To Your Eternity – 19 – Killing With Kindness

We begin the penultimate episode of To Your Eternity with Hayase…doing a good deed?! That’s right, she’s using her not inconsiderable combat prowess to defeat the Nokker Zombies before they can kill innocent men, women or children. When a Nokker tries to infect her, she flexes—both literally and figuratively.

The Nokker stops in Hayase’s arm and seems to listen when she tells it that appearing before Hoshi in such a gross, unpleasant form is Doing It All Wrong; if it wants Fushi as she does, it will have to treat it with kindness. Their little confab is broken up when Oniguma!Fushi steps on Hayase…but once again stops short of killing her.

While Fushi doesn’t kill her, he’ll wish he had restrained her in some way before the day is out. Perhaps he’s distracted by the fact Tonari and Sander are in mortal danger. He bails them out of a bad way by using his Gugu form to burn the entire corpse pit. But while the bulk of the immediate Nokker threat is neutralized in those flames, his Creator tells him three Nokkers still remain on the island.

Those Nokkers were once Oopa, Uroy, and Mia, but you can’t really say it’s them anymore, as we already saw them chilling in Paradise last week. Nevertheless, it won’t be easy for Fushi to put their overthrown bodies out of their misery.

That’s when Hayase, who as I said wasn’t sufficiently neutralized, scoops up both Tonari and Sander, drugs them both, and threatens to toss them into the flaming corpse pit…unless Fushi accepts her offer. You see, she wants to keep him “clean” and “pure” as a being who can neither kill nor be killed. She’ll gladly kill and sully herself for him.

But Hayase never picked up on the fact that her go-to sedative doesn’t work on Tonari for long, and Tonari decides to pull Hayase down into the flames with her. With three of her friends dead and what she perceives as a lifetime of missteps to answer for, ridding Fushi of his greatest adversary in exchange for her life seems like a square deal.

Fushi disagrees, swooping out to save both Tonari and Hayase from certain death. And for once, he’s the one to knock out Hayase with the same poison he once accidentally knocked out the others.

Speaking of the others, when Tonari gingerly picks up a sword with tears streaming down her eyes, ready to put down the husks that were once Oopa, Uroy and Mia, Fushi steps in to do it, having both summoned the courage and not wanting Tonari to have to do the deed.

During a solemn private memorial, one of the elder islanders asks their ostensible leader if she has any words for the people. Tonari says to stop the killing…especially after everyone saw what became of them making piles of corpses.

After wandering the island offering foot and supplies to anyone who needs them, Fushi takes his leave from the island, knowing it’s only a matter of time before the Nokkers return again. He bids Tonari and Sander an very understated farewell, if you consider how many pitched emotional moments they shared previously. Maybe that’s the point; they’ve been through, and lost, a lot. They’re tired.

One person who is tireless in her obsession with Fushi is Hayase, who wakes up elated to find she’s sharing a boat with Fushi. She confesses to Fushi how much she loves him and has always loved him ever since she first saw him, and offers to show him what that love means.

Fushi is understandably repulsed by Hayase and her offer, and pulls a trick I’d say would be cruel for anyone other than Hayase, considering the shit she’s pulled these last nineteen episodes. Fushi clones the rowboat and paddles away, leaving a tied-up Hayase stranded in a becalmed sea nowhere near land.

But as he returns to the mainland (and to Pioran) guided by Tonari’s owl, a Nokker core—perhaps the very one who spent some very formative minutes inside her arm—hops onto her boat and attacks her. Is this finally the end of Hayase? I’m loath to predict that, but the preview suggests the fighting may be over, even if the dying isn’t. But then death, like pain, breeds growth.

Rating: 4/5 Stars

To Your Eternity – 18 – Paradise Bound

Tonari, who has become somewhat fond of Fushi beyond his utility as a tool for advancing her interests, wasn’t about to leave him to the tender ministrations of the “hag” Hayase. So she rows back to the island to save him, only to discover he already freed himself from the pit, which wasn’t half as deep as Pioran’s prison wall was high. Faced with having to explain why she’s there, Tonari tries out her best tsundere act.

The seas aren’t suitable for heading back out by boat, so Tonari and Fushi spend the night in a cave beside a campfire. Tonari asks about what exactly the man in black is. Is he a thoughtful god, trying to stave off the world’s destruction by creating Fushi? Or is he a demon, and the Nokkers are the servants of the real God(s) tasked with stopping him?

She also owns up to her father having been a murderer, and how she came to see him no differently than any other lowlife on the island: deserving of death. But she doesn’t see herself any differently, as in her mind she kills anyone she doesn’t like. She believes the island has poisoned her heart.

Fushi tries to cheer her up by saying that even if both their “parents” are or were demons, the two of them still do what they want to do. Being in that cave is proof of it: Tonari wasn’t about to let herself be saved at the cost of Fushi, while Fushi wasn’t about to let himself live out his existence as Hayase’s toy.

That night, Tonari dreams a familiar dream of a happy home with a living mother and father proud of her for the books she writes. Upon waking up, Tonari decides she’ll need to come up with a new dream, a new story less grounded in the past. She envisions herself, her crew, Fushi, and Pioran all relaxing and loving life on the beach.

It’s a lovely, idyllic image, and also the last upbeat image to appear in the episode; it’s all downhill from there. That morning when about to cast off, the Creator notifies Fushi that the Nokkers are attacking the town. Despite everyone worth saving on the island already off of it, Fushi heads towards danger, turning his back on an exasperated Tonari.

To his credit, Fushi isn’t doing this because the Creator is goading him to do it—it was Fushi who asked him to warn him when the Nokkers returned. It’s just that Fushi always has and probably always will blame his existence for the death of all the people who’ve died around him. If he can lesson that even a little, he must try.

The thing is, Fushi is cursed to be just too goshdarn likable to be left alone by those who enter his orbit. When he arrives at a hellish scene of corpses being reanimated into zombies by the Nokkers and wreaking havoc, it isn’t long before Tonari comes to help, and the rest of her crew also show up to help the both of them.

