To Your Eternity – 20 (Fin) – Goodbye For Real

It’s a quiet, contemplative finale for To Your Eternity, as Fushi tracks down Pioran and finds that she’s barely scraping by. Yet he’s reluctant to reintegrate himself into her life, as he fears she’ll simply be the next victim of the Nokkers, as Uroy, Oopa, and Mia became.

Fushi happens to have assumed all three of their forms, and he’s in Mia’s when Pioran finally gets wise to his, well, tentative stalking. He may be in the form of a girl, but Pioran immediately identifies him as Fushi, her old immortal friend. Just when he was trying to say goodbye for real, Fushi ends up back in Pioran’s orbit.

The creator narrates that he’s watched over Fushi, Pioran, and the donkey for a good while, and watched as Fushi continued to develop a full sense of self. When Fushi asks what Pioran wishes more than anything else, Pioran says she’d like to be young and beautiful as she once was. Fushi feels a nobility in Pioran, and being by her side is a noble enterprise.

But eventually the Creator’s warning comes to pass: eventually all mortal things wither and die. Pioran develops short-term memory loss and dementia, periodically cursing Fushi while begging him to kill her or leave her behind. Fushi doesn’t; he simply continues caring for her as they travel nowhere in particular. One day, Pioran is nearing death, but lucid enough to call out “the one following Fushi around”—the Creator.

She begs him to let her be reborn into something “that can be more useful to Fushi.” One thing I’ve always wondered is who is the girl in the OP with the purple-grey hair strolling on the beach. Now we learn, it’s Pioran, made young and beautiful again by the Creator, if only for a brief time before dying…and being transformed into an orb like Fushi.

Fushi mourns the loss of Pioran, and when he conjures the paper and pencil he uses to document his days, he comes across a parting note from the departed Pioran: “Do what you want to do, like I did!” He seems to take those words to heart as several decades pass. We encounter an adult Fushi having apparently just defeated a Nokker and laughing over his victory.

This is the end of the story of Fushi…but apparently only until Fall 2022, as a second series is planned for that time. We’ll see how his struggle with the Nokkers progresses, who else he meets who changes him and whose form he eventually assumes, and how many other ways this show will make me cry like a baby. If Pioran is still around in some form, it would be great if they could reunite. Fushi and Nokker!Hayase…less so.

While many episodes suffered from an untenable schedule and pinched production budget, and the Jananda arc was ultimately the weakest, this final episode marked a successful return to the series’ exploration and reflection on mortality, morality, and family, and made me excited for what’s to come.

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 – 14 – Hail to the Chief

Fushi finds himself ensnared by the mysterious Tonari, who pushes him into a arena battle royale before he even knows what a battle royale entails. Once he realizes it’s kill or be killed, he decides not to kill, and since he can’t be killed, he ends up winning when the last non-immortal fighter standing passes out from a hangover.

Fushi wins the adoration of the crowd, as well as an entourage in Tonari and her young friends. In the episode’s very expository second act, Tonari and the others explain The Way Things Are on this prison island now essentially run by the convicts. The island burns through chiefs, but Tonari sees potential in an “eternal” chief to bring some kind of stability and dignity to her home.

Fushi is mostly disgusted by this island full of death and enslavement, and wants nothing to do with Tonari and her pals who he says aren’t “normal” if they can laugh, smile, and joke in such a place. He asks the Creator to take him to Pioran, but the Creator won’t do anything for him that won’t help him grow.

The creator tells Fushi that a plain fact of living with mortal humans is that sometimes they’ll choose how and when to die, as Gugu did, and as the arena combatants do. Fushi can already be said to have caused the deaths of many humans so far, so what’s a few more who have already chosen to die? As for one life he wasn’t able to take—Hayase of Yanome—she’s on the island, and marks her quarry in the night by licking his face.

The day of the second round of the arena tournament, Fushi has little interest in participating despite Tonari’s prodding. He turns into his dog form, accidentally kills a mole, then becomes the mole so he can dig underground. But he’s snatched up by an owl and dropped right in the middle of Tonari’s posse.

Forced into a one-on-one battle, Fushi tries to intimidate his opponent, but as the Creator told him, that opponent has already decided on only one of two paths: victory or death. Neither becoming a wolf-dog or a flame-spitting Gugu has any effect. That’s when Fushi suddenly remembers Parona, transforms into her (despite her still being alive, as far as we know), and is amazed at how light and nimble he’s become.

