#which is honestly impressive considering the context of killing his entire family and kidnapping his little sister

[scarecrowdrugs]

I desperately need to figure out what terms of endearment I can actually imagine my Crane using with Clarice because this emotionally stunted bastard is trying his absolute hardest to be difficult with me on this topic.

[beastars-takes]

Zootopia Takes: The Power of Really Liking Each Other

Our main event, Beastars Takes, will resume soon, but in the meantime I want to talk about one of my favorite movie relationships:

Has this been talked about to death by other people? Yes. But this is my blog and I write it for free so I can do what I want.

Note: this is not a shipping post--this is just an examination of their canonical relationship in the movie and why it rules.

At first glance, this is your typical enemies-to-friends story. I love those. But while the typical arc tends to involve two characters who can’t stand each other, who eventually develop a grudging respect for one another (often through some kind of shared ordeal) and maybe thaw into actual friendliness at the end. Zootopia packs all of that into the first half--by the midway point they are clearly not just allies, but friends, and by the end of the film they’re inseparable.

It’s important to recognize this isn’t just for the hell of it, or just to be cute--the closeness and trust they build is the linchpin of their success in the final moments of the movie.

All the reasons why, after the jump.

Something I talked about in the previous post was the messaging of Zootopia, and I don’t want to rehash it too much here. It’s a movie about prejudice, and the work it takes to overcome it. A key theme (one that it shares with Beastars, incidentally) is that friendships with those who are different from you are hard--but they are worth it.

Part 1: They Hate Each Other! (Right?)

Now...it goes without saying that when these two first meet, they bounce off each other hard. Each is seeing the other at their absolute worst.

Judy can’t stand Nick because he takes every bit of optimism she has about this world and throws it back in her face. She want to use him as a prop in her vision of an equal society, where “not all foxes” are crooks. He laughs at her. He humiliates her. All he has to do is walk away, but he takes his time. He twists the knife.

For his part, Nick sees a laughably ineffectual bunny who condescends to him and threatens him with jail for the crime of...humiliating her. She may not personally be a threat to him, but she wields the institutional power of the ZPD--a power he has plenty of reason to be afraid of--and she does it irresponsibly.

On first viewing, Nick inarguably wins this exchange. He avoids arrest, reads her to absolute filth and leaves her stuck in cement.

And he makes her really sad. Nice!

But, and I don’t pretend to be the first person to have pointed this out, on second viewing it’s obvious he can guess her story so well because it’s basically his story. The only difference, in his mind, is that he’s accepted the reality that he’ll never be allowed to live the life he wants, while she is still vainly pursuing hers.

I don’t know about you, dear reader, but the people I’ve met who have always most pissed me off are the people who remind me of things I hate about myself. The people who seem to embody the flaws I’ve worked to minimize. Nick’s naive hope is what has brought him the most pain in his life. He sees this bunny full of the same naive hope, surmises that she’s facing the same failures he did and yet stubbornly refusing to learn from them. It’s irritating.

Pictured: irritation.

Maybe I am projecting, but if Nick is anything like me, he probably didn’t walk away entirely happy from this exchange. Yes, he “won,” but he was also reminded of everything about himself that he least wanted to think about.

Part 2: They Are Not Very Good at Hating Each Other

So, the thing about Judy is, she is naive. By default, she assumes people are her friend. But she’s not stupid.

Nick assumes she is stupid, not least because she hasn’t wisely given up on her dreams like he has, and...he learns that she maybe not so fun to pick on after all.

So they wind up doing the first part of this enemies-to-friends routine, allies of necessity.

So, naturally, because he is Him, he makes it his mission to torment her.

In fact, we get two whole scenes where all he does he does is watch her struggle and make this face.

The first read of this behavior is that he’s just enjoying the failures of someone he hates. He says as much later. But I would also argue--from a viewer’s perspective--Judy is ridiculously entertaining and charming throughout these encounters. She wears her heart on her sleeve, and it’s hard not to like people like that.

Is there more happening here than just schadenfreude? I won’t pretend to know for sure. But worth considering.

By the time they’re investigating the limousine, his sabotage has diminished into something more like gentle trolling. And you can’t see this face, in context...

