely forgetting that she just got over a cold!

Assuming she’s only there to have pity on him and offer hollow comfort, both things he’s sick to death of, he tosses her aside, hoping to hurt her enough so she’ll never forgive him. This strategy fails, of course, because we’re talking about Tooru here.

Kyou is weary of Tooru’s comfort (the “lukewarm bath” in which he’d gotten too pruny) because that’s what he got from his late mother: she gave him the rosary, checked his arm dozens of times a day to make sure he was wearing it, and wouldn’t let him outside. He could never trust or accept the love she insisted she had for him because she worked so tirelessly to hide his true form, sweeping it under the rug like it didn’t exist.

Even though his mother told him all the time that she’d die for him, that wasn’t what Kyou needed, or needs. What he needs, and what Tooru ultimately provides, is not an assurance she’ll die for him, but that she’ll live life with him. She doesn’t claim to have all the answers, but she won’t look away or turn away from him, even in his true form.

Tooru fears Kyou never returning to Shigure’s house more than the reality of his true form, so she takes hold of his misshapen limb and doesn’t let go, until he transforms back into human form, and then into his cute Zodiac cat form, and they return to the house together triumphant and to Kazuma’s relief.

In this regard, Tooru has emerged as his new proverbial rosary; one that doesn’t hide what he is but accepts it and is committed to living with him anyway. And however dark the future gets, he’s able to move past his dark past because she’ll be right there facing that future beside him.

Advertisements

Vinland Saga – 06 – Engulfed by the Quarrels of Men

On November 13, 1002, King Æthelred II of orders all Danish immigrants in England killed. The Danish respond by sending troops across the sea, and the Vikings—Danish pirates—serve as the “army’s army.” Askeladd’s crew are right in the middle of this.

When English archers ambush their camp, Thorfinn gets a crash course in mass death, killing, and living with it, taking his first life and letting out a cry of vicious despair that carries through the forest, while Askeladd observes in quiet approval.

The battles with the English continue, and Thorfinn continues to kill and gets better at it, with his enemies continually underestimating him due to his size and youth. Askeladd starts using him as a scout, and he manages to kill two foes who come at him, gaining a second dagger with which he dual-wields henceforth.

While on another scouting mission he takes an arrow to the shoulder and washes up on a branch in a river in East Anglia. A kindly, God-fearing mother and her daughter take him in, clean him up, and feed him. The daughter worries (rightfully) that he’s a Dane, their enemy; but her mom doesn’t think any women or children should be bothered with the quarrels of men.

The mother even combs the fleas and lice from Thorfinn’s unruly hair, with the same comb she used to use on her son, who died of a cold two years ago. An English soldier arrives looking for a pint-sized scout, but the mother covers for Finn.

That night, while the daughter continues to argue with her mother about harboring him, Finn abruptly takes his leave, saying just one word to them in English: Run. He then sets a cottage on the beach aflame; the signal to Askeladd to make his landing.

The mother doesn’t run as Finn urged her; she comes to the beach and sees for herself the boy she nursed back to health and harbored: a rabid killing machine. When Finn spots her among the crowd, tears streaming down her cheeks, guilt momentarily washes across his face, as he remembers his own mother and older sister.

Then the mother is simply gobbled up by the charging viking horde, Finn takes a deep breath, and the guilt is replaced by cold detachment as he too gets lost in the crush, joining his fellow fighters in the latest retaliatory raid on a relatively well-off English village. The comb the mother used on him is trod upon and broken, and perhaps with it any possible chance of Thorfinn turning back from his current, blood-soaked path.

Okaa-san Online – 01 (First Impressions) – ZOMRPG, MOM!!!

One night, Oosuki is filling out a survey heavy on questions about his relationship to his mother, and the next morning a government official informs him that he’s been selected to enter a video game world. But he doesn’t go alone. His mom follows him in, and will be joining him on his full-dive fantasy adventure!

That’s the high concept, broad-strokes premise to an episode that then proceeds to take its sweet old time immersing Masato and his mom into this new world, an as-yet-unnamed MMO that’s still in beta. Their role is to play the game so that the producers can gather data.

Masato already has reservations about his mom following him along for this once-in-a-lifetime experience, but they turn to downright frustration when she demonstrates she can dual-wield legendary weapons and decimate multiple targets at once. His basic attack is pathetic by comparison.