He’s able to defeat his opponent and move on to the third round. The crowd goes while, and Hayase licks her chops in preparation for a confrontation in the near future. Whatever Hayase’s intentions, Fushi is about to be tested like never before, as the Nokkers have surely followed him to this island. They’ll either take more of his memories and forms, or he’ll reclaim the ones they stole.

Rating: 4/5 Stars

To Your Eternity – 01 (First Impressions) – A Dog and His Boy

Happy Monday Everybody! Are you ready to…bawl your fuckin’ eyes out?! I know I am. Welcome to To Your Eternity, one of the Spring’s most anticipated series. As always, I enter completely in the dark, unsure of what’s in store for me. Yippee!

It is sent to Earth, a tabula rasa of an entity that can take the form of things it encounters. First it’s a small and basic white sphere, then a rock, then the moss on that rock, then a white wolf that dies on that mossy rock. Fantasia and 2001 came to mind. The visuals and music are epic, and given greater gravitas with Tsuda Kenjirou’s narration.

Then, the wolf reaches a small settlement. Of the handful of huts, only one is occupied by a single boy. The last boy. He knows the wolf; it’s his wolf, Joaan. He welcomes him home, glad he’s no longer alone.

The boy makes dinner and shows Joaan how to eat. He talks of the others who left the village to find “Paradise” but promised to return with gifts. He stayed to take care of the elderly. That was five years ago. Some days pass, and the boy decides it’s time to stop waiting, leave the village, and head to paradise himself, with Joaan in tow.

The boy leaves his home with a sense of finality, like he won’t be returning. He drew pictures of everyone who lived there to show others that they lived. He trudges through the snow, following helpful arrow markers, camps for the night. His nose and fingers gradually become raw and red. One day, he falls through the ice.

He manages to avoid hypothermia, but he has a nasty gash in his left thigh. He dresses it, but the wound swells and festers. Joaan can only watch. The boy speaks for Joaan, carrying on a conversation with himself to keep himself optimistic. But the frozen tundra and his wound continue to wear him down.

The boy is in a very bad way when he comes across a final arrow marker X’ed out with blood, and close by, a host of graves and the ruins of a wagon. With nothing but more frozen tundra everywhere he looks, the boy grapples with the fact the others never reached paradise…or maybe they did, but had to perish to do so.

With no further markers, the boy has no choice but to return home. The weather worsens, as does his health. He feverishly crawls back through the door he so confidently closed for good when he first set out. He manages to get one more fire going, but the cold outside and his leg have already decided how this ends. We’re now firmly in Grave of the Fireflies territory.

The final choice the boy has is how to die. He does so sitting in a chair with the faces of the village, along with himself and Joaan, drawn on the wall. With one final smile, he hunches over and dies, his suffering at an end, and his journey to paradise complete as he reunites with all the other villagers. Triggered by the boy’s death, It transforms from Joaan to the boy, in search of more stimulation. From death, rebirth. But rebirth to something not quite what it had been.

It’s a triumphant glimmer of hope after an episode that was largely watching a happy-go-lucky kid die in agonizing slow motion as his unrelenting environment ground him into dust. This show absolutely wrecked me, but I’m glad to have watched it. It isn’t often anime—or anything on a screen—moved me to this extent. I hadn’t gone through so many tissues watching a single episode in quite a while!

Was this perfection? No. The music is almost uniformly excellent (and the OP is an absolute banger) but there was one out-of-place track that sounded like it was from a far older and less serious show. As good as some of Joaan the wolf’s expressions were, the animal modeling was all over the place, esp. in wider shots. Finally, as invested as I was in the poor doomed kid, he talked a lot. More Cast Away-style silent storytelling would have been welcome. Then again, boundless optimism was literally keeping him alive.

But those are minor quibbles. To Your Eternity is primo prestige shit with the potential to be a classic. It made me feel just about fucking everything! It’s a hell of a neat concept: a completely neutral “entity” that observes, then meets the conditions for transformation—a kind of Kino’s Journey, only Kino is a full-on alien. Considering the next episode involves some kind of child sacrifice, I fear we’re in for more misery than jubilation. But it doesn’t matter…I must watch on.