It strains credulity just a bit that they not only returned to the island so soon, but knew exactly where Fushi and Tonari were. What should be a devastating emotional climax is once again undermined by the fact barely any of it is animated, as with two episodes left the show is blatantly running on fumes.

Finally, the fact we’ve seen Mia, Oopa, and Uroy as Nokker zombies every week leading up to this episode, so we knew exactly what would become of them. Thile their souls may have passed to a paradise similar to the one in Tonari’s new dream, their bodies remain on Jananda; shambling nightmares Fushi isn’t strong enough to put down.

To Your Eternity – 17 – Her Pet Immortal

After knocking Fushi out with her Morning Glory potion, Hayase gives a somewhat baffling speech to the throng about how she’s going to build a new army to protect the immortal boy from the Nokkers, and immediately ceding the leadership of Jananda she won to Tonari. This immediately makes Tonari a target, and she and the other kids make themselves scarce.

Despite having no interest in ruling Jananda, Hayase very much seems to want to control Fushi, who is clearly more valuable than the entire rest of the island. Her repeated licking of his face is akin to marking her new precious property, and by disrobing she seems intent on becoming one with him. It’s very twisted…and very Hayase.

Her fun is interrupted by Tonari & Co., who come to Fushi’s rescue only to be met by Hayase’s Yanome guards and Captain Skyfish, who can see which way the wind is blowing and knows he probably shouldn’t be on the wrong side of someone as evil, dangerous, and unhinged as Hayase. In fact, he’s probably there specifically to makes sure Tonari and the other kids don’t throw away their lives in a futile effort to save their immortal friend.

Fortunately, the kids inadvertently buy time for Fushi to sneak up on Hayase with a sword to her neck, having created an empty husk of himself for the guards to carry away. Hayase is unmoved, but agrees to his proposal to remain on Jananda with her if she lets the kids and Pioran leave safely. New Leader Tonari announces to the rest of the island that all small children will also be boarding the ship, to grow up somewhere where they’ll have more choice in their lives.

Tonari is among those on Skyfish’s ship, though of course Hayase can’t resist drugging her and her friends to keep them from getting up to something. Interestingly, Tonari’s body is extremely efficient at filtering out poison, as she’s the first to come to, hours before the others. Enlisting the help of her boss (with an assist from Skyfish), she boards a dingy with Ligard, who apparently wasn’t badly injured by Hayase’s arrow.

Determined to add to the story within the thick tome tied to her belt, Tonari is resolved to rescue Fushi, alone if she has to, so he can be a part of her future. Watching Parona!Fushi get so mad at Hayase over killing the real Parona showed Tonari that Fushi wasn’t just a peculiar immortal thing, but a peculiar immortal thing with a measure of humanity she saw in herself.

While it was great to see evil old Hayase throw her weight around, this was the first episode where I couldn’t not notice the frequently cruddy character modeling, sketchy animation, and use of still images that all spell budgetary and time constraints. Between that and Hayase’s rather scattershot actions and intentions, this episode just barely held together…but it definitely had its moments.

To Your Eternity – 16 – What’s the Story, Morning Glory?

Fushi just won a huge victory, aided in no small part by Tonari’s crew and other people of Jananda. He has March, Gugu, and Oniguma back, a group I’d call family but his creator calls his “past.” By the way, that’s the last time I call him “the creator”, as some guy calls him “the asshole in black” and that’s a much better name for him!

With the Nokkers out of the picture for the time being (but those OP images of Tonari’s crew Nokker-ified still fresh in my mind) it’s nice to see Fushi simply relax, drink some blood, drink some more blood, then conjure a sumptuous feast for his new compatriots. Unfortunately, the food he conjures is from the night March and Parona were drugged by Hayase using Morning Glory-based sedative. Talk about foreboding foreshadowing!

Tonari is the first to wake up from her food coma, and notices Fushi wandering off, as is his wont. For what I believe to be the first time, she apologizes to Fushi for bringing him there. That said, Fushi glimpsed an entry in the big red book that contains her thoughts, her dreams; specifically the entry where she says she’s going to invite him to share a meal with them.

Tonari starts writing in the book again, and regales us with her story so far. She’s always dreamed of “surprising” her dad, who was wrongly accused of killed her mom and sent to Jananda. Faced with the choice of being an orphan and going with her father, she chose the latter.

Eventually, however, her dad got caught up in the leader tournament, and warned his daughter that it wouldn’t be safe to be around him. That turned out to be true, but more to the point, in participating and eventually winning the tournament, Tonari’s father became someone that her seven-year-old self simply couldn’t recognize as her father anymore.

By the time they met at the port as they promised, he was already succumbing to the poison he was given by his rivals in the unending struggle not to lead the island, but simply to have control. Her father’s parting gift to her on her birthday was the book she writes in to this day. The years went on, and she met her found family and eventually, Fushi.

Speaking of Fushi, with March back in his repertoire, he’s able to easily scale the wall and enter Pioran’s cell. While she had urged him to leave her be earlier, now she can’t mask how happy she is that he’s there.

While he could smash the prison walls with one swipe of Oniguma’s paw, he intends to win the tournament, become the leader of the island, and leave the island with Pioran, their heads held high. It’s a good plan, and Pioran is right that he’s become much more reliable.

All he has to do is win the tournament final. Now armed with a reason for fighting, he walks down the corridor to the arena without hesitation. Tonari is there to see him off, worried he wouldn’t show but very glad he did. The two honestly don’t interact much this week, but this is the most tender moment they’ve shared yet. It figures that this comes right before yet another huge setback for Fushi, though fortunately not one that involves the Nokkers.

Then again, who needs the Nokkers when you have the evilest, most badass villain in the whole show in Hayase? Turns out she’s the one who urged Tonari to get Fushi on a ship to Jananda, all so she could eventually face him…and, incidentally, lick his face.

Fushi already has plenty of reason to hate Hayase considering she killed poor little March with an arrow to the back. But Hayase wants to make sure Fushi also understands that his Parona form is “her gift” to him: she tracked Parona down and murdered her by sloppily beheading her so she suffered. This riles Fushi up, and he comes at her with everything he’s got…but it’s not enough.