So, of course, he lashes out, threatening to “disown” his mom in a moment of unguarded rage. That’s when his mom (named Mamako) starts to cry, telling him no one has ever said anything so mean and sad to her. He quickly backtracks, apologizing profusely, and his mom, being a very nice mom, easily forgives him.

They teleport into a town to gather a party at the Adventurer’s Guild, but after pulling the game guide out of her bust, Mamako decides to make a strong first impression by smashing a giant hole into the guild hall, much to Masato’s dismay.

Shirase, the woman who sent them into the game, is there to greet them, bleeding from the head (turns out she’s a game object and the blood is just an effect). And naturally, as they look over party members, Mamako is thinking about finding a nice young woman to team up with him.

Okaa-san Online takes the opposite approach of Arifureta and starts us off at the very beginning of Masato and Mamako’s story, but I still felt an inescapable impatience with the slow pace and the episode’s need to explain terms like “PK”, as if this was someone’s first isekai rodeo.

There’s also the little matter of the show looking pretty atrocious. Like the game in which mother and son find themselves (though I don’t mind their white pupils, like Moriko’s in MMO Junkie), the show just feels sparse and incomplete, both visually and conceptually, what with its lazy, unimaginative hand-waving.

The music has its epic moments, but can be too assertive during quieter scenes. And while the underlying premise is pretty funny at first blush, the comedic dialogue and pacing is iffy at best. With execution lacking in effort and attention to detail, I can’t see myself sticking with this for long. After all, Mama didn’t raise no fool.

Fire Force – 01 – (First Impressions) – Exorcising Fire Demons

The premise of Fire Force is as bizarre as it is frightening: in its timeline, the “Solar Era”, spontaneous human combustion is not only a great hazard to Tokyo, but the beings that emerge from the flames, “Infernals,” are demons who must be defeated in order to put the souls of the victims at rest.

That’s the job of Special Fire Force Company 8, of which young newcomer and third-generation pyrokineticist Kusakabe Shinra is its newest member. He just happens to be a witness to the latest emergence of an Infernal, which Company 8 is dispatched to the train station to tackle.

In this way, Shinra gets a first-row view of how the Fire Force gets things done, and it’s as much a battle with a demon as it is a religous ritual; there’s even a sister, Iris, on staff to deliver the proper prayers at the proper time. While Shinra doesn’t participate in the battle, which is another success for Company 8, his quick thinking (and literally flaming feet) manage to rescue Iris from suffering a freak accident at the hands of a falling lamp.

From there, Shinra is taken back to Co.8’s HQ, a somewhat run-down but still very cool-looking cathedral (all of the architecture and mechanical design is very quirky and cool-looking, for that matter). He already met Iris by sweeping her off her feet like a princess, but soon meets Captain Oubi, Lt. Hinawa, and the first-class fire soldier Oze Maki.

Still, while his job is ostensibly to purify fire demons, Shinra clearly has some demons of his own, something he largely gives away every time he gets nervous and his mouth tightens up into a sinister-looking crooked grin. Those demons revolve around some kind of tragedy in his past where he was blamed for his mother and little brother’s death and subsequently ostracized by most other adults in his family and among their friends.

He doesn’t have time to contemplate how he’ll wrestle with those demons for long; the alarm sounds and within minutes he’s prepped and deployed with the rest of the company aboard the armored firetruck “Matchbox” to a factory fire caused by the manager’s wife combusting.

Another firsthand look at a scene of fire and destruction triggers his worst memories of the end of his mom, brother, and home, as he insists within his thoughts that someone else was present who was the primary culprit; it wasn’t a matter of his powers going out of control but someone causing them to.

We’ll see how that pans out, but his Captain and Maki work to keep him in the here and now, focused on the not inconsiderable task before them: the Infernal is one tough cookie.

Ultimately Shinra has to put aside the fact he couldn’t keep his promise to protect his family like a hero, but he decides to make a new promise never to let that happen again, and to protect anyone else affected by the Infernals. He delivers a devastating kick to the core of the Infernal, dispersing it, and Iris says the prayer. Mission Complete.

Outside, Shinra and the rest of the Fire Force gets its due congratulations, thanks, and adulation of the assembled crowd of citizens, not just for stopping the blaze but saving the soul of the manager’s wife. And for the first time since before his mother died, Shinra finally smiles a genuine smile, not the forced smirk with which he is so often cursed at the wrong times.