Mahoutsukai no Yome – 21

In an episode that opens with Chise sharing a bed with Elias, these two splitting up would have been at the absolute bottom of things I expected to happen. But with her condition deteriorating and the meeting with the witches ending up almost completely fruitless, Elias decides to take Chise’s life out of her own hands, for what he believes to be her own sake…as well as his own happiness. Before they part ways, Mariel reminds Elias that only life can pay for life.

Elias has always been called “half-assed” or a “monster” but Chise was the first and only one who would “look at just me.” Well, thanks to his actions this week, she may never look at him that way, or any other way, ever again.

Just as she relays her suspicions Elias and Ruth are up to something behind her back and asks for Ariel to back her up, Elias knocks Chise out. She guides herself out of the dream with an image of Nevin, telling her that whatever others have planned for her, all she can do is be clear on what she needs to do.

With that, Chise breaks out of the dream by stabbing herself in the leg and does what must be done: stop Elias and/or Ruth from sacrificing anyone to save her. When she finds Elias has brought Stella into the house to be the sacrifice, Chise is, understandably, furious.

Even worse is when Elias tries to explain himself: not liking how Chise looked at Stella (i.e. their friendship), and not being able to stand it, and stating as long as Chise can continue to live he’ll be happy. After urging Stella to run away, she punches Elias in the face and storms out.

Of course, what Chise didn’t know is that Stella had already been possessed by Joseph, AKA Cartiphilus, who only pretended to be Stella in distress. But it doesn’t matter; Stella or Cartiphilus-possessing-Stella, Elias sought to transfer Chise’s curse to them. That makes Elias no different in Chise’s eyes anymore. He is a monster after all.

But here’s the thing: human beings are perfectly capable of becoming monsters, or doing monstrous things, if they feel there are no other options. If anything, Elias taking the steps he did were simultaneously appallingly naive and contemptuous of Chise’s wishes, and just plain wrong, but incredibly human nonetheless.

Chise isn’t the kind of human to put her life or welfare before anyone else’s. Cartiphilus knows this, and also knows how angry Chise is by Elia’s betrayal. So he offers her Stella’s life and a spell that will save her own, in exchange for her cooperation. And Chise accepts without hesitation, teleporting away with Carty and leaving her necklace behind.

Mahoutsukai no Yome – 20

The no-longer-captive dragon escapes its binds and tears up the auction house, giving Chise and Elias a thrilling ride into the London night sky. Once again, Chise puts another life before her own—in this case the dragon’s—and ends up paying for it like never before.

The cost of her sacrifice this time is a dragon’s curse, which infects her left arm, now huge, gray, and scaly. Shannon is able to stabilize Chise, but the curse will quickly tear through that Sleigh Beggy body (already weakened by two additional curses that Chise can think of), killing her.

This time, there’s nothing that can be done. Chise can choose to live on the Fae Side where she won’t have to hide the curse, and she seriously ponders it. Back when she didn’t want to live, Elias saved her. Now that she wants to live, death has her in its grip.

Unable to help her himself, the mage Elias invites a witch, Mariel, to his home for “alternative treatment.” Mariel, who wants to get her hands on dragon blood, considers Chise the next best thing, and urges her to join her coven. If she does, the witches might be able to help her.

That’s a big might, but with Chise, among other things, not wanting to die by Spring and Stella wanting to throw a birthday party for her next year, even Elias agrees their only course is to join the witch’s gathering.

It would seem Cartiphilus orchestrated this whole thing, reasonably certain that Chise would try to help the dragon at the cost of her own health in the scenario that unfolded. He used her own good nature in order to slap her with a curse that has the opposite effect as his. To what end? Is he trying to die?

Mahoutsukai no Yome – 19

We jump from a cold open in which Cartiphilus’ smirks while one of the poached dragons is being dissected as they cry “please stop” and “I want to go home”, to a scene at the college where it’s revealed Renfred is a weepy drunk.

Methinks the composer is a bit too proud of his slide whistle “comedy” theme. The tonal shift is clunky to say the least. Things swing back from jocular to dark when Chise has a very disturbing dream involving an amnesiac Cartaphilus in London.

She awakens to find Alice, Renfred, the Selkie, as well as several members of the “College” she knows nothing about (nor do we) hanging out with Elias in the sitting rom. The College members range from tolerable (Adolf) to embarrassingly awful (Tory). They inform Chise that two dragons have been poached and they’ve come seeking help from her and Elias.