...and tell me she isn’t starting to like him, at least a little bit.

He’s also starting to help! By the time they’re past the minor detour of almost being murdered by a mob boss, he’s entirely cooperative, helping her conduct interviews and look for clues. The movie doesn’t call particular attention to this, but it almost did.

Finally, let’s look at Nick’s behavior when they’re being chased by a rabid jaguar. He could have absolutely booked it, with no regard for the cop who was blackmailing him into helping her.

These moments go by so quickly, but they’re hugely revealing of his true character, even before he defends her in front of Chief Bogo.

He picks her up when she falls.

More importantly, when he gets to the skytram, his first instinct isn’t to jump in--it’s to hold the door for her:

He sees she can’t make it, and she even tells him to leave without her. He doesn’t. He holds the door until he can’t anymore, and as a result he’s nearly killed.

Nick is a good boy.

Part 3: They Are Friends Now

She save his life, so he saves her job. This is a key story beat, and it’s a Disney movie, so there’s not a lot of subtlety (except how the specular highlights in Judy’s eyes fade as Bogo asks for her badge--the light literally goes out of her. Go watch).

But it’s such a sweet moment of teamwork--he was contemptuous toward her from the start because she believed in herself. This is the first time she’s simply given up in the whole movie, and he steps up. Because he believes in her now.

And she believes in him! Or, she wants to.

Judy’s supportiveness here is sweet, but it’s also still a little selfish. It’s not that different from their interaction at the ice cream shop, really: she wants to meet a fox who defies stereotypes, who is easy for her to like. Someone who ticks all the boxes to prove her family wrong.

When he starts being more foxy, later--self-identifying as a predator, showing his claws, challenging her--we learn that her supportiveness is conditional.

Am I being too hard on her? Sure. She’s been in bunny country her whole life. She’s new to this and she’s trying. But that’s where she’s at.

But still! They’re friends now. They’re no longer pretending they don’t like each other. Judy’s openly encouraging, Nick is fully in her corner, and we get a few cute sequences where they keep being more and more impressed with each other.

He’s still not above affectionately messing with her, and she’s getting worse at pretending to dislike it.

And he trusts her enough to let her flush him down a toilet...

Which gives us this heartbreaking shot where he thinks she’s drowned. He cares a whole lot about this bunny.

She likes him too! Enough to want to team up on a more permanent basis. This is pretty standard-fare enemies-to-friends stuff now, but considering where we started, and considering they’ve known each other for all of two days? Not bad!

It’s clear this moment means far more to him than it does to her, too. It’s actually taken very little persuading from Judy to get him to step up and be brave and helpful and trustworthy. The fact that he’s turned around and opened up to her so fast suggests he’s been ready for an opportunity like this for his entire life, and never got it. I mean, look at his face.

The foundational flaw in her worldview is still there, though, and it’s about to do almost-irreparable damage to their whirlwind friendship.

Part 5: Fuck!

So Judy gives her press conference, and gives a great example of why police usually answer every question with “the matter is currently under investigation,” or “we’re not prepared to comment further at this time.” Honestly, though, this is on Bogo--I had coworkers who once did some press interviews, and they spent over a week doing media training. They didn’t even break a major kidnapping case. So, you know.

So she repeats some weird race science stuff she assumes is true because someone in a lab coat said it, which is amusingly similar to how race science (or “race realism”) often propagates--people with low-rent doctorates from crappy universities write a bunch of scientifically shoddy material and people say “well, he has a PhD!”

And then Nick has a PTSD flashback? I don’t want to be irresponsible and make an armchair diagnosis, but also...that is absolutely what is depicted on screen.

You’re not immediately “better” after something like this, which is why I cut Nick a bit of slack when he basically blows up their friendship.

Judy...doesn’t get it. It’s completely heartbreaking, because she likes him, and doesn’t understand why he’s mad, and isn’t self-reflective enough to stop and think maybe he has a point. Not until it’s too late. He tests her, and she fails.

Their friendship has always been a little inequal. He’s trusted her with everything, shown her his deepest vulnerabilities. She’s never trusted him completely.

So he leaves.