Fire Force, in a couple words, is pretty damn good. Stylish, fast-paced, and uncomplicated in its presentation of its protagonist, his motivations and goals, and the introduction of his new family and life among Company 8, which is definitely not your typical fire department. It’s a fun and imaginative setting that still feels grounded in reality and modern life.

The vaunted David Production studio provides a feast for the eyes, blending the reds and oranges of the flames with the ever-glowing blue of the fire soldiers as well as the eerie green aurora above Tokyo’s skies. The orchestral score also delivers the appropriate sense of occasion, peril, and excitement, particularly during the boss fight. I’m looking forward to this one.

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.

Dororo – 24 (Fin) – Proof of Existence, Proof of Humanity

In the end, the brothers Hyakkimaru and Tahoumaru only had to endure one last thing: the missteps of their parents. When Hyakkimaru was born, Daigo decided to sacrifice him to the demons. Nui would have Tahoumaru later, but she never stopped loving her firstborn, and that ate at her second in its own way. Even Mutsu and Hyougou couldn’t replace the love of a mother that he always lacked.

As they continue their swordfight in the castle, Tahoumaru goes on about how the likes of Hyakkimaru doesn’t belong within the walls, and that unlike the post where Mutsu and Hyougou marked their heights over the years, there’s nothing there to prove his existence. This is ironic, as the castle itself is burning and crumbling around them, and all of that physical proof Tahoumaru values so along with it.

But even though Tahoumaru still has his human eyes, Hyakkimaru can still see the void in his brother’s heart; the same sense of lacking something as himself. They are no different, and despite their crazed fighting and bizarre modifications, they are both humans who have simply forgotten themselves, lashing out to fill those voids.

As Nui and Jukai enter the castle to try to stop the fighting, Hyakkimaru ends things on his own, not by killing Tahoumaru, but by sparing him. The demon eyes in his head still burn even after Tahoumaru accepts defeat, but he rips them out and offers them to their rightful owner. Hyakkimaru’s false eyes are ejected and his human eyes restored.

As a mass of demonic crystal surges with anger, the castle starts to come down, but both Nui and Jukai arrive in time to save him from being crushed by burning debris. He plunges his swords into the crystal mass, apparently exorcising the residual evil energy, but that also completes the destruction of the temple literally kept up by the power of those now-forsaken demons.

Jukai, Nui and Tahoumaru do not escape, but perish in the flames, while Dororo finds Hyakkimaru and the two climb up the well Nui used to gain access. Hyakkimaru sees Dororo with his own eyes for the first time and calls him—calls her—pretty, which really throws Dororo off. Biwamaru, who helped get them out of the well, stands with the two as they watch Daigo’s castle and surrounding lands burn in a purifying fire.

Once the flames recede and the smoke clears, Dororo is back in the village of survivors and invalids led by a few able-bodied individuals, including those he suggested start to live life without depending on samurai, using money instead of swords to maintain that life.

When they ask where that money will come from, Dororo says he’s got it covered. Dororo has decided, then, what to do with that fortune: use it to realize a community that runs itself, without fealty to some stern-faced lord.

As for the lord, Daigo is not quite ready to give up his quest to restore his lands to prosperity, no matter how many people, including Hyakkimaru again, he has to sacrifice to the demons in a new pact. That is, until Hyakkimaru takes a sword and instead of plunging it into Daigo’s back, pierces his helmet instead.

The helmet is a powerful symbol of Daigo’s status as something other than a mere human, so its destruction is a symbol of Hyakkimaru’s hope his father will live on as a human, something he too plans on doing. In the end, Daigo laments ever making the pact, as he now realizes he might have achieved prosperity simply by raising Hyakkimaru and letting him succeed him.

Bittersweetly, it’s not Happily Ever After for the duo of Dororo and Hyakkimaru. The two go their separate ways; Dororo to lead a new community in keeping with the legacy of her rebellious parents, and Hyakkimaru to learn how to walk the path of humanity after a lifetime of survival-and-revenge mode. With his new eyes, heart, and purpose in life, he has truly been reborn, and until he finds his way, it’s not safe for Dororo to be beside him.