As Hayase puts it, Fushi is immortal, but feeble. His murderous intent is just one more simulacrum; it can’t hold a candle to her ruthlessness. Also, if we’re honest, Fushi hasn’t had much of a challenge in the tournament thus far, and all of his past opponents had no idea what he was. I guess Hayase doesn’t either, but she knows how he operates, and she knows his gentle nature.

She also knows that when he’s in human form he can succumb to a poison just like any regular human. She sticks him with some morning glory sedative (like I said, simply devastating foreshadowing), and just like that, she is the new leader of Jananda—presumably free to lick him all she wants. At the end of the day, Hayase isn’t the kind of villain who wants to destroy Fushi. Rather, she intends to possess and control him completely. I Imagine Tonari and her crew will have a couple things to say about that!

To Your Eternity – 15 – A Victor Without Victims

Having Parona’s form brings Fushi nothing but grief, for the fact he has her form almost certainly means she died, like March, far to young. His Creator tells him not to get so worked up every time someone dies—literally everyone in the world except the two of them will die, after all—but Fushi tells him to piss off, and to the very hands-off Creator’s credit, he does.

As for Fushi’s new self-appointed bestie Tonari, she’s absolutely jazzed by Fushi’s new form, complimenting his hair and skin, glomming on him like she wants to possess him. She claims to want to be the bow to his arrow, but her constant spewing of half-truths and false faces remains extremely disorienting to Fushi. Combined with the whole kidnapping Pioran thing, he insists she leave him alone. She doesn’t.

As for the Creator’s credo of Pain Promotes Growth, Fushi replaces it with his own: Fuck Pain. On a island where the intricate social organization of humanity is blended with inhuman savagery, Fushi may be the most human one there, thanks to the quintessentially human people who helped shape him into the good and kind orb he is. It’s why he wants to save Pioran, his family, even though she insists she’s where an old criminal belongs.

So dedicated is Fushi to the cause of honoring Parona and Gugu’s memory by putting himself to good use protecting others, as she did, he even protects his own opponent in the third round from the arrows of impatient staff and spectators. This flummoxes the fighter to no end, but after he’s laid up with an arrow back home, both we and Fushi learn he too is a human in this place that is both inhuman and as human as humanity gets.

Some veteran islanders come by to protest Fushi’s way of doing things, insisting that he brings dishonor to everyone he fights by not killing them. Tonari shields Fushi from them, only to get punched in the face by a man who is then shot with a poison dart by one of Tonari’s crew.

But far greater than the threat of the islanders are the Nokkers, who rise out of the ground, stab Fushi, and steal Gugu away so he can’t use fire on them. Now down to the boy, the wolf, the crab, Parona, and the mole, and with a shitload of potential bystander deaths, Fushi runs, and warns Tonari and the others to run in the opposite direction. They don’t.

Fushi tries to burrow into the Nokkers as the mole, but he’s quickly tossed out and loses that form. Tonari grabs Fushi by the scruff of his coat, beaming widely and in absolute awe of the giant stone bear, while her crew launch diversionary attacks.

Tonari has a meta moment, asking Fushi who he thinks she is: “a side character who just runs away?” Then the earth opens up and it looks like Tonari is history, but Fushi grabs her and pulls her back onto land, where she orders her crew to execute a certain plan.

This plan involves explosive arrows. That works perfectly for Fushi, since his Parona form is quite comfortable with a bow. He can also infinitely create more bows and arrows when the crew runs out. The islanders, once rearing for a fight with Fushi and Tonari’s crew, restrain the bear with huge ropes and join the fusillade.

In the end, the Nokkers are defeated, and Fushi is able to regain both the form and memories of March, Oniguma-sama, and Gugu. It is an unqualified victory, but he could not have done it without help from Tonari’s crew and the islanders, all of whom he hated when the sun came up that day, but now probably has a new appreciation for, seeing as he got his forms, his family back.

For the first time, Fushi reacts to Tonari’s constant goofing around and bullshitting with a genuine thank you, which catches the girl completely off guard. Tonari repeats to him that to change fate, sometimes you have to work with others, and their victory today was proof of that.

It looks like Fushi, Tonari, and the crew will get to enjoy a bit of rest and celebration after quite an impressively action-packed episode imbued with ample emotional weight due to the stakes—and eventual spoils—of victory. But the final round of the tournament lurks, and crazy-ass Hayase lurks along with it, so that rest probably won’t last long.

To Your Eternity – 10 – The Grand Gugupest Hotel

When the Enemy is about to attack Gugu, Fushi springs into action and shields his brother from the twisting branches by creating a number of spears to parry them. I guess he has learned a few things since his last battle! Gugu wants fight beside him, but is very lucky to survive when the Enemy throws him across the forest.

It may just be the still Booze Man installed in his stomach that saves him, as he proceeds to barf out all of the liquor stored there. When his torch ignites the liquor-vomit, Gugu gets an idea for how he can help Fushi, and races home. On the way, he turns completely red, drunk off the liquor that escaped the still, while Rean is about to be carried off by her helicopter parents.

Drunk Gugu is naturally a less inhibited Gugu, so he doesn’t mince words about loving Rean more than anyone, no matter to whom she’s betrothed. In any case, he’s not there to solve her family drama, but to get a refill of Booze Man’s best booze.

Pioran, the only other person to have witnessed the terrifying power of Fushi’s Enemy, insists that Booze Man do as Gugu says. The old man fills Gugu up with his strongest stuff and sends him on his way, while Pioran stops Rean’s parents from taking her and leaving…because it’s not safe out there.

Gugu, having sobered up, arrives to find the Enemy has absorbed Fushi’s Giant Bear form, and there is no sign of Fushi. But it’s soon apparent that the Enemy, essentially being made of wood, is vulnerable to fire, and Gugu has a fresh bellyful of fuel to play with.

Using his boozy fire breah, Gugu burns the Enemy to the ground, freeing Fushi, who is only flowing light and energy before transforming into a rock, his first form. When Gugu picks him up, he transforms into a wolf dog, and the two tussle mirthfully…though Fushi keeps his promise to bite Gugu if he came back!