I don’t want to impugn her professionalism by suggesting she wouldn’t have quit the force if she hadn’t had that friendship-ending fight, but, you know. Maybe.

This is the second time she gives up, and this time he’s not there to pick her up again.

Judy is intensely goal-oriented, and I don’t think she realized what Nick’s friendship meant to her, as the first person in the city who truly believed in her, until it was too late. Judy is sweet and well-meaning but emotional intelligence is not really her strong suit (which is actually cool to see in a female Disney protagonist, imo).

So, while it would have been nice for her to track Nick down immediately and apologize, I think it makes sense for them to spend time apart. Her own self-perception has been shattered, and she needs time to figure out how she went so wrong.

So when she does come back, she delivers one of the best animated apologies I’ve ever seen. Only AtLA compares, in my mind.

Part 6: They Are Much Better Friends Now

Nick forgives her, because of course he does.

(Sidebar--people talk about how he kept her carrot pen the whole time they were apart. He also kept his handkerchief from Ranger Scouts, AND he only wears shirts that match the wallpaper in his mother’s house. He desperately needs a hug.)

Credit to Nick also, who can’t fight and has no police training whatsoever, who has multiple times been almost killed helping her out, now agreeing to help her out again. She’s not even threatening him with jail this time!

We, the viewers, are then rewarded with this great montage of them being best friends.

She’s finally stopped pretending not to be amused by his shenanigans.

(One other sidebar here--Nick is canonically a really gentle character. For all their adventuring, this is only time in the movie he gets physical with anyone: to protect the bunny. Again, he definitely can’t fight and immediately gets smacked across the room. But it’s the thought that counts, right?)

Per the post title, more visual evidence of them really liking each other.

Judy trips on a dead body, and here we get the second time in the movie that Judy tells Nick to leave without her, and he won’t--this time, he refuses explicitly.

Which then gives us the opportunity for the big moment--the culmination of all this care and intimacy and trust.

In order to con Bellwether, she lets him stalk her, and bite her throat. This has been often pointed out, but it’s important--throughout the movie, Judy’s wriggling rabbit nose has been used as a signifier of fear and suspicion. It wriggles when she’s spying on Nick at the beginning. It wriggles like hell when he confronts her after her press conference.

Not here. Doesn’t move. It’s a great, clearly intentional animation choice that tells a close observer (or more likely, a repeat viewer) that she’s completely unafraid.

She trusts him.

I could write a whole other post about how well-scripted this movie is, how every scene is doing half a dozen different things, but the way the personal and the professional come together here, the way the threads of prejudice and friendship and the police case all tie together in this moment. It’s good shit.

This is basically where things end, in terms of character development, but we get a bunch more shots of them clearly adoring each other:

So there it is.

To sum up, certainly not suggesting this movie invented “characters liking each other,” or anything like that. But it goes above and beyond in portraying a friendship that’s not just one born of circumstance, one that’s authentic and unmistakably loving. Characters who enjoy spending time with each other, regardless of what’s going on around them.

I hope everyone is able to experience friendships like that. I absolutely treasure the few I have.

Appendix: The Shipping Thing

I hope I’ve made all this ship-agnostic, which was my intention. I personally like the ship, and I think the reason it resonates with people is because that love and trust and closeness is clearly there, and a romantic relationship creates a lot more easy opportunities for dialing those things up even higher.

I would also argue, if pressed, that the amount of teasing and physicality that happens reads as pretty flirty. If they were humans I knew in real life, I’d definitely think there was something going on there. But I’m an American, where touching and emotional intimacy tends to be read as romantic. Also, animals are a lot more cuddly than humans. So who knows? I think it’s perfectly reasonable to read them as platonic friends until the end of time.

But, one way or another, they love each other a lot. Shout out to this, one of the most emotionally rewarding relationships I’ve ever seen in a cartoon.

[scripttorture]

I’m creating an NPC for a tabletop game I’m running, and the backstory I’ve come up with is that he was a British Army soldier during the sepoy mutiny and, long story short, he personally oversaw the floggings, hangings and blowing-from-cannons of the men responsible for the murder of his fiance, as well as the execution of their families. Would it be plausible for someone to do something that awful in response to great personal loss? If so, how would this effect his mental state?

