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The next day, as Satoru investigates as much as he can, Airi stops her manager from reporting Satoru to the police. Later that night, after helping Satoru hide elsewhere, Airi receives a text from Sachiko's phone before becoming trapped in a house fire. 6"Grim Reaper"
Transliteration: "Shinigami" (Japanese: 死神)Daiki MoriTaku KishimotoFebruary 12, 2016 (2016-02-12)[45] Coming across the burning house, Satoru rushes in to rescue Airi, who slips her phone into his pocket before the manager takes over the rescue. Finding the message left on Airi's phone, Satoru calls a number that Sachiko had left behind, arranging a meeting with a journalist acquaintance of hers named Sawada. Sawada tells Satoru about the last phone call he received from Sachiko, in which she claimed to know who the true kidnapper was but was unable to tell him before she was killed. He also explains the reported details surrounding Kayo's death, noticing Yuuki's framing matches with another kidnapping incident in a nearby town and deducing the true kidnapper was the one who killed Sachiko. While Satoru looks up Sawada's findings on the kidnapping incident, including a list of previous suspects, Sawada goes to the hospital to meet with Airi, only to discover that her mother has swapped places with her so she can prove Satoru's innocence. Airi meets with Satoru, informing him of a mysterious man named Nishizono who may have been responsible for the fire, but the police arrive and arrest Satoru. As he is taken away, Satoru spots the man he saw leaving his apartment on the night of his own mother's murder. 7"Out of Control"
Transliteration: "Bōsō" (Japanese: 暴走)Toshimasa IshiiYutaka YasunagaFebruary 19, 2016 (2016-02-19)[46] Determined not to let things end the way it is, Satoru successfully triggers his Revival through sheer willpower, returning him to February 28, 1988. During school the next day, Kenya confronts Satoru about Kayo's situation at home, admitting that he has known for a while now about the domestic violence, and offers his assistance.

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It was published by Shogakukan in its seinen manga magazine Big Comic Original between December 1994 and December 2001, with its chapters collected in 18 tankōbon volumes. The story revolves around Kenzo Tenma, a Japanese surgeon living in Düsseldorf, Germany whose life enters turmoil after he gets himself involved with Johan Liebert, one of his former patients, who is revealed to be a psychopathic serial killer. Urasawa later wrote and illustrated the novel Another Monster, a story detailing the events of the manga from an investigative reporter's point of view, which was published in 2002. The manga was adapted by Madhouse into a 74-episode anime television series, which aired on Nippon TV from April 2004 to September 2005. The manga and anime were both licensed by Viz Media for English releases in North America, and the anime was broadcast on several television channels. In 2013, Siren Visual licensed the anime for Australia. Monster was Urasawa's first work to receive international acclaim and success; the manga has sold over 20 million copies, making it one of the best-selling manga series of all time. The manga has won several awards, including the 46th Shogakukan Manga Award and the Japan Media Arts Festival. Its anime adaptation has been called one of the best anime series of its decade. Plot[edit] This section needs expansion with: This is just the premise, the rest of the plot remains to be written. You can help by adding to it. 05.
The story is primarily told through flashbacks rich in symbols of Frieren’s previous adventures that develop our characters and give them a general sense of direction, followed by an actual storyline acting on these flashbacks. The flashbacks are all succinct enough to remain interesting without feeling long-winded, and each and every flashback has a clear story purpose: whether that be as clear characterization or setting up Chekhov's guns for later. These Chekhov's guns are used perfectly in a way that guarantees you an “oh, *that’s* what that was for” moment every episode. Both of these positive aspects of the use of flashbacks are commonly botched in other anime in the genre, making Frieren just that much more impactful.
*Lightning round of praises*
The story is amazingly emotional, yet nuanced as it tackles heavier-than-normal topics for the genre with a degree of tact. It doesn’t try to be overtly shocking with big *gasp* moments or overtly emotional with moments that make you want to bawl your eyes out, instead, it maintains a constant level of impact on the viewer: a factor lost on some anime that have a degree of variance to their impact.
The characters are deep to the extent simply not found in most fantasy anime. The original party interacts with each other in a way that makes their friendship feel genuine: almost in a Konosuba-esque manner. The new party has fluid dynamics that can even foster a bit of comedy that never detracts from the actual story.
The animation is high quality without being overly showy or bombastic: almost in a way that reminds me of the first season of Mushoku Tensei (minus the cool bread-tearing scenes)
The op is yet another Yoasobi op with depressing ass lyrics atop an upbeat score.