However, the ending suggests that one day the two are reunited, as the young “boy” Dororo runs across a pier with a hopeful smile, he transforms into Dororo the older and more beautiful woman. At the end of the pier is a slightly older-looking Hyakkimaru, in all his human glory, welcoming her with a warm smile. It’s a shame a passing look is all we get, rather than an after-credits scene of the two conversing—but then again, perhaps their reunion is meant more symbolically, as something to which they both aspire.

In any case, both souls, once having lost and suffered so much, seem to be in a much better place, and have stepped out of the darkness and doubt and embraced their respective selves. While I wish we’d seen more of Dororo-as-a-leader, considering where we started, this was a logical and satisfying enough place to end.

Dororo – 23 – Chicks Fed by the Hen

Dororo, Nui, and Biwamaru can only watch as Hyakkimaru and Midoro battle the newly demon-possessed Tahoumaru, Hyougou and Mutsu. The latter two meet ignominious ends as Midoro lops Hyougou’s head off and kicks Mutsu to death, but Mutsu at least dies a human.

As the young foal finds and calms her mother, Nui laments her inability to calm either of her sons, as they run off fighting together. Hyakkimaru notably regains his arms, which bleed profusely as he grasps the blades that had up until only recently been his arms.

The three men who were chasing the foal agree it’s wrong to rely on Hyakkimaru’s parts being eaten by a demon – but neither they nor Nui are wrong in valuing an entire domain over one man.

As Lord Daigo abandons his castle and leads his troops to fight the advancing Asakura, Tahoumaru and Hyakkimaru turn the place into the venue of their final battle, setting the place ablaze in the process. Jukai also seems to have one last task to perform, perhaps depending on the outcome of the duel. As for the fighting itself and the dialogue between the brothers…it unfortunately grows repetitive and dull as it drags on.

As for Dororo and the three men who chased the foal, they all agree right then and there not to rely on the samurai (i.e. the strong) to take what they want out of live, but to rather acquire it with their own hands. If three men can get on board with that concept, rather than continuing to mooch on a demon pact (sorry Daigo, you did make the wrong choice) that only ever created only a very fragile prosperity, perhaps the rest of the domain can as well. One way or another, the lands of Daigo are going to change.

Dororo – 22 – Stay The Bro You Are

Things get more and more dire in Dororoland with this week’s events, with Hyakkimaru pushed over the edge in more ways than one by the capture of Dororo. The damage he did to Hyougou and Mutsu seems to render them no longer able to protect Tahoumaru, which means he’s more pissed off than ever.

Mutsu is the worse-off off the two, however, as she’s caught the disease that’s gripped parts of Daigo’s lands, and will soon claim her life. I feel for these siblings, now that I know what they’ve already been through when they were the same age as Dororo. But hey, at least Hyakkimaru doesn’t have to kill the demon horse Midoro right out of the gate.

Nui decides she won’t let another innocent child die for her sake, so she releases him, and hides him in her robes when guards pass by. Dororo lingers under those robes just a bit and called “Nui” mama. Nui can probably tell right there that Dororo has suffered too much already. Nui ends up following Dororo out of Daigo’s castle just as Midoro arrives to wreak havoc, and they take a boat downriver.

Dororo tells her more about Hyakkimaru and how unfair it is that he has to go through with all this, and she tells him how even without skin or limbs, Hyakkimaru was the most precious thing in her life. He hopes Dororo will tell him that. Dororo hopes she can help keep Hyakkimaru from becoming a demon. But due to the rains, they lose control of the boat and crash…

Fortunately, they’re both okay, as Dororo wakes up in the same stable as Midoro’s child; the two of them having to live on without their mothers. Biwamaru is watching over him, and later shows him that Niu is aiding in the care and feeding of the sick and invalid who had nowhere else to go.

Meanwhile, Hyakkimaru is revealed to have taken Midoro as his horse, and the two form a tornado of wrath that cuts through Daigo’s soldiers like softened butter. If Dororo wants to save him, he’d better hurry…if he’s not already too late.

Mutsu, deciding she can’t simply die in a room, heads to the Hall of Hell to offer her body to the one demon who didn’t eat a part of Hyakkimaru. Tahoumaru and Hyougou arrive in the nick of time to stop her, but something far worse happens instead, the three of them desperate beyond words for the power to protect their lands people, and each other.

After Hyakkimaru disposes of the fixer who kidnapped Dororo, he ends up crossing paths with Tahoumaru, Mutsu and Hyougou. Only they’re not the same people anymore. Thanks to a new deal with the demons, Mutsu and Hyougou have their arms back, and Tahoumaru has his eye back, along with a third one.