Iknow a little bit about this period and some of the Britishatrocities. I don’t know how much evidence there is to support theBritish side of the story. Generally speaking I get the impressionthat in most colonial conflicts European colonisers exaggerated thescale of atrocities against white people (or made them up) whiledownplaying or ignoring the atrocities against everyone else. Inone Indian city the estimates of the dead on the Indian side arearound 150,000 people, 100,000 of whom are believed to have beencivilians. I know European women and children were killed duringthis conflict, but I highly doubt it was in anywhere near the numbersthat Indians were. I also don’t know where in India most Europeanwomen and children would have been living: the majority of thatpopulation may have been based a considerable distance from thefighting which was concentrated in a few states.

SoI don’t know how likely the murder of this character’s fiancéewould be in this historical context. Possible, certainly, but hemight be the only person in his unit who’s lost someone. I don’tthink how likely this murder is will affect my answer but it issomething to bear in mind for the character/situation generally.

Movingon to the question: what you have is perfectly plausible whether thecharacter’s fiancée is murdered or not.

Greatpersonal loss is not necessary to make someone commit torture orgenocide. Neither is trauma of any kind. Giving your character thisvery personal loss may well make his story more interesting- that’sa valid storytelling choice- but it isn’tnecessary to justify what you want him to do.

The‘justification’ (such as it is) is in practically every otheraspect of the character: he’s a British soldier in a foreigncountry during a time period when the British press and publicopinion was actively calling for the large scale massacre of Indianpeople.

Thischaracter would have been brought up in a cultural climate thattaught him he was naturally ‘better’ than people with darker skinand that as a Christian he was superior to non-Christians. Britainwould have been an Empire for as long as he’d been alive. For hisentire life he’d have been exposed to justifications for thatEmpire and stories about people looting vast amounts of wealth fromIndia in particular. He’d have been raised in a climate whereinvading, occupying and looting other countries was considered bothnormal and moral.

Thatis not an indictment of the character but one of the time itself.

Comingfrom that background he’s gone to India, possibly to try and getrich quick (that was very common for European men of a certain classwith no money and ‘poor prospects’). The fact his fiancée was inIndia as well implies he’s been there for a considerable period oftime.

Withor without his fiancée being killed his life suffers a sudden anddrastic change when the war starts. Either he’s suddenly traipsinghalf way across the country to get to the war or he started out inthe states where it sparked and saw violence first hand. If he didn’twitness violence he’d be hearing hugely exaggerated rumours ofIndian led atrocities on a daily basis (the idea that Indian soldierswere kidnapping and raping white women and girls was hugely reportedin the British press and no evidence was ever found*).  If hewitnessed violence he’d still be hearing the same rumours about howmuch worse it was somewhere else.

Ontop of that a fair number of British commanders at the time more orless ordered their soldiers to kill everyone they came across inrecaptured areas.  

Giventhat climate, that background, that culture and the activeencouragement to genocide coming from allaspects of his social sphere**- Honestly the question isn’t ‘whydid any one British soldier commit these atrocities’ it’s ‘whatdrove the ones who refusedto?’

Byall means keep in the murder of his fiancée if you believe thatsupports a better story. But while that may be his excuse it’sunlikely to be the real reason behind the atrocities he commits. He’s‘just’ doing exactly what every other British soldier around himat the time was.

Andthe effect on his mental health wouldlikely be pretty devastating.

Torturerssuffer from the same mental health problems their victims do.  

Tortureis traumatising. It’s traumatising for those who survive it, thosewho witness it and those who participate in it, regardless of theirfeelings towards their victims.

Thatsaid, we can’t actually predict which symptoms an individual personis likely to suffer from. We know the possible symptoms, but noteveryone gets the same symptom set and people don’t tend tomanifest every possible symptom.

Itend to suggest approaching that part of the problem as a writer andpicking symptoms according to what you feel adds best to thecharacter and story. Generally I give estimates for numbers ofsymptoms as well, and I’d like to stress they’re just estimates.

