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#knives's methods are just. EXTREMELY COUNTERPRODUCTIVE
nanomooselet · 5 months
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Episode Seven: Wolfwood
It's a lovely evening in No Man's Land, and you are a horrible cultist.
The more I think about the idea that Legato wasn't ordered to do this, the more sense it makes to me. Let's do a count of assets this craziness puts into peril. We have the Punisher, highly chemically compatible and on an assignment already, who really doesn't need to be under more stress. We have the Doublefang, who's even better than the Punisher since he heals without the drugs, and through him Wolfwood learns that the Eye of Michael can't be trusted to keep its word.
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We have the Plant aboard the steamer, as Zazie points out, and I'm not sure Legato is as concerned about it as he claims to be. We have the steamer itself, a relic of the spacefaring age with plenty of still-functional technology on board even if the humans can't do much with it. (And isn't that interesting? They seem to have just stuck a steam engine in there and closed off the rest. Cool worldbuilding details.) It travels to and from July - I suspect it carries at least some cargo and personnel for the cult. Speaking of, we have Hopeland Orphanage and its stock of potential subjects, which we know for a fact the Eye has its stamp on.
Finally we have Vash, who's one of the cult's figures of worship. He's the only living thing that Legato's "beautiful angel" truly cares about. Even if Legato's plan is a success, is achieving Wolfwood's perfect loyalty worth losing any one of the rest, let alone Vash? I really have to wonder how Legato planned to explain any of this.
Of course, he does explain, doesn't he? You must give up on your little brother and face reality. I must take everything you love from you so that you can fulfil your noble purpose as a weapon. What we're seeing is Legato's first demonstration of his character to come, building sadistic traps to force painful choices upon his target, but also a glimpse of what awaits Vash at the end of his journey. Where could Legato have learned his definition of love? And let's not forget that he refers to his feelings as love in the first place.
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He's such a drama queen. Can't wait to see him ruining everything next season.
So much in this two-parter is amazing, but I think a somewhat underrated moment is Vash preventing Wolfwood from killing Livio with that insane trick shot. My boy frees Wolfwood from a horrific mental trap because no one should have to choose between the things that they love, the things that keep them alive. Best of boys. Precious darling. He wants so, so badly for there to be a way out for him.
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I'm hesitant to discuss Livio that much, because we, uh, really don't learn that much about him? We see the sad little boy in Nick's memories - which I have reason to suspect are not entirely the objective truth - and we have the stumbling puppet who boards the steamer. He isn't in a position to make his thoughts known, except once, and, well… it’s a decisive demonstration. But one that precludes any further participation. I have read the manga, yes, and I know what he's like there, but my feeling is that's more what he'll become than what he is now. There seems to be one fairly significant change, however: Razlo, and Livio's attitude toward him.
Razlo's there. I'm sure he's there. But is he always there in the same way? Is Livio so out of it because he's under the mask's control, or is it Razlo the mask keeps supressed? And when it becomes damaged, why does what Livio see in the mirror so horrify him? Does Livio even know who else is in his mind?
(We get our first glimpse of Chapel, too.)
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(Somehow I feel like I'm not going to be a fan of this guy.)
They didn't save Livio, but he got to make a choice. Even if it was a choice they wish he hadn't made.
Speaking of choices!
Meryl and Roberto continue to be the show's main source of comedy - the dub work for the Bad Lads Gang is so funny. Poor Meryl's teary little face when they bring up the Worms. Them being all excited about getting on the cover of an outlaw magazine, whatever that is. Roberto just being all welp, this might as well happen when he learns the faltering steamer has a space age cannon stuck to the top and that still works.
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Not enough booze in the world.
And then Meryl makes a choice. Roberto's right, on some level - they're not soldiers. They're not fighters. By any sane standard this is not their fucking job. But there is no one else who can do it. Regardless of ability, there's simply no one else who's been given the choice between standing there, taking the risk, or fleeing with the knowledge you could have done something and didn't. So Meryl makes her stand... and I realised that Roberto does too, because he faces the same choice. They all do! There's something they all want to protect more than anything else. Such different people with such vastly different skills and life experiences all have something in common, and they work together to realise their purpose. It's the second time in the series this has happened and disaster's been averted with their efforts. I just!
Of course then things get even crazier and we move into what might be among my favourite action sequences in the entire series? It's admittedly hard to narrow it down. This has been extensively dissected elsewhere, but it really might have the most beautiful cinematography (especially in the Plant room - ethereal, and then the hard cut comparison to the steel and scorching flesh of Wolfwood's efforts and I'm reduced to helpless arm-waving). But I think there's one detail I want to emphasise?
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Cool watery blue and burning fiery orange-red, yes. Gorgeous contrast. But both also have just a dash of the opposing colours. The two aren't so far apart, each holding part of the other - fundamentally connected, in spite of all the ways they're different.
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