Those arms and eyes are Hyakkimaru’s. They were no doubt given to the three for one purpose: to get the remaining body parts back. Only then will the demons honor the pact and restore Daigo’s lands to prosperity…or so they probably told Tahoumaru. But it was a mistake for his father to deal with the demons in the first place, and it’s an even bigger mistake to deal with them now.

Carole & Tuesday – 09 – Blessing of a Goddess

Carole & Tuesday don’t sing on the second day of competition, but Gus has them attend the studio anyway so they can scout the next four contestants. One of those, Cybelle, continues acting extremely stalker-y, brushing Tues’ hair without asking first, and suggestion they form their own duo without Carole. In other odd pairings, Dahlia ends up sitting beside Gus, but nothing much comes of it. As for Angela, she wants to know where the hell Tao is.

Tao is there, but seems content to stand in the shadows rather than engage with anyone. The first pair of contestants performs, starting with GGK, FKA Twigs’ Martian anime counterpart. The song is crisply produced and competently sung, but falls down on generic lyrics. Definitely not ear-bleedingly bad, but thoroughly MEH.

The gender-fluid Mermaid Sisters, on the other hand, had me howling with laughter as they proceeded to sing all manner of profanities in sweet Barbershop harmonies. It’s by far the most English swears I’ve ever heard in an anime, but it ends up disqualifying them, and the competition has to paused when they lash out at the judges, giving GGK the win by default.

Cybelle and Angela are next, with the former telling Tuesday (not asking her) to hold her before she takes the stage. Cybelle then bites Tuesday in the fucking neck, confirming Carole’s insistence that Tuesday extricate herself from this weirdo as soon as possible.

Turns out Tao isn’t interested in Angela or any of the other contestants performing that day; instead, he asks C&T who writes their lyrics. They tell him they do, with no AIs, and he kinda just goes “huh, okay” and leaves without seeing Angela, much to her chagrin.

As intolerable as her character is, Cybelle actually delivers one of the best performances of the entire show thus far. Why is that? Because she’s not singing awful English lyrics; she’s singing awful French lyrics.

I don’t speak French, so if I switch off the subtitles, it just sounds like nice music, which it was. Not earth-shattering, but nice. If only all the songs were performed in French, or Japanese, or any language that could cover up the hack lyrics.

It’s just bad luck Cybelle wasn’t paired with the Mermaid Sisters, Fire Brothers, or OG Bulldog, or she would have advanced. Instead, her first opponent is Angela. And whether or not the entire production is rigged towards her winning, she still puts in IMO the best all-around performance of the competition with the very catchy “Move Mountains” song, showing that she definitely belongs there.

Angela beats Cybelle easily, but Cybelle seeks consolation in Tuesday’s arms, attempting to goad her into making a new duo together. It’s here where Tuesday finally rejects her, and Cybelle storms away in a huff, her shock quickly turning to anger.

This is most definitely not over (she has Tuesday’s contact info, after all), so now in addition to having an extremely tough opponent in Angela to defeat, they’ll have to deal with the consequences of Tuesday not dispatching her earlier. Doubtless hell hath no fury like a Cybelle scorned…

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?

Fruits Basket – 05 – Rescuing the Princess

This episode’s cold open moved me to tears. Tooru’s grandfather has informed her that his house is sufficiently ready for them to move back in. Just like that, her new life with her unique new friends has been snatched away from her.

There’s a palpable atmosphere of gloom and emptiness to the scene in which she tells the others, before realizing she hasn’t started dinner. Then, while in the kitchen, her mom suddenly walks in the door, and she’s in her old kitchen, making dinner despite suffering a fever.

When she tells her mom she couldn’t just stay in bed while she’s working so hard, her mom simply hugs her, and says sometimes it’s okay to be discouraged or selfish, once in a while. It’s as if she almost did too good a job raising her daughter!

When the kettle whistles she’s brought back to the Souma house, and declares that no, she’s okay. It doesn’t matter if she can get discouraged, she won’t get discouraged. Gramps’ newly renovated house may well be fine; and definitely better than her tent!

But for someone who’s come so far in so short a time, it feels like moving backwards, and that she’s deferring her happiness in order to go with the flow. Trying to convince herself she and the Soumas can’t be family when they already are just that.