The next morning Gugu and Fushi return to the Booze Man’s house where everyone is very confused about what happened (though Pioran probably has a pretty good idea). Gugu celebrates his return by cooking up a feast so delicious, Rean’s parents deem him better than their professional chef.

Fushi, back in the same clothes and with the same rope as the boy when he died since he “reset”, greets his maker, whom no one else can see or hear, outside. The creator tells him in order to become stronger, he cannot be sedentary, but like Rean with her parents, Fushi protests. He wants to stay. The creator tells him that’s also an option.

Back inside, Rean prepares to leave with her folks, and Gugu dispenses some precocious wisdom: The people who keep us alive aren’t necessarily good people, but we aren’t so weak that we can’t endure it. Granted, he’s had to endure a lot more than Rean, but it’s all relative!

Fast forward…four years. Gugu is no longer a pot-bellied boy, but a swole young man, having never stopped his fitness regimen. He continues to assist the Booze Man and feed him and Pioran (who still starts eating before everyone comes to the table). Rean still “runs away” from home on the regular, to see Gugu and Fushi.

And Fushi, having watched Gugu and Rean grow, has himself grown “older”; his hair growing longer and even gaining a slight stubble on his face. He also speaks a lot more naturally, which isn’t surprising considering his teachers and how long he’s been with them. The tenth episode of a planned twenty ends on Fushi’s new family happily enjoying a meal together. If only that happiness could last…

To Your Eternity – 09 – Gugunrise Kingdom

Fushi has rescued, reunited and made up with Gugu, and for the first time he uses his powers…strictly for fun. For the sheer thrill of scaring the shit out of random townsfolk or thrill-seeking teenagers. Gugu has no intention of going back to the house of a man who put a still in his body without his consent, and Fushi doesn’t care either way s long as he’s with Gugu.

As time passes, the penniless Gugu grows hungrier and weaker. Fushi, obviously, needs no sustenance other than stimulation. But his stimulation thus far has prepared him for this eventuality, as he is able to create the pear-like fruit March fed him, along with dango and fish, thus saving Gugu from starvation.

When Meer, who obviously knows Gugu’s scent at this point, shows up at his tent, Fushi calls the sickeningly cute and good boy Joaan, the name the boy gave to his wolf-dog. Fushi describes to Gugu how “his first person” stopped moving and “became empty”, so he “became” him. Gugu hypothesizes that both physical and emotional pain affect his bizarre friend.

He posits that if he were to die and Fushi became upset, he would become him. Gugu thinks this is seriously cool…because, well, it is. But for him specifically, it would mean even if he died, Fushi would still think of him. Gugu describes a life where he had three square meals a day, a soft bed, twin older siblings to play with, a mother and father to care for him, and an older brother to look up to.

Gugu is describing his early childhood, when, for at least a few beautiful, fleeting years, he thought he was part of just such a family and living that kind of life, where a lot of people were thinking of him. As he grew older, he began to realize he and his brother were merely the children of servants to that family. When those servants moved on to a new job, they didn’t take Gugu or his brother with them.

Gugu asks Fushi, the only one who came for him and the only one he can call family, to become him if he dies, then passes out and stops moving. For a second there, I thought that was well and truly the end of Gugu—perhaps succumbing to the nasty side effects of having a still in your gut. Fushi even seems to contemplate absorbing Gugu’s form for a hot second.

For a certainty, To Your Eternity wanted you to think Gugu had died. Then Rean pokes her head into the tent, having finally found the two runaways, and Gugu springs back to life, blushing. Turns out Fushi wasn’t the only one thinking about him or the only one who came for him. Rean tries to drag Gugu out of his ragged tent and back to the Booze Man’s house, but Gugu doesn’t wanna.

Of course, Rean’s motivations aren’t 100%honorable. She says she, Pioran and Booze Man love Gugu, but really they need to bring someone back who knows what they’re doing in the kitchen. But you know what? As someone who likes to cook for my friends and family, I’m fine with part of the reason people love me is that I cook them good food. It makes me happy when they like my food!

Rean is also unconcerned with Gugu’s appearance, and insists that he show her what he really looks like. Gugu doesn’t acquiesce to this, which means Rean doesn’t get a real look at him. It may be because of this she can reveal her own horrible disfigurement and declare with a straight face that if he casts his gaze upon it he’ll see that his own wound isn’t that bad.

The thing is, Rean’s horrible wound is nothing more but a tiny, fading scratch on her arm no more than three inches long.

It is a rare show indeed that makes me laugh and cry with such intensity, but this might just have been the funniest episode of To Your Eternity yet. Of course, tragedy and comedy have gone hand-in-hand since the dawn of storytelling itself, it’s just gratifying to see it so effortlessly pulled off here. Just like Fushi, the stronger and more diverse the viewer’s stimulation, the more is learned.

Rean goes on to tell a story that, for her, is a tragic tale of a girl who was never given agency or independence; a girl assigned a role and personality for which no expense was spared to maintain, despite the fact she had zero say in it. It is an obvious mirror image of Gugu’s sob story, told from the POV of the child of the employer, not the employee.

Even so, I do not doubt that from Rean’s perspective, she has suffered, because just like Gugu but through very different (and cushier) circumstances, she was denied the chance to be the best her she could be, which is the one she wanted to be. The grass is always greener, etc.

When Rean tells Gugu how she got her wound—saying that someone pushed her from behind out of malice—Gugu is crestfallen, as this girl misinterpreted him rescuing her from a runaway log as having assaulted her to get back at her family—simply because she never saw the log.

But just as Rean doesn’t care how it looks that someone as rtich and privileged as her is complaining that her life is too comfortable, she also doesn’t gcare whether Gugu is a monster or a human. To her, he’s just Gugu, a weird little boy she’s taken a liking to, so he should come out of the tent and enjoy the wind with her. And if he wants to cover his face, she brought him a pot with eye-holes to wear.