Elias refuses, properly citing Chise’s fragility, but Chise overrules him, and before you know it, we’re back at the underworld auction house where Chise gave herself up to be sold to the highest bidder; one of the dragons is on the block. The man who arranged for Chise’s sale, Seth, gives Chise a checkbook and card tied to a account containing half of the value of her sale, since she was technically her own seller.

It’s strange that she didn’t have access to this cash until now, when she may have to spend it all bidding on the dragon. At least Seth seems pleased that since last they met Chise has become someone who actually, you know, wants to live.

Buying the dragon’s freedom in the auction seems like the College and Chise’s play, and the two combined would seem to have enough to do so, but things (predictably) go pear-shaped when the dragon goes berserk, breaks free from its physical and magical binds, and starts breathing fire.

Chise can sense the dragon’s emotions—its scared and wants to go home—but it might be too late to reason with it. Who the woman is who whispered in Chise’s ear, and what Cartaphilus’ convoluted plan is this time (if he even has one) remain unclear. I just hope this doesn’t all end with Chise yet again coughing up a couple liters of blood…followed by more slide whistle.

 

Darling in the FranXX – 06

Dawn rises on the day of a battle that will decide whether everyone gets to see another sunrise. A massive horned cubic klaxosaur trundles over the horizon with a retinue of foot soldiers, throwing some serious Ramiel vibes—bizarre, mysterious, merciless. Ichigo tries to wash away her troubles with a refreshing bath; Gorou continues to worry about Hiro.

Gorou tries to get Ichigo to talk to Hiro, and Ichigo uses the opportunity to try to confess her feelings, but Zero Two appears, and says what she isn’t feeling instead—that she thinks of Hiro as a sibling—and is devastated when he says he feels the same. Ichinose Kana is killing it so far, even if it’s extremely hard to forget she’s not Hanazawa Kana.

With things needed to be said left unsaid, Zero Hour approaches, and the two Squads and Strelitzia take their positions. The effects of Ichigo’s unrequited love on her performance and Hiro’s ability to survive his third sortie with Two aren’t the only concerns: Squad 13 wants to prove to 26 they’re not just a bunch of in-the-way misfits.

The sheer scale of the boss before them, and the dramatic staging and lighting really lend this battle a sense of occasion and urgency; it’s all or nothing; either these ten comparatively tiny FranXX stop the enemy, or both Plantations will be destroyed.

The only mark against these stakes (which often applied to the populace in Eva as well) is that we never really see any of the people the parasites are protecting, aside from their two adult handlers and Dr. FranXX himself. That’s a small mark, and it’s easily forgiven in light of the pandemonium that ensues.

The contrast between the coordination and discipline of the five identical gray Squad 26 FranXX (also female in form) and those of Squad 13 (or lack thereof) is more stark than Arya, as Ichigo can barely keep her squad hanging in there when some lesser Klax get get through the front lines.

Zero Two observes this contrast, and the dire state of the 13th, and thinks she and Hiro should join the battle sooner rather than later before there isn’t a 13th left. Hiro asks Two why she fights the Klax; she opines it may be because “she’s a monster.”

Two asks him the same, and he says its because his only purpose in life is to protect Papa and the adults. They sortie, against orders, and mop up the Klax harassing the 13th with ease…but Hiro immediately starts to have trouble staying in sync, and the blue veins on his chest start to spread to his entire body and face.

Ichigo lays down the law, ordering Strelitzia to fall back, as she’ll be providing the coup-de-grace. That’s after the 26th, even with their perfectly coordinated tactics, utterly fail to destroy the giant “Gutenberg-class” Klaxosaur. Instead, it shapeshifts from a cube to a humanoid form.

Their leader 090 is almost crushed, but is saved in the nick of time by Argentea, and Zorome and Miku instantly earn his respect. The 13th gets their shit together and Ichigo orders everyone to create an opening for Strelitzia. Hiro uses everything he has left to help Two deliver the killing blow, and with an Eva-esque cross flare, they cause an explosion within the boss.

…But everything Hiro had wasn’t enough. The Gutenberg shifts again into a massive battering ram, and in another nod to Shinji’s first mission in Eva 01, that ram begins repeatedly smashing into Strelitzia. Hiro loses consciousness and Strelitzia shuts down.

Things look bad from Delphinium’s POV; indeed, when Ichigo fears she’s lost Hiro (without telling him what she actually has to say, to boot), Delph shuts down too, and Gorou can’t console Ichigo.