It’s heartbreaking and yes, tear-jerking. It remains so as she tells herself she was never the brightest bulb, hearkening back to grade school when she played in the “Fruits Basket” game that gives this series its name, and in which she was cruelly excluded by being declared an onigiri.

She declares it foolish to ever believe she could join the Fruits Basket group of Zodiac animals that is the Souma clan. But she’s wrong, you see. She’s foolish to think she was or is foolish. It’s when she’s welcomed “home”, where her grandfather can’t even get her fucking name right, when I thought to myself it can’t end this way.

I’m not alone, as a melancholy Yuki and Kyou recall all the good times they had with their dear friend Tooru, whom they allowed to depart without any resistance, and suddenly sport defiant looks on their faces. They’re on my side; they’re not gonna let it end this way.

Every second Tooru is in that hellish house with those trash people, it made my blood boil. Being asked to hurry up and unpack her meager two shopping bags of effects. Her mother’s older sister hiring a P.I. to investigate where Tooru was living to protect her son, who’s going to be a police officer and can’t have any bad apples in the family mucking that up. Calling her sister a bad seed and declaring “like mother, like daughter.” Tooru’s asshole of a cousin, leering at her while asking if the men she lived with did anything indecent.

Gramps may confuse Tooru with his daughter, but he’s still sharp enough to slap his would-be cop punk of a grandson for speaking to “Kyouko” that way, and condemning his family as a bunch of “unpleasant people”…which they most certainly are! Go Gramps! He concedes that he has to put up with them, but tells her that she doesn’t. Her late father said Kyouko deserved to live where she could “spread her wings,” so if there’s a place where she’s happier, she should go there.

Still, Tooru resists. She doesn’t deserve “more.” She has to be grateful with what she has. She’s “blessed”. She shouldn’t say “I want to go home,” and home not be her gramps’. She can’t say “I didn’t want to leave!” If she did, that would be selfish, and mean she’s too soft on herself? “Yes,” replies Yuki, suddenly in the living room, dazzling the stage.

Flashback to before his surprise appearance; he and Kyou are taking out their frustration on each other, as per ususal, with Shigure in the middle. Yuki notices the note with Tooru’s address on the table, and excuses himself to take a walk. Kyou has the same thought, but is just a step behind.

He catches up, and after walking around in circles, remember the exterior walls of the house aren’t finished. They knock on the door but no one answers, then watch the scene we just saw unfold and wait for the right time to swoop in. When that moment arrives, Yuki is there, followed closely by Kyou, who escorts her out while Yuki grabs her things and calls her cousin a lowlife.

Kyou tells her he’s been on edge since the moment she left, and now knows why: she didn’t want to leave. It’d piss him off to indulge someone’s daily selfishness, but in Tooru’s case, it’s okay once in a while, repeating the words her mother said to her. So she finally lets herself be selfish, and declares she wants to go home to where he and Yuki and Shigure are.

Yuki and Kyou take her hands and do just that. Finally, in the Fruits Basket game of her life, the onigiri has been chosen. Her new tribe may not be perfect, and their house always on the verge of being destroyed by familial strife, but she’s home, with her family, where she belongs. As the cameras pan up from the exterior of the house to the dusk sky, it’s never looked more beautiful.

Fruits Basket – 04 – Boarish Manners

That meek, soft-spoken girl at the door who wants to see Ryou? Uh, she’s not so meek once she sees him for the first time in four months. She delivers upon him a beatdown the likes of which we’d yet to see if this series, far beyond his sparring with Yuki. Turns out that’s just how Souma Kagura expresses her affection…with extreme prejudice. Her two-sided personality is voiced by the supremely talented Kugimiya Rie.

Kyou’s two years older, self-professed fiancee (based on a promise he made at knife-point when they were kids), Kagura demands to know where she stands, and doesn’t like how there’s another woman living in his house, albeit one who can’t hug him without making him turn into a cat. Since they’re both Soumas and Zodiac animals, she can hug him freely.

Kagura is clearly much stronger than Kyou, and so basically rolls himself into a ball and endures her savage beatings, but he dares to silence her when she starts mentioning his “true form” to Tooru. As someone who hasn’t yet found her first love, Tooru can’t help but feel a little jealous that Kagura loves someone as deeply as she does.