With Fushi having run off to find Gugu’s original mask, he and Rean agree to go looking for him. Their search takes them into town, where Rean is promptly snatched up by a goon hired by her family to retrieve her. Gugu, who later states he doesn’t care about his “circumstances” anymore, commits to simply being himself.

That happens to be someone who will barrel into someone twice his size, catch the falling Rean, and lead her by the hand to safety. As he does, Rean smiles, not just because Gugu is being Gugu, but because she’s living precisely the dream she hoped to live after running away from home. I am seriously loving this tender story of young love, which reminds me of Moonrise Kingdom, itself likely inspired by rom-com anime.

Fushi ends up finding them after retrieving Gugu’s old mask (it’s nice when you can transform into a wolf-dog, complete with a wolf-dog’s sense of smell) and locates Gugu and Rean, who is now wearing the pot to hide her identity from those sent to find her. It isn’t long before they come across a maid who is most definitely not fooled by Rean’s disguise.

It’s here where Gugu and Rean rely on Fushi to cover their retreat, which he does non-lethally by assuming the form of March and writhing on the ground before the maid, who sees the little girl’s arrow wound and has no choice but to tend to her before going after Rean.

While searching for Gugu’s mask, Fushi’s creator paid him a brief visit, warning him to keep his guard up. As the maid carries March!Fushi, he’s suddenly snatched up by a tentacle of the “unspeakable” enemy he was warned about. His creator even narrates that this was bound to happen, as Fushi has failed to gain any sophisticated tactical skills since his last scrape with the enemy, and thus the enemy was always going to strike first.

Even so, something happens that neither the enemy nor indeed the creator might have foreseen: Gugu coming to his rescue. I’m not sure what he can possibly do when he’s just a small human boy and even Fushi seems helpless before the enemy’s power. Indeed, as we’re reaching the halfway point of the 20-episode series, Gugu’s days are surely numbered. But even if resistance is futile, I’m glad he’s there for his friend and brother.

To Your Eternity – 08 – Gugu Unmasked

“Skip Intro” is a well-established and often useful feature to our world of streaming entertainment, but I make it a point to watch every second of To Your Eternity’s OP every week. I can’t not, and not just because “PINK BLOOD” fuckin’ whips. Every time I watch I go through the heartbreak of losing both the arctic boy and March as well as Parona’s trauma all over again. The OP continues to grow more powerful as Fushi progresses on his journey and we meet more of the faces it presents.

Two of those faces are of Gugu (or rather his distinctive mask) and Rean, and the latter (voiced by Iwami Manaka, the voice of Honda Tooru) suddenly decides she’s going to live and work at Booze Man’s place from now on. Gugu isn’t sure what to think about this, because while it will be nice to see more of Rean, the fact she likes Fushi and not him will make things uncomfortable, if not painful.

Then again, pain promotes growth. When Gugu asks “what else” Fushi can do besides transform, he creates a spear. Gugu cuts him with a knife, and after healing, Fushi creates a duplicate knife. When Gugu burns him with a torch, Fushi can only create the stick, not the flame…at least not yet. In reaction to all this “experimentation”, Fushi produces a Marchface, indicating he doesn’t like this.

When Rean shows up bright and early, Fushi still hasn’t come in for work; we later see he’s assumed his wolf form and is sleeping away the day. Gugu asks Booze Man for something Rean can use on her wound, and the coot unexpectedly uncorks part of Gugu’s face and bumps out a strange liquid. When Gugu learns the Booze Man gave him a “new organ” where liquor is stored and ferments (hence his distended belly), Gugu is furious, and runs off.

As usual, the old people are only thinking about themselves. Booze Man wants the valuable booze inside Gugu back, while Pioran is worried about who will cook their meals. Rean is loath to go looking for Gugu since she’s not yet an established part of the “family”, while Fushi outright refuses, still sore over how Gugu treated him in the kitchen, and rightfully scared of the forest besides. He volunteers to cook, but ends up simply boiling a daikon with no salt.

Still, no one comes to look for Gugu, who returns to the tattered tent he and his brother once shared. He gets his job tilling the land back from a kindly father who even invites him to join his family. Unfortunately his kindness and empathy weren’t inherited by his sons, who know about the rumors around town that Gugu is a monster.

Gugu agrees with Chan that he can’t be in a family if the members can’t love one another, and removes his mask to determine if they’ll be able to love what they see. It goes about as well as you’d expect. Later that night while sulking outside, some older kids steal his mask and throw it in the stream, but after realizing the mask doesn’t actually do anything, he throws it right back in, walking through town the next day. Let the people gawk in horror…the faces they make are funnier than his!

Fushi’s attempts to cook, clean, mind the shop, and work the fields all end in failure, but when he asks Pioran (by name!) to teach him those things, she soundly refuses, not moved by the March-inspired dirt balls he offers as tribute. For one thing, she’s got better things to do with her time—sitting around drinking her lover’s excellent booze, for example. For another, she doesn’t want to spoil him, and the best teacher he could ask for isn’t her. It’s Gugu.

Gugu settles back into a routine and puts on a little muscle working in the field, but Chan visits his tent and splashes water on him, telling him not to come back, saying it’s because his dad is such a good man that he doesn’t want Gugu causing trouble with his freakishness. Without work, Gugu runs short on funds, but remembers he has the ring Rean gave him.

It’s clear from the look of the merchant that it is indeed worth enough to ensure Gugu never has to sell produce again, but Gugu can’t see what a monster like him would do with that kind of wealth. So when he discovers his drunk, emaciated brother lying in an alley, he gives the ring to him. Even in his current state he’s better off with the ring than a monster. But while he gives Shin the ring, he doesn’t acknowledge him as his brother. He doesn’t have a brother anymore.

Of course, that’s just not true…he has Fushi! Fushi needs Gugu, and as we see when Gugu is scooped up in the night by bandits prepared to sell him to people a taste for freaks and the cash to spend on them, it becomes apparent Gugu needs Fushi as well.

Fushi bowls into the bandit carrying Gugu in his wolf form, and when the guy and his partner stand their ground, he transforms into the Bear, who, let’s be honest, no one other than Hayase would ever think about fucking with!

