Anime Best in Show

Review: Fairy gone Episode 24 Best in Show

Quick Summary

In Fairy gone episode 24, “Freed Sky_Joined Hands,” Free Underbar and Wolfran Row pressed their attack on Glyph Mercer. The stakes rose even higher when Free and Wolfran discerned Glyph’s true plan: to become king after avoiding the Divine Beast’s rampage. Can the two reunited comrades stop the deluded survivor from the Eins Order? Marlya Noel and Veronica Thorn continued their pursuit of the divine beast. Their fairy weapons offered them some protection, but the closer they get to it, the more potent its attacks became. Can they get near enough to attack before it reaches the palace — and all of the refugees hiding there?

Note: This post may include spoilers, so be cautious.

Best Moment in the Show

Marlya really appreciated what Free had to say about Veronica. Capture from the Funimation stream.

You saw the warning that this post might contain spoilers, right? Because I’m about to talk about one.

So, Wolfran lived, but Veronica had to die? I understand the impact it had on Marlya’s overall story arc, and the writer in me can’t argue, but I can’t help but wish for what might have been…

And now for my favorite moment in this episode.

One of the things I’ve liked about the show, almost from the start, is how Free and Marlya’s relationship developed. I’m not at all against romance, but too often, the female lead falls for the male lead. It’s almost like it’s her only purpose. Free and Marlya, though, have developed into great friends and partners. It’s a normal professional relationship, and I really enjoyed it.

They had just defeated the Divine Beast. With the help of Chima, Free found Marlya unconscious and half-buried in sand. When she regained consciousness, Marlya tried to process everything they’d lost. She started with the abstract. The fairies, she says, won’t be with them much longer (18:00). Then she moved into the people who just perished in the Divine Beast’s rampage. Free tried to reassure her that as long as they remember those who have died, they’ll still be with them, at least in spirit.

Free did what he could to console Marlya. Did a good job, I’d say! Capture from the Funimation stream.

He stood and asked her if she would tell him about Veronica so he could help him remember — so she’d never be forgotten. He even said, “We’ll pass it along, so we don’t forget” (19:03).

The look on Marlya’s face was breath-taking. I think the animators gave her a lot of attention throughout the series, and in this scene in particular. It paid off!

What did you think of what happened to Veronica? What was your Best in Show moment? Let me know in the comments!

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5 thoughts on “Review: Fairy gone Episode 24 Best in Show

  1. Just skipped as I don’t want to be spoiled. Just a q. Do you feel the 2nd cour is doing a better job??. Just got back to it, and I’m enjoying it

    1. I think the 2nd cour is head and shoulders above the first. Not in potential — the first had that! — but in how it realized that potential.

      Put another way, the 2nd cour felt like a reward for getting through the first!

  2. The writer in you can’t argue with Veronica’s death? I’m pretty much the oppisite. I accept her death as a dramatic necessity: I think what the story’s going for is character development for Mariya: old life vs. new life. She thought she had only Veronica and her obsession with her was bordering on the unhealthy, but life at Dorothea balanced that bit by bit. Getting Veronica out of the way is demonstrating the development in bold letters (and Free saying stuff is the poster book of that development). It works. So if arguing with the ending means its bad, I can’t either. However, that’s just means as part of the audience I get a satisfying finishing. As a writer,though?

    I don’t think it’s the best possible ending. They went straight for the easiest ending. Wipe the table clean. Everything connected to Suna is a memory, now. Especially Veronica. We get the cliché band aid – “as long as you don’t forget them they stay with you,” and it actually works slightly better than usual because Veronica’s fairy double-possessed Mariya, which is probably the single smartest idea this episode had. But there’s no longer any reason to balance and integrate old Mariya with new Mariya, in terms of real-life chaotic connections. There’s just this one guy left now.

    This leads into a bigger problem, for me personally. I can’t forget the blackmail-like way Mariya has been recruited into Dorothea. And after all these episode this hasn’t onece been addressed and just used as a nakama development. The show criticised Ray Dawn, but never properly asked what the function of the Ministry of Fairies was supposed to be (the question is there in the background, but it’s not at all tied up with Mariya’s character development, which is strange considering her emotional connection to fairies). And there’s a clear line here, too: Chima’s plot function is the equivalent to a “geiger counter”; Bitter Sweet’s connection to the earlier catastrophy has been quiety dropped, and so on.

    None of that invalidates the story, but it does suggest that the author says something like: “Here we have an intriguing setting, but we really care much more about familiar character drama.” So Veronica’s death is pretty much little more than a decent bottle cap on Mariya’s character development. It works, but it’s half-baked.

    Just like the show.

    1. “The writer in you can’t argue with Veronica’s death? ”

      The more I think about it (especially in the context of the conversation I’m having on Twitter about this topic), the more I think I should have said “won’t” instead of “can’t.” My goal was to give the writer’s maximum latitude without trying to guess their motivations.

      But I really wanted to see Marlya and Veronica together. Even the writer part of my brain agrees.

      “I can’t forget the blackmail-like way Mariya has been recruited into Dorothea.”

      This and the other missed plot opportunities you mentioned raise an interesting point. The fact I feel disappointment means I wanted to see more about those things. That’s positive as far as it goes, isn’t it? It means the show captured my imagination at least to that extent. But then not developing those ideas, despite 24 episodes and tons of time spent in flashbacks, felt confusing to me.

      “but we really care much more about familiar character drama.”

      That sounds right, and it makes me wonder: Why spend so much time in world-building? Why so many settings? Why not just invest the time in character development?

      “It works, but it’s half-baked.

      Just like the show.”

      Unrealized potential is one of my pet peeves. Based on how much I’m feeling that right now, I think you’re right.

Please let me know what you think!

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