Repairing the substantial damage to Shigure’s house takes up much of the day (especially with Shigure and Yuki pointedly not helping), and before long, Kyou’s stomach starts to grumble. Tooru offers to start dinner, as is routine, but Kagura stops her in her tracks. Tonight, she’ll be the one to feed her beloved Kyou. The resulting feast reduces the food supply in the fridge to nothing, but as seems to be Kagura’s M.O., she got a little carried away.

As good as the food looked, part of me expected it to taste vile or some such, but nobody even gets to eat any of it, as Kyou snaps at Kagura when she says it’s ready, and she responds by driving him through the floor and onto the feast, ruining it all. With no other food to cook, Kagura heads out to the grocery store in a huff.

It isn’t until she’s at the checkout that she realizes she left her purse at home, but Tooru bails her out by paying for her, and the two women walk home together. When asked, Tooru specifies her “love” the sign of the Cat more than overt romantic love for Kyou himself, and is “humbled” by the extent of Kagura’s love.

Here we have another example of Tooru not judging someone as volatile as Kagura, but rather believing in her and her long-standing love for Kyou. Kagura in turn thanks Tooru for coming for her, and the two make hamburger steaks together. This time, when everything is ready, Tooru climbs up to the roof to tell Kyou.

Up there, she tells him how lucky he is that someone cares for him and worries about him so much—not surprising, coming from someone who was loved by her parents, but lost them far too soon.

She also brings up peoples’ dreams, whether Kagura’s dream of marriage to someone she can truly embrace, to Kyou’s love of martial arts. Tooru sees another side of Kyou as he lights up talking about martial arts. It’s clearly not just about beating Yuki, but becoming better and better at it.

When Tooru gets Kyou to come down to eat, Kagura presents him with a hamburger steak a little different from the others: his has a fried egg on top, like the fried egg he was drawing in the sand when they first met, which was when Kagura basically fell for him. Kyou tastes his dinner and through his sheepish silence expresses his approval and thanks.

The next morning, Kagura has to leave, and bids Kyou farewell with a big hug, followed by one last beatdown. Kyou says some unkind words, and Kagura responds by punching through the front door…and straight into the chest of the paperboy.

Yuki manages to distract the civilian, but Tooru finally learns that Kagura is the sign of the Boar—very appropriate considering her propensity for charging headlong towards her goals. When Tooru compliments her as the cutest boar anyone could ever ask for, she transforms back into a woman—a naked woman, on Kyou’s back.

That brings us to a cliffhanger that threatens the relative peace of the last four episodes, as well as the status as Tooru’s new home and life. She gets a call from her grandfather, and the contents of the message are enough of a shock for her to drop the gardening books she checked out. Is Tooru doomed to lose everything once more, after an all-too-brief taste of happiness?

Senryuu Shoujo – 09 – Is Your Dad Okay?

Nanako’s dad, eager to assess his daughter’s “Yankee” friend (and threatened by expressions she makes when he brings him up), tells her she should invite Eiji to the house during summer vacation. When Eiji sees her text, his phone slips out of his hand and into his ramen.

While waiting for repairs at the store, he ends up having chance encounters with Koto (handing out tissues), Amane (trying/failing to look sophisticated at a cafe), Tao (dressing down for the summer) and Kino (carefully observing a mailbox but drawing a gorilla detective).

He observes that he’s managed to run into everyone today…except the one person he wants to see most. Turns out he saves his best chance encounter for last; the wind blowing her straw hat onto his head. Eiji admits he was thinking about her, missed her, and wanted to see her; Nanako admits she felt the same way about him.

With that, it’s off to Nanako’s house, where her dad is dressed in a traditional kimono and is poised to bare his chest and pounce on Eiji should he put a toe out of line. Ultimately, when he asks Nanako if she’s okay with Eiji’s affirmative answer to the question “are you just friends”, and sees her expression, all the energy drains out of him and Nanako and her brother have to help him to bed to lie down.

That’s when Nanako’s much more accepting mom has a one-on-one chat with Eiji. She explains her husband’s protectiveness as a result of how seclusive and melancholy she used to be, since she was bullied for communicating via senryuu.

That is, until one day, she came home cheerful and beaming, having met someone else who loved senryuu; the first person not in her family “she’d want by her side.” Eiji knows she’s talking about him, and Nanako is listening in the hall, but he doesn’t admit it’s him, and instead rushes off to grab his repaired phone.