Inthis case it seems like the character has gone through multipletraumatic events, not least the war itself. That makes PTSD inparticular more likely. It also means I’d suggest a higher numberof symptoms than I usually would for a torturer, I think 3-5 severesymptoms would be appropriate in this case.

Thinkabout the character and the kind of story you want to set up. Ifthere are symptoms that help support that story in any way then I’dsuggest using them. Symptoms that might act as an obstacle for theplayer characters to work around would probably also be a good pick.

Thelast thing I want to mention is to remember the attitude towardsmental health problems at the time. It wasn’t kind or understandingin the slightest. As a result a character in his position might go toconsiderable lengths to hide his symptoms. He may not be successful.

Ihope this helps. :)

*I’dalso like to note that these accounts didn’tfor the most part come from women. They came from men who claimed tohave witnessed these attacks….from the other side of the country.Hence my doubt that they occurred.

**AndI do mean all. His military commanders, immediate comrades in armsand any surviving family in India would likely have been encouragingthese atrocities. His religious leaders, political leaders, thepopular press and any one he was in contact with back home wouldalmost certainly also havebeen encouraging these atrocities…. Unless he’s a Quaker in whichcase it’s unlikely he’d have joined a military organisation.

Disclaimer

[whetstonefires]

d gray man liveblog part 4! (part 1)(part 2)(part 3)

No but seriously, Cyril Camelot is the English Foreign Minister and just staged an assassination attempt on himself for an excuse to declare war on the people he just spent a while negotiating an agreement with.

Why? In what way does this benefit the Noahs?

(...why is the name of the country censored, I feel like hoshino-san just didn’t want to try to come up with a plausible European country for England to go to war with in 18-mumblety.)

I mean Bookman says tragedy breeds akuma in his analysis, but they took Japan while it was so emphatically not at war that it had zero foreign relations at all; war is clearly not necessary for the Earl’s bargains to go through apace.

Cyril kind of looks like he just does this shit for fun.

...”the evil man who made the world his enemy” is a fascinating choice of words, Tykki Mik, I really wonder very hard about you.

And you’re right, when he’s not wearing his balloon costume, and talking normally, and buying flowers from little girls, he looks normal! Weird how that works.

Question: is that umbrella he declined so he could walk in the rain Lero? Does Lero have to share the Earl with other umbrellas outside of official monster business, or disguise himself as a normal bumpershoot when out in public? Is that servant another disguised akuma, or a normal person who has no idea?

...it’s probably an akuma.

YAY KRORY WAKE UP!

why so many chain. it’s not like he lost track of who his enemies were in that last fight, even when he was made of blood. rude to chain.

aw he cry. he cry! ;_; he cry for his friends!

this is the kind of sad boy i like. he can be annoying but not in, you know, a murdery way.

holy shit creepy ghost girl?! i...logically must have read this part before but i don’t remember it, damn i was bingeing like a mad thing.

where...where did the poison come from. why is Krory’s arm sticking out like that. what is going on.

Why Are The Order So Bad.

aaaaand cut to the kind of random hijinks that seem intended to lift the mood but tbh they’re kind of too grim in their own right.

lmao alternately this is an excuse to draw kanda and lavi as chibis and Allen with long hair.

If it’s not because of structural damage, why are they moving to a new base? No one’s said anything about the new headquarters being any more secure against frickin’ teleportation. Maybe the Pope just wants the Order distracted with moving chores?

(I like referring to the higher-ups at the Vatican as the Pope; I realize we have no actual evidence the actual Pope even knows any of this is happening, but if hoshino is gonna be having people shout that other people are ‘property of the Pope’ i’m gonna use the word Pope as often as I can get away with because

1) it makes the whole thing more ridiculous b) it emphasizes the European Gothic Via Japan vibe going on here which is at least 20% of the entertainment value and thirdly, ‘Pope’ is fun to say.)

Oh, right, Allen’s ongoing identity crisis! (it only gets worse from here, kid)

The bosses were logically correct to make Cross Marian do his ‘report to Vatican and be responsible’ part before giving him the pay-off of ‘allowed to talk to Allen’ because otherwise he’d just fuck off but damn it’s hard on the kid, being left hanging.