With that, the Monster Brothers Gugu and Fushi are reunited. Gugu resented Fushi for being admired by Rean, while Fushi resented Gugu for cutting and burning him willy-nilly, but they’re able to get past that, because that’s what brothers do—well, good ones, anyway…

To Your Eternity – 07 – What’s Lost is Lost

Note: This episode was originally mislabeled as episode 6. It is episode 7. Apologies for the mix-up!

To Your Eternity simply knows how to spin a damned good yarn, no matter the characters or setting. This week shifts the focus to Gugu: a cheerful, energetic, enterprising young lad who lives in a tent with his brother down by the river. The two save up money to one day live in a big mansion they can see in the distance.

While working at a produce stall in the town market, Gugu notices a cute young lady wandering around, looking for something…or someone. That evening an adorable powder-puff of a doglet approaches him and he offers half his dinner to the little guy.

For his generosity, the dog approaches him the next day at the market, and just happens to be who the wealthy girl was looking for. She rewards him with a ring she got as a gift from her father which she says he can sell and never work at a produce stall again.

Gugu clearly appreciates her taking his hand in hers and looking right at him with her stunning amethyst eyes more than any trinket. When he trots home on cloud nine with the ring and a bag full of coins from selling produce, he finds his brother has gone off with all of their money to “pursue his fate”—one of which he clearly didn’t consider Gugu a part.

Crestfallen and suddenly alone, Gugu continues on, but as he watches a primitive train loaded with logs pass, he contemplates—just for a moment—jumping in front of that train in order to “change”. He immediately dispels that thought as madness, but just then one of the logs flies off, and misses hitting him by an inch.

When the train driver runs off to get help, he asks Gugu to watch the log, but the shrub holding it in place gives way and it starts to roll down the hill, where the girl in the green dress happens to be picking flowers by the riverbed. Somewhat incredibly, she hears neither the log nor Gugus yells of warning.

He manages to shove her out of harm’s way, though she takes a tumble and loses consciousness. The log comes right down on his head, smashing it…but miraculously, he doesn’t die. He just changed…just as he wanted to, only not like this!

The spirited old coot who asked Gugu for seeds at the market discovers him some time later, and takes him to his home—ironically, the giant mansion Gugu and his brother envied so. Gugu wakes up on a slaughtering table, with a variety of masks and a helmet staring back at him.

He looks in the mirror and sees that he’s become disfigured. He has a pot belly now, and his nose and face are ruined and grotesque. But the old man, a brewer, says he can still eat, and is incredibly lucky, so he should keep on living. He offers the expressive helmet to Gugu, who slips it on and becomes “a kind of monster” that isn’t him.

Three months later, Fushi and Pioran arrive at the Brewer’s house, and we are where last episode left off. Despite the episode only spending half of its time on his backstory, at this point I was already fully emotionally invested in Gugu as a character, and eager to see how he’d help Fushi change and evolve…until inevitably dying and having his form copied by said Fushi.

But before the pain , some joy, as Gugu revels in meeting a new brother figure, even though he seems to possess the intelligence of a baby and his clothes stick to him in a very odd fashion. Gugu teaches Fushi the ropes as he goes through his busy yet oddly fulfilling routine of hard work leading to a warm and cozy family dinner.

Amusingly, both “Booze Man” and Pioran are eager to profit on Fushi’s uncanniness, but Gugu won’t let them sell or exploit him, and they seem to respect the kid’s wishes, likely glad he’s found a friend.

Then something happens that was always inevitable, but comes as a shock to Gugu: the return of the girl in green, for whom he gladly sacrificed his face to save, even though she hasn’t the slightest clue she was saved by the same boy who found her dog, or that that same boy is manning this shop.

Blushing through his helmet the whole time, Gugu recommends some non-alcoholic provisions that could help the girl with the wound she’s still nursing from three months ago. When the girl blushes in return and asks for his name, he tells her, before she says “not you, him”, referring to the tall, light, and handsome Fushi she proceeds to flirt with. Her name, incidentally, is Rean.

Poor Gugu can’t ever seem catch a break! He also never gives up, but just keeps on grinding. Even if he feels he can never show his face to a girl like Rean, he’ll at least try to make the rest of him attractive, so he starts anm intensive fitness regimen.

Fushi joins in, because he doesn’t sleep and has nothing else to do, and the Brewer laughs his old man laugh, glad that once more Gugu is shaking off heartbreak and pain, and should grow into a good man. Fushi picks up on the old man’s laugh and mimics it, until the two of them and Pioran are all laughing together.

In an arc that’s almost certain to end in tragedy like its predecessors, I will surely take the joy with which this episode ended while I can. March and Parona are still my Mommy and Daddy, respectively, but this new arc will do just fine. It felt like wrapping oneself in a new blanket with a slightly different smell and feel than the old one you were used to. One gets used to the change, just as all of us must.

To Your Eternity – 06 – A Grand Objective

Note: This episode was originally mislabeled as episode 5. It is episode 6.

The original March may be deceased, but she lives on in Fushi, in the same way parents live on in their children…only different, because it’s Fushi, who can take on the physical form of his found mama. Thankfully, it’s not just her climbing ability he’s inherited, but a measure of her profound humanity.

There’s no doubt that March taught him generosity and gratitude, which he pays forward when he reunites with a stranded and hungry Pioran quite by chance. Pioran is her usual sardonic self, but isn’t beneath trying to take a literal bite out of Fushi in his boy form, causing him to switch to his defensive wolf form.

Eventually he becomes March again, climbs a tree, tosses Pioran some fruit, then says “Thank you” in a way that sounds like “This is what you say.” Pioran, in turn, starts to teach him more words, as well as how to write his name, as well as her own, March’s, and Parona’s.

The two make a good traveling team, and Fushi learns more and more, so by the time they arrive at a port town and board a boat to Pioran’s homeland, he’s able to communicate in a more-or-less conversational manner, a far cry from crudely mimicking sounds out of context. The youthful vigor of the late March as well as the seasoned wisdom of Pioran have quickly made Fushi more human than ever.