Hiro enters a dream-state, where he assumes he’s dead. Naomi chastises him for giving up. He says he didn’t give up, he just gave all he had. Unlike with Naomi, he still thinks Zero Two can carry on fighting without him. He’s content to go out being as useful as he could be, without regrets.

But that’s not quite right; and he’s not quite being truthful. Zero Two gave him a place to belong and a purpose again; he can’t simply lie down and die while she’s still in the cockpit suffering, slowly reverting to her baser Klaxosaur side.

Zero Two is on the verge of completely Losing It when Hiro hugs her from behind and tells her she should never have to fight—or be—alone again. The blue growth disappears. What is that stuff? I’d like to think it represents the lingering fear and doubt he carried; the belief that he was expendable to Zero Two when the opposite was the case.

With that gone, he gets his second wind, and he and Zero Two finish off the Gutenberg in grand, madcap fashion, with a nice assist from his fellow parasites in the 13th. His doubts and fears are gone now, because he’s found another reason to pilot a FranXX: to be Two’s wings.

And it’s wings we see spreading over the airborne Gutenberg before crushing it and releasing a titanic cloud of blue blood. Mission Accomplished. Casualties: Surprisingly, Zero.

As we watch him and Zero emerge from the cockpit to come together and celebrate with the other parasites from both squads, Hiro recounts the tale of the “Jian”, a bird with one wing, necessitating a male and female pair to lean on one another to achieve flight. That’s the case with Hiro and Zero Two, so he resolves to keep leaning on her that they might fly as high and far as they want.

Halfway into its first half, FranXX delivers a rousing powerhouse resolution to the “Can Hiro Cut It” arc. Now that we know he can, and that he won’t be dying from creepy blue growths anytime soon, we can move on to other matters, like if or when Ichigo will ever tell Hiro how she feels (if she still feels that way after the battle; I’m guessing yeah) and the identity of those new parasites we got a glimpse of in the ep’s final moments.

Whatever comes next, a solid foundation has been laid.

Mahoutsukai no Yome – 18

The day after Christmas, Stella shows up with sweet treats to hang out with Chise, as promised. Chise is so unaccustomed to friends as we know them that not only did she not expect Stella to come, she doesn’t quite know what to do.

Stella, who we learn is just ten but very mature for her age, tells her not to sweat it; being friends is nothing more complicated than being with someone, talking and listening to them. It shows how far Chise still has to go, and how little Elias can help her.

In fact, having Stella around is apparently too much for Elias, who isolates himself in his study then storms out of the house without any warning. Worried, Chise ditches Stella to go after him, transforming into a wolf to keep up. Elias traps her in the shadows and binds her with tentacles.

Elias doesn’t say much, but he does say that Stella’s presence made him want to leave the house,. He felt better when Chise chased him, but couldn’t stop running, and now he can’t seem to let her go.

Meanwhile, back in London, Stella and her family seem to be being watched/stalked by Cartiphilus and Ashen Eye. What the heck to they have planned?

Chise manages to fire off a flare with her wand, and Ruth manages to find her when a Fae daughter of Titania reveals the shadow where he’s holding her (she helps because they gave her a proper Yule offering).

Chise puts a knife to her throat, which causes Elias to immediately release her. He’s rightfully ashamed and contrite, but Chise forgives him and suggests they go home and get some sleep.

Elias, as we know, is even more emotionally stunted than Chise, lashing out when he doesn’t get his way like a small child. Here’s hoping Elias eventually learns how to control his wilder instincts whenever faced with a perceived slight.

However, Chise accidentally puts Elias into a deep sleep when she sings him a lullaby, and she heads to London to seek the aid of Angelica, meeting her non-magical husband David in the process.

David lends Chise some perspective as someone who knows he doesn’t have all the time on Earth with his wife and daughter he might like, but that he intends to make the most of that time, and so should Chise.

Chise returns home with a recipe for a potion that will wake up Elias, and it works like a charm…but she’s so exhausted from her ordeal that she immediately passes out beside him, leaving Ruth to explain.

Meanwhile in Dragonland, some poachers apparently hired by Cartiphilus(?) try to capture two of the young dragons, but they’re thwarted by a pissed Lindel. Is there a connection to what Carty was doing with Stella in London and the attempted dragon theft here? To be continued.