#dig the subtle worldbuilding of the cars out there all being crap

[nanomooselet]

Episode Two: The Running Man

It's odd how little gets said about this ep, considering it's the most direct homage the earlier anime adaptation - but maybe that might be why? Since, as I said, this was my entry into the story, to me it felt out of place. It seemed like it was doing all it could to distract from how the previous ep concluded.

With hindsight, I think that's the idea.

The opening with the radio! I'm so weirdly fond of it. Yeah it's a flashback, but it shows Vash in a private moment without his mask; a glimpse of his secrets. He's not wearing his coat, so you get a look at how broad his shoulders are; he's also handling the tools to maintain his gun skilfully for someone who claims he's not a fighter. As he's contemplating the crash - he was there, obviously, and he has the photo of him, Rem and Nai still - the radio host says without the Plants, our ancestors would have died out long ago. How long ago? Long enough that Vash likely shouldn't still look such a gosh darn pretty boy? Yet it slips by.

(I do not understand the complaints that Stampede had no mystery.)

This is the episode where he's most committed to the bit of being cute but sort of hapless and silly, too, so the contrast is dramatic. I don't think he was actually expecting Meryl and Roberto to clear his name all at once, but I do think he was hoping, I don't know, maybe they'd believe him from the first. But nothing's ever that easy for my boy. I gotta say, Vash, optimism has its limits. Your story is that you're being framed by your previously unknown identical twin brother. You know it's true, I know it's true, but you might have had an easier time with some, I don't know… evidence? It's not surprising the reporters are sceptical.

Oh god, I'm so sorry, do you want a hug or -

(By the way, this means Knives told everyone it wasn't him, it was a one-armed man.)

He's being melodramatic, but I suspect also more sincere than what comes across - which is the whole reason he exaggerates, of course. (What? No, I'm not talking from experience. I have never, ever done this. Never ever in A MILLION YEARS have I exaggerated to obfuscate my sincerity.) The angle changes to show his face, and it's pretty clear how genuinely exhausted and upset even the thought of Knives makes him. Though it is still pretty funny that Meryl just isn't having it.

Also funny: Meryl versus the Worms, round one. Worms 1, Meryl 0.

Roberto greeting Tonis is really cute. He's a grump, but he's never an asshole to kids.

Ahhhh Tonis gives Vash his bugs and Vash pats his head and then he moves to take his hand away Tonis grabs it so he'll keep doing it and then when Rosa tells Tonis to leave Vash look dismayed and waves goodbye and it is so cute and IT IS SO SAD.

Because Rosa loves her son, wants him healthy and happy and safe, wants him shielded from the violence of the world and from decisions like pulling a gun on the hero of your town who's been nothing but good to you, better than you deserve - and yet we saw Rosa come to the decision that she would do this last episode. Right about... here. See the way she moves from standing in front of him, almost protectively, to beside him, clearing the way? By the look on her face, she doesn't want to. Vash proved himself yet again afterwards, saved the town without hesitation the moment it was endangered at great risk to himself. He's a good man, a friend, someone she trusts. But it's not him Rosa's thinking of now. It's not even the town. It's Tonis.

I have to say, Roberto doesn't look shocked or concerned. He just wearily sets down his mug and raises his hands, expression unchanged. Meanwhile Meryl's turned into a cartoon.

Vash understands. He didn't fight back against the MPs. He didn't instigate the duel. It's because of him that this is necessary. That just doesn't mean he's going to make it easy for them.

Ah, that old Stampede special: the undignified leg-spread landing.

Man the English dub is good, but it's this episode I started to realise how good. It's incredibly funny. "The furious fists of the Nebraska Family challenge you to a duel!" "Felt the fury right there!" "Money! Come back!" "I hope you like pancakes, because you're going to become one!"

There's one translation I'm not sold on, though, and it's Nebraska declaring "Power is justice! Power is truth!" I had the same problem in Persona 5 Royal when I played it and the characters kept going on about how they'll "prove our justice". It sounds so awkward.

From what I can tell, the word they're using translates more clearly to "moral rightness" or "righteousness", and the score title for Stampede renders what Nebraska says better: might is right. He's advocating Social Darwinism, basically. It's the natural order of the world: the strong deserve to flourish, the weak deserve to perish.

Nebraska: I hate cowards like you! This whole planet is fighting for survival! Anyone who runs is bound to die like a sorry loser! But you, Stampede! How dare you?! / You coward! I despise waste-of-life cream puffs like you! You have to fight tooth and nail to survive in this world! If those who can't hack it run away and die like chickens, then so be it! But you? I expected more, Stampede!

Vash: You might be right that I'm too timid. But is that such a terrible thing? Is fighting everything head-on so important? Even if it gets someone killed? / Okay, I may not be the bravest, but what's so terrible about being a little timid? Is fighting head-on always right? It risks lives, and for what?

Nebraska: Weapons… are made for fighting! Do you get it now?! There's no future for those who don't fight! / I might as well, huh? It's what the damn thing's made for! That'll show ya! Any snivelling slug too scared to fight must die!

Vash: Come on, can you back off? I really don't want to fight anyone. / Can you guys cool it for a second? I'm really not in the mood for violence.

Nebraska: That's the attitude that pisses me off! / When the world ends, will it ask if you're in the mood?

It's kinda funny that Nebraska keeps going on about it, though, because he also keeps demanding accommodation for his son's weakness. If he was really committed he'd rely only on himself instead of endangering Gofsef. And yet oddly enough, it's the hypocrisy which saves him, because it's how Rosa realises how much they have in common. He loves Gofsef, just like she loves Tonis, and Vash forgives them both.

Enjoy the subtle gag of Meryl mirroring her "parents'" expressions, BTW.

Nabraska judging the townspeople for drinking before 5:00PM as if he didn't just destroy half the place trying to steal their only power source.

Gofsef being creeped out by Tonis's Worm buddies.

And Roberto visibly tuning out as Meryl tells him off.

I think the reason this feels like it's all happening so fast is because this is the place where an episode of the older adaptation would end, leaving some implied time to pass before the next crisis. But this isn't twenty-six self-contained episodes, it's twelve instalments of one story. The running man must continue to run, because it was never humans he was running from.

And I didn't realise this until now, but the drone in Vash's room? It's looking for him, or his things. It doesn't find either.

When it doesn't...

E.G. launches his assault, though the drones had been patrolling since the previous night. Vash was about to leave when he heard the scream from the diner and rushed back to help. And so he stayed long enough for E.G.'s master to arrive in person.

Whatever happened in Jeneora Rock, it seems it was necessary for Vash to witness it, so E.G. had instructions to keep him in place.

So E.G.'s cyborg enhancements look like a bear trap.

Of course.