So it’s terrifying when he’s ambushed one night in the woods by mysterious tree golem-like monster who literally steals Fushi’s boy form, along with most if not all memory of the boy’s life. The narrator arrives and tells Fushi the score: the tree monster is the enemy, and if he wants the boy back, he’ll have to fight…and win.

Fushi transforms into the wolf, but the monster steals the wolf. He transforms into the giant bear, but the monster steals that too. In terms of corporeal forms, he’s down to just March, who while tiny and relatively weak, is quick and agile enough to dodge the monster’s bear form, enter its hollow chest, and grab the core that enables the golem to move.

This is a simply breathtaking action scene, marred only by the low light, which isn’t even that big a deal since it leds a great gloomy atmosphere to Fushi’s building panic at losing his forms. Like the drawings in the boy’s hut (which are updated in the card between the A and B parts), they are Fushi’s family, and he’s clearly distressed about losing them.

Fortunately, his March form is enough to grab the core, give it a good squeeze, and the wolf, boy, and bear flow back into him. He smiles in relief, and the mysterious cloaked narrator introduces himself as Fushi’s creator. He created him with a grand objective in mind: preserve the world before “the coming end”. The tree monster was their enemy, unable to take a true animal form and bent on impeding their objective.

That said, the Creator can tell Fushi can’t quite understand these concepts, and so parts ways with him until later, when he’s lived a little more in the world, and gained a few more forms. Pioran takes him to her hometown and the house of her lover, who is apparently a scholar who might be able to make heads or tails of Fushi. The house is also home to a boy wearing a distinctive mask that hides his face. Pioran rather rudely introduces Fushi as an “immortal freak.”

Rating: 4/5 Stars

To Your Eternity – 05 – A Family

Parona frees March, Fushi, and the old lady Pioran, but before they escape the prison, she wants to cut off a chunk of “Oniguma-sama” as proof to Ninnanah he was defeated. She even has a wolf toy ready to placate March, along with the justification that it will save the lives of many girls.

But March, who had just washed the great bear’s wounds and watched him die, won’t allow it. So Parona reconsiders. She’ll convince the villagers some other way—one that doesn’t require another life.

Parona proves as bad a wagon driver as she is an archer, but thanks to her asking March what she wants to do when she becomes a grown-up, it offers March a chance to set a death flag or three. Right on time, the casually relentless Hayase and her Yamone warriors close in on their fleet donkeys.

Hayase assures them she’ll spare their lives if they give up the dog, but Fushi is family, so that ain’t gonna happen. Parona gives a valiant effort to fight them off, but she has to be saved from an arrow by March, who declares “I can do something too” before saving her beloved husband.

Immediately after March is shot, Fushi leaps towards Hayase, transforming in mid-air from wolf to giant bear, wounds and all, and rakes her across the face. Then we take a look back at how Parona and March met. Parona watched from a distance as March played with her fingers in the dirt, imagining them as her kids.

When March approached her wondering why she was always alone, Parona presented her with a doll she made, and March returns the favor with a “thank you meal” that, while inedible, Parona still “eats” and voices how delicious it is. March suggests they become a family; her new doll can be their kid, she’ll be Mommy, and Parona will be Daddy.

Fast-forward back to the wagon, and March is fading fast. Parona finds another “thank-you meal” with which March was going to surprise her. March asks Parona to become a mommy in her place, then asks if Fushi is near, and as he causes a rampage in the city, Parona says that he is. Then March draws her last breath.

Between this and Fruits Basket’s tearjerker earlier today, I’ve gone through half a big box of tissues crying my eyes out. But Parona wears a smile as she approaches Fushi and tells him to stop; there’s no longer any need to fight.  He returns to human form, while Parona finds Hayase lying in a pile of rubble, wounded but alive. She picks up a nearby broken blade, telling March “Let’s go home together.”

In the space between life and death, March envisions returning to her village with Parona and leaping into the arms of her elated parents. She dreams of growing into a beautiful young woman with lots of stuffed “kids” made by Parona. But then March notices this isn’t really happening, and that she’s not really there, or anywhere. She doesn’t want to be nowhere, not when there was so much more she wanted to do.

She sees Parona with the blade, seemingly pointed at Hayase, but Parona, who is unwilling to live in a reality where she outlived March, turns the blade on her throat and prepares to plunge it in, thus “going home together” with her little wife. She can’t hear the spectral March pleading for her to stop…but Fushi does hear her, and stays Parona’s hand, all the while pouting like March. He takes her by the arm and transforms into Oniguma, and the two ride back to Ninnanah.

Once there, Parona approaches March’s parents and presents them with the “letter” containing only March’s handprint, which Parona translates as “March is doing great.” That, along with Parona’s demeanor tells the parents all they need to know. But rather than shun her like her parents did when she dared to live, March’s mother embraces Parona, thanking her for everything she did—and tried to do—for their March.

As the watch announces the Yanome are coming, Parona tells a suddenly far more expressive Fushi to flee before the enemy arrives. After all, life is never merely given, it must be won. He transforms into a wolf and departs.

Using an arrow that’s served her well for more than half a year and a heavy bow borrowed from a watchman, Parona takes aim at Hayase as she aims at Fushi, and her arrow goes right through Hayase’s hand. Even so, Hayase merely smiles, and Parona admits she missed her intended target, which was no doubt meant to be fatal.

As for Fushi, as the narrator says: “In meeting its mother and parting with her, its humanity increased.” Not only that, he can now take March’s form, and does so in order to grab one of the fruits his mommy once so generously fed him. So ends the most moving episode of To Your Eternity yet, in my books surpassing even the sublime first episode.

If I’m honest, I always knew March would be a goner and probably end up another one of Fushi’s forms. And yet the show kept serving up hope she might have a future, right up to her act of self-sacrifice. Parona may not have to live with the loss of March and her sister, but she’ll keep living all the same. It’s what her wife would have wanted.