I absolutely do not believe for one second this business with Mana’s past and secret motives was planned before the series started, but that’s honestly for the best; it’s more wrenching when we didn’t have any more reason than Allen to suspect something was off.

...i like when nice clowns adopt people tho... :o(

not telling the brass or their stooge about your creepy extra reflection was a Good Call.

yes link really truly allen is a good kid who is not plotting evil shit. sheesh.

more Potion Accident gags, i’m sorry, i can’t keep up with your taste in mood whiplash and i never liked most slapstick anyway. the bunny ears are. strange.

...never mind who made the ‘talk like a cat’ potion, who packed that box Miranda spilled; that is such an absurd chaotic collection of items organize your shit people. eesh.

Lmao everyone’s #1 creepy ghost theory is, Komui Playing A Dumb Prank.

...okay, Allen’s reaction as the Matron gnaws on his arm, and the fact that everyone’s first assumption is that Allen has annoyed this very sensible woman to the point that she is communicating via teeth, manages to be funny but noooooo, why would you, not Awesome Shoes Lady after she made it through the Level 4 Akuma attack unscathed, come onnnnnn.

okay, uhhh...contagious vampirism zombie thing...lmao everyone gets worried about matron when she bites Miranda, everyone is super embarrassed when Miranda bites Noise, this is just some impressive Not Realizing Shit’s Fucked guys.

okay, zombie horde of various survivors of all the recent massacres.

uh, if this weren’t being dropped at a time of total emotional exhaustion, it would work better. it’s already working better the second time around for the fact that i took a break after the last arc.

considering it comes out monthly and we had a Noah interlude, it probably worked in the original context just fine, but daaaaaamn did this storyline piss me off the first time, all i even remember about it is the rage.

:D Lenalee rescued Tiny Kanda. Who for some reason can interpret her ‘nyah’ sounds.

...how is a stimulant drug contagious via biting.

i remember the first time i read this i naturally assumed the biting disease was derived from Krory. that still would have made more sense.

robot eats notebook, lol...bickering...”my pride won’t allow me to become a zombie” yes allen excellent logic you weirdo.

okay i’m done checking back in when slightly less stupid shit starts happening....

okay never mind the robot’s fireworks blew Allen through a wall, where Krory was suffering in chains, and then the blanket spontaneously combusted, and then there was somebody with an axe...

...and then Allen wakes up and is informed he was knocked out and concludes Krory’s situation was a dream oh come on.

krory is at the door! but being creepy! the robot refuses to open the door out of self-preservation! allen seduces the robot into risking its life!

...

‘this is nostalgic’ with the hero face on i can’t.

okay, so it was Krory, who apparently swallowed the entire bottle of poison, lid included? for some reason?

oh great there’s a parasitic zombie ghost thing riding Reever and sticking its face out his stomach. horror! nope, now played for laughs.

aaaand suddenly veering back into pathos. bonus info about evil human experiments!

...aaaaaand touching bonding moment for the Lees. Aww.

Not only is Komui protective and self-sacrificing, when he isn’t being psychopathic, he has absolved Lenalee of his having sacrificed his entire life to watch over her after she was kidnapped into this.

then a stupid gag! and the ghost does a creepy jealous possession thing! and meanwhile everything is on fire.

et cetera, mood whiplash back and forth at least once every other page...komui starts reciting from memory the names of every single person killed in the Order’s human experiments...

...i don’t think the names are intended as an additional gag, but most of them are fairly odd and many downright improbable, though none truly syllable-mashing outrageous. I’m rather fond of Asia Smet and Oona Boelyn.

a page and a half of heart-rending pathos, and then the robot falls off the ceiling with a huge syringe of ‘vaccine’ it synthesized from Krory’s blood because he was the first infected by the...stimulant...egad, that’s not how any of that works.

and then, and then...anyway then everyone was zombies and the boss from China came in off-panel and fixed everything, as you do.

i truly hate you hoshino katsura, all the more for the fact that i genuinely loved about 15% of that parade of neck-wrenching bullshit.

anyway! that’s all over and done with, we are now on a boat being cute, because allen is using the stolen teleportation Ark that only he can drive to open a door between the old Castle headquarters and this...uh...cave? that they’re moving into.

