Posted by psgels on 6 June 2006 with categories: Mushishi

Finally, Mushishi returns after a two-month absence, and it’s just as I hoped: they saved the best for last. This episode just turned me utterly speechless. It’s just so brilliant, so awesome, and such a beautiful tale. During its full 20 minutes of time, this episode had me entirely captured, without showing any sign of weaknesses AT ALL. It really reminded me again of why Mushishi is so incredibly awesome.

The case this time: a pregnant woman has been the victim of another mushi. This one settles inside the yet-to-be-born baby, and takes control of it once it’s born. It then flees into a dark place – mostly under a house or in an attic – and remains there for a year. From that point, it releases a baby every half a year. Though this child mostly is the mushi, wearing the child’s body and using it in order to spread its seeds.

But still, what do you do when such a thing happens to you? After all, it still remains your child. It can think. It lives just as a normal human being, only it just grows a lot faster than normal children do. The woman in this case indeed chooses to raise the child, and all of its following successors. Then, however, after a couple of years, the child gets sick, and reaches the point at which it’ll die and at the same time release a huge amount of seeds. It was just too sad to see the parents see and accept the truth.

To make things only better, in the beginning, the first child to die may look like a ten-year old boy, but he still behaves like a little kid. Not being able to talk at all. When the second child is about to die, however, the mushi had gained the ability to speak, so this child got this ability as well. This means that killing off your child already was terrible. But what if you’re about to kill another one of your children, and it really BEGS you not to kill it? It really made for an awesome moment and I totally loved it!

It’s also very interesting to see the difference in reaction when you look at the mother and the father. The father is scared by the truth, but after he thinks about it for a long while, he realizes that there’s no other way, and that he’ll take the responsibility of killing off the rest of the children when they get sick, even though it pains his heart. The mother, however, gets mentally broken when she hears that her children, whom they both raised for three whole years, are about to be killed. She indeed loves her offspring so much, that she decides to not let them be killed, and even goes as far as stabbing Ginko with a large kitchen knife (I loved Ginko’s sarcastical reaction to this, by the way). The father understands the mother’s feelings very well. Even more if you consider her history, and he tries indeed to easen her sadness.

The ending. The ending just totally blew me away. A sad ending is just awesome enough, but the way this ended is just incredible. The mushi gained the ability to think, and also the ability to realize that Ginko’s coming to kill it off. In order to protect its seeds, it kills off the children, turns them into liquid, and burns the house, along with its root. The root turns into a very compact, large round seed. Ginko gives this to the mother, telling her that one day, it’ll awaken again. Though they may not live to experience it. He also, however, collects the liquid that once were the children into a glass bottle, and hides this from the two parents! He takes it along with him, and tells the liquid (it can talk!) that he’ll keep it alive. Still, he must’ve had a very good reason in order to hide a thing like this from the father and mother. Okay, I think Ginko’s merchant-side has something to do with it, but still.

Overall, this was just Mushishi at it’s best. Pure brilliance turned into a story. Mushishi easily makes for one of the best series ever.

2 Responses

  1. thursday says:

    The compact seed wasn’t the mushi but just a mineral that Ginko gave them to try and console them. The main roots were killed and Ginko captured the children in the bottle.

  2. kokutou says:

    Thursday’s right (or at least according to the subbers). The ending was hilarious.
    Root: Ginko you’re weird
    Ginko: Looks who’s talking

Leave a Reply


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  • Bam
    (Tuesday, Oct 6. 2015 09:02 PM)
    One-Punch Man’s pilot was almost adapted flawlessly. It straight up uses the manga panels as it’s main storyboard, but added just enough new touches to improve the action instead of ruining it. Now let’s see how they animate the mosquitos and all the lasers for the next episode.
  • Bam
    (Tuesday, Oct 6. 2015 08:57 PM)
    And that’s why Madhouse is one of the few respectable studios left. I thought that they will be seriously diminished after Masao Maruyama took some of its key members and funded MAPPA, but One-Punch Man showed that they are still one of the best in the business.
  • k-off
    (Tuesday, Oct 6. 2015 08:51 PM)
    @Kaiser The anime industry isn’t advanced enough in CG to make it look good, is all it is.
  • Kaiser Eoghan
    (Tuesday, Oct 6. 2015 05:51 PM)
    @K-off: Your not wrong, it certainly looks poor but some of the old gonzo animated stuff was far more woeful looking. Stellvia, which was done by xebec was another example of old anime cgi which was quite ugly to look at. Just as I prefer traditional effects in film I also prefer traditional animation techniques to cg.
  • k-off
    (Tuesday, Oct 6. 2015 05:42 PM)
    Lately, the use of badly integrated cgi have been making my eyes sore,from the obviously cgi background characters in Asterisk to the overly fluid mech movements in Aldnoah. I still remember the shitty cgi piano hands in Kimi no Uso.
  • Bam
    (Tuesday, Oct 6. 2015 12:04 AM)
    On the note of good balance between humor and drama- I think BoJack Horseman is an example of a show that executed that almost perfectly in both seasons. You are laughing one minute and amused by the hijinks and silliness and the next minute you are actually moved and shocked by the honest introspection. Too be honest BoJack is more a tragic character then a goofy one, and his struggles are deeper and more existential than they have any business being in a show with anthropomorphic animals.
  • Bam
    (Monday, Oct 5. 2015 11:56 PM)
    The changes in the setting actually made me more excited for season 3 then what I felt the past few weeks, since now the plot needs to move forward from the cliffhanger and hopefully this translates to more cohesion and refocusing on what mad the show great in the first place. I’m pretty sure S3 will also be a blend of episodic and arch story elements tho. Overall a few ups and downs but still a great show.
  • Bam
    (Monday, Oct 5. 2015 11:52 PM)
    The finale also had some of the most overall arch story elements featured in the season. Earth joining the Galactic Federation is a big deal story-wise from now on. Also the use of a cover of Johnny Cash’s “Hurt” (not the Nine Inch Nails one clearly) was a nice fitting yet surprising touch. The throwback to Mr. PB after the credits was a good idea, but felt flat in it’s actual execution.
  • Bam
    (Monday, Oct 5. 2015 11:49 PM)
    I thought R&M had a pretty good finale. The episode achieved what was missing from most of season 2, and that was a balance of randomness and meaningful bits. What made Rick Potion #9 and the previous season’s finale and general tone great was a sense of humor that was combined with more sincere drama and character developments; a sort of sweet melancholy.
  • AidanAK47
    (Monday, Oct 5. 2015 09:51 PM)
    @K-off, not having too much trouble with the interface but I still cannot create categories.

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