GODDAMN TEARJERKER™ CERTIFIED

To Your Eternity – 04 – Put to Good Use

Parona remembers when her big sister hid her away in a tree hollow, only to learn her sister had taken her place as an offering to Oniguma-sama. Lil’ Parona had to learn when she tripped over her dead and buried sister’s foot. She wakes up in a wagon with March and Fushi, headed to Yanome, bastion of the enemy. Also in the wagon is the shamaness who turns out to be a fake and a captive in her own right, admitting she only chose March because she was the prettiest.

Through the shamaness Parona and March learn that the Yanome are envious of Ninnanah’s lush lands and are using the ritual to exert control. When Fushi wets himself, the wagon stops at a lake for everyone to bathe, and Fushi remembers the boy and re-assumes his form. Hayase treats her captives gently as they enter the bustling Yanome city of which she’s clearly proud. But as soon as March, Parona, and Fushi eat, they’re all knocked out; Hayase drugged their meals.

She then presents Fushi to other Yanome officials, declaring the immortal creature a weapon essential to Yanome’s future. As two prisoners hack at Fushi, who regenerates almost instantly, he learns a new phrase: “It Hurts”, and then attempts to flee by changing back into a wolf. Hayase leaves him in March’s care, while Parona, in the cell above her, plans their escape, not content to spend one more day than necessary in their prison.

Hayase also puts March to work tending to Oniguma-sama, whom she learns is just a really big bear covered in arrows and spears from various attackers throughout its life. Once she’s removed them all, the bear dies in peace.

Once she has sufficient rope, Parona commences her escape plan, but nearly almost slips and falls to her death at least three times before landing in a storage room. There, a Yanome guard threatens to rape her, but she kicks the shit out of him, steals his uniform, and arrives at March and Fushi’s cell to announce they’re getting the hell out of there, vowing to put the life her sister gave her to good use.

Parona basically owns the episode, taking on the mantle of the classic Ghibli heroine who is refreshingly not perfect in everything she does. She’s as charming and lovable as the much-more-perfect Hayase is loathsome and despicable. I really hope she and March, maybe with Fushi’s help(?) are able to come out on top, or at least make a good fight of it.

Rating: 4/5 Stars

To Your Eternity – 03 – Bear Necessities

In last week’s episode, all March wanted was to grow up and become a mother. Hayase and her ilk tried to rob her of that future, but by the end of the episode March has grown in all ways but age and size. Now she has a child under her wing in the boy-shaped baby bird still known as It.

She’s also grown to realize that if she runs, others will die, and she can’t allow that. Being a grownup means nothing is simple anymore. But since she’s It’s surrogate mom, she tries to teach him how to say “thank you” and even gives him a name: Fushi or Fu-chan.

While March is headed back into Hayase’s clutches on purpose, Parona is captured but far from giving up on saving her little sister/wife. Stretching out her leg to produce a bone knife from her shoe which she uses to cut the ropes that bind her. Then Oniguma-sama appears, and it’s a harrowing race against time.

Parona, who is in effect the heroine this week (and that’s not a bad thing!), just manages to escape the lethal paw swipe of the giant spiked bear with bloodied eyes, and while she ends up running off a cliff, her fall is sufficiently cushioned that when she does finally hit the ground, she sustains no serious injuries.

Unfortunately, Parona is just too late to save March from being re-captured by Hayase. Fortunately, March inadvertently left a very clear trail of fruit and fruit remnants, at the end of which is Fushi, whom Parona can’t communicate with but can follow to March’s location.

March has had some great Asirpafaces in these past two episodes, but none better when she’s eating the weird black gelatin thingy Hayase orders her to eat, which eventually knocks her out cold. Hayase then re-applys the ink to her face—Oniguma-sama will only accept an unblemished youth—and carries her to the mountaintop altar.

I was surprised by the log fort that surrounds the altar, as I was expecting something much less grand. It’s instructive that before they reach said altar, Hayase’s underlings who saw the giant bear report that it could only have been Oniguma-sama, and she and the other guards react with disbelief.

That’s right: despite their utter devotion to carrying out this ancient custom, they believe Oniguma-sama is only a legend, and have never seen him actually claim any of the girls they’ve left on that bone-strewn altar. It’s not so much about belief in the actual entity as carrying out the job they were assigned to do.

That changes when Oniguma-sama arrives and busts his way into the log fort. Parona also arrives, and once again has to cut through ropes before the bear kills her and the still-unconscious March. Hayase is more intrigued than terrified by Oniguma-sama, and even tells her guards to stand down: If Parona wants to give the god a second meal, Hayase is going to let her.

When it’s clear that Parona isn’t going to finish cutting March’s ropes in time, it looks like it’s all over…and because this is To Your Eternity, I was fully prepared for both Parona and March to die. But someone…something was still missing from this scene, and that something finally arrives, I couldn’t help but cheer.

Parona is thrown clear of the altar by Fushi, who has come to protect the Giver of Fruits, AKA Mama, AKA March. He initially tries to take Oniguma on in his human form, but is torn to shreds and devolves into his wolf form, which is not only faster and more vicious but quicker to regenerate.

Despite being several dozen times smaller than Oniguma, Wolf!Fushi uses his speed, agility, and fast-healing, and with each attack learns something new about its adversary. Eventually it starts focusing on its soft spot—it’s nose—and eventually brings the great beast down.

Witnessing it all from a safe distance, Hayase wonders if this is just another act of the gods. And I guess there isn’t that much difference between what we’d call a god and a sufficiently advanced alien species.

With Oniguma-sama soundly defeated and nothing to which to offer a sacrifice, Hayase exhibits a slim modicum of humanity and makes a deal with Parona and March: she’ll report that the sacrifice was a success and March is dead, but in return, the two of them will accompany her and her guards back to Yanome. Either that, or they can die right there.

They choose to live (obviously), while Hayase also intends to bring along the very bizarre wolf who first appeared as a boy and was able to kill a deity. Parona is weary of the beast at first, but March offers it a fruit and it eats it in the exact same way as Fu-chan. Even more pointedly, it says “thank you”…as a wolf. It still has a lot to learn about the ways of this world, but it’s in just the right place to learn them.