...oh hey Shadow Of Allen (XIV) is now sporting wings remarkably like the ones Krory had during his drugged vampire zombie freak-out. i bet that means nothing whatsoever.

man whenever Leverrierererererer turns up i hallucinate ominous music. smug assholish ominous music. slimier sounding than the Imperial March, you know?

that’s not just my biases, hoshino-san lights the panels very effectively to create that effect. egad, he’s going to be in command??? is that why the move, because it was easier to undermine komui’s authority if he was removed from his entrenched power base?

...we just covered last chapter that that castle was a leverrier family fortress originally tho. huh.

excessively creepy secret Pope police involved in isolating and depowering Allen.

also lol that is very Japanese-style religious magic going on, that is not what a Catholic ritual binding would look like at all. not that they have as much settled precedent, their demon-fighting standards run much more toward ‘make it go away.’

aw shit komui’s right there and he can’t do shit, best he can get is a promise that ‘if Allen is a good child’ he won’t die.

flashback! aw man allen the first lesson mana ever taught you was to make peace with the dead and let them lie. should’ve listened.

...man allen was a grouchy brat. i wonder what color his hair was, before it went white. haha apparently he acquired his adoptive dad by running away from the circus with him.

pfffffft little allen hated clowns, that achieves the level of actual irony...welp, suicide joke.

aw shit mana was too burned out on grief to cry for his dog but allen could, for the doggie that licked his hand once. imma cry now.

whoa actual conversation with Cross Marian! under the supervision of papal ninjas (known as Crow) within a magic cage of paper. and wow! an actual answer to a question! unprecedented!

...it isn’t labeled which of these kids was Mana and which was (the most recent incarnation of??) the Fourteenth but imma hazard a guess that the one with hair that matches little Allen’s is not Mana.

oh also Adam Puddinghead killed the 14th, i don’t think we officially knew that until now? or maybe it came up when he blew up Edo i don’t recall.

oh my god i was definitely bingeing too hard last time; by the time Cross Marian started referring to the 14th in the second person to Allen my capacity to be astonished or distressed was burned right the fuck out. i was just like ‘yeah yeah figured get on with it.’

it’s actually a pretty dramatic scene, but it’s weird to be getting this shit in straightforward exposition after all this absence of any information at all.

wait “the human implanted with” ... “the host for his revival” ... i can’t tell if Cross Marian is referring to whatever the normal noah transfer process is or some way 14 found of circumventing that.

ohhhhhh man this title page has tiny clown Allen and it is the cutest shit ever.

did i ever tell you guys one time when my mom was two and a half, she had her stage debut as the cutest little pigtailed clown? and she ran onstage toward her daddy just like they’d practiced and the whole audience burst into delighted laughter.

and Tiny!Mom turned to look at them in appalled horror, and u-turned right back around and ran offstage again.

no one had successfully communicated to her she was going to be laughed at by a bunch of strangers. possibly they didn’t expect a toddler to mind.

oh sure Cross Marian, tell the kid the horrifying truth about himself and his dad in the most overdramatic way possible, in front of witnesses, and then when he dissociates in horror just beat the shit out of him until he resets.

the amount of playing abuse for laughs in this series is one of the many emotional strains that led me to drop it the first time.

it’s honestly a contest sometimes who i currently hate most, Marian, you or Labradorito or the Earl. Ech.

‘no idea’ tch. but if you’re saying he implanted his memories into Allen before he died, then...the Earl caught up with the 14th really recently, then?! How long were he and Mana on the run? I totally forgot these details, wow. i suspect some of them will turn out to be false.

...why the fuck are you saying it like this? bastard.

wow CM you almost look spooked by the fact that allen cares more about the possibility that his dad never actually loved him than the prospect of having his mind eaten.

maybe he’d care more about the mind-eating if the 14th was the Earl’s ally instead of planning to use allen as a weapon to kill him? allen is already using himself as a weapon to kill the Earl.

oop, way to get him back on target! “what if i told you you’ll kill the people you care about?”

aaaand cut.

that was like ten chapters’ worth of blather, i need to get more efficient.