GARO: Honoo no Kokuin – 20

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First of all, I enjoyed how subtly the fact Leon and Ema have slept together is treated this week. They don’t even interact all that differently, as they’ve always been a pair that bickered. Prince Alfie, who invites them to the palace to discuss Mendoza, is content not to pry, but does notice Ema’s new hairstyle.

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And good for Alfie, he also at least somewhat suspects Octavia, because not only does she look really really suspicious with that look of constant guilt and worry on her face, but because he saw her sneaking around the church late at night. Now, Alfie isn’t the sharpest tack on the board, but Octavia seemed due for some kind of slip-up this week, so I gave it even odds she’d be found out…whatever it is she’s actually up to.

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Alfie, Leon, and Ema use a neat trick by hiding the sound of a horror-detecting bell by rining a regular bell to bring in wine for the King, who is still bedridden but on the mend. It at least determines Octavia isn’t a horror, but it isn’t the end of Alfie’s suspicions.

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But that’s all he has to that point: suspicions, because Octavia has proven very adept at staying out of trouble, even as she smuggles food to master Mendoza, who faked his death after all, but his body seems to have paid a price; it’s aged and frail. Still, he’s the same old Mendoza, confident no matter how much snooping around those punk kids do, they won’t be able to stop him.

Considering the Garm has Herman serving Mendoza in capacity, it’s hard to argue with him; the only question is what is he up to? Is he making another play at the throne, or does he have further villainy in store for the world? Whatever the case Octavia will do anything to serve him, including give up her life.

Not so fast, Mendoza says: he doesn’t want her to be in a hurry to die for him, because that would trouble him. These are truly two trod-upon hearts warped by loneliness and despair into kindred creatures raging against the world and the god that forsook them both. Their designs may be dark and twisted (we’ll see, won’t we?), but one has to appreciate the mutual devotion on display here.

At the same time, the fact they’re up to good always keeps the idea allive in my mind that while he says he’ll never toss her aside, he may still do just that when he no longer needs her.

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The show had us for a second, too, when Stakeout Alfie confronts the cloaked figure who emerges from the secret underground passage…but it’s only Laura, a young maid serving under Octavia, gathering purer water for the King. It’s an innocent enough reason to be down there, but there’s a hint of recitation in Larua’s explanations, as if Octavia were using her as a decoy to throw Alfie off her trail. Laura also teases a potential love interest for Alfie, who is the only guy in the main cast who hasn’t yet had any.

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Still, the trio continue their investiagtion, springing a thread trap that Octavia, bouyed by a premature sense of security, snags, throwing her into Survival Mode. As I said, Leon and Alfie aren’t tactical geniuses, but Ema is, and Octavia was due for a slip up. What I didn’t expect was how expertly she’d pull out of her nosedive not only totally above suspicion, but with the King and Alfie’s warm regard for her courage and devotion. In other words, in a stronger position than ever.

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That tenacity was born of her upbringing. The other members of her family were devout worshippers who believed God would save them from anything as long as they prayed; even if they didn’t pray, as Octavia’s Laura-like little sister remarks. But unquestioned faith in God can be a tricky thing if things don’t go well in life, which they don’t for the skeptic Octavia.

For all their prayers, a pack of wolves devours her family in front of her and none of her fellow villagers lift a finger to stop the slaughter. From that point on, Octavia was officially through with whatever God her doomed family believed in, and put her faith and her life in her savior Mendoza’s hands. He hasn’t let her down yet.

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And he continues not to when he presents her with a talisman she should use when she’s in trouble. While on the run from Ema’s trap, she activates it, summoning a horror beast that obeys her every command, spoken or thought. She has the beast consume Laura, who was by the dozing King’s bedside (Yikes…R.I.P. Laura ;_; ), then rouses the King, warns him that Laura turned into the beast, and has the beast attack her for good measure, biting off the right leg Ema’s string is connected to.

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When Alfie, Leon, and Ema arrives, it is plain to see that Octavia is valiantly protecting the King with her own life. It’s a phenomenal ploy by Octavia, and it shows that behind that worried face, she possesses great stores of courage and faith in her Mendoza, all of which is rewarded when the knights she hates so much turn their suspicious gaze away from her.

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It’s not as if Octavia wanted to get attacked by her own horror beast and lose her right leg, but she did what she had to do to stay in the game and, as Mendoza bid her, stay alive at all costs. The last thing she wants to do now is die, not only disobeying her master but making him grieve for her. Like I said, they have a great dynamic, not so much the one-sided manipulation it looked liked in the past.

With Octavia cleared, the case remains open for the Scooby Gang, but Herman suddenly arrives to curtail their sniffing around. Leon doesn’t take kindly to this interference, and he and his shitty dad draw their swords to do what knights do in such situations: fight it out. There’s still every indication Herman is simply obeying orders, but one also senses a glimmer of pride in his calmer, more mature, more badass son.

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GARO: Honoo no Kokuin – 19

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The amount we didn’t know about Ema Guzman had always outweighed what we did, and while that made her more cool and mysterious, it also kept her at arm’s length. Whenever she’s darted into Leon’s story, she’s made an impact, but she’s never been on screen long enough. That injustice is corrected this week…and then some.

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All the while Leon and Herman and Alfie have been through a diverse array of adventures, Ema’s basically been on the same single mission: she’s hunting for a powerful horror named Luciano Guzman. When Garm tells Leon Ema is going to die, Leon goes after her, which is a good move, because had he not intervened, she may well have died. Not because she’s too weak to defeat Luciano, but because she doesn’t particularly care if she dies.

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That’s because Luciano was once a man, a fellow Makai Alchemist, and her beloved lover and husband. As a pair they were unstoppable, but Luciano wanted more than to just hunt horrors; he wanted to save them. When not out fighting, he was in his lab, working furiously to find the spell that could prevent humans from turning, or turning them back, but got nowhere. The pain of his powerlessness eventually overcame him one night, when he sprouts giant black wings and disappears into the night…

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…Leaving poor Ema crushed by the wreckage in his wake. More than anything, she wants to take out the horror who did this to him, put him out of his misery, but the Makai knights she worked beside wouldn’t let her, only to end up slaughtered. She deems ending Luciano as her right and duty, and no one else’s.

Leon trades Zaruba’s knowledge of Luciano’s whereabouts for this story. Little does Ema know that, as it did for me, that story only made him care about her more and want to protect her, both from Luciano and her own obsession to destroy him even at the cost of her life.

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She doesn’t dare show a softer side to Leon, but privately, after sewing up her own abdominal wound (this chick is seriously badass), she seems intrigued, flattered, and a little impressed with Leon’s words. She caught a glimpse of him with Lara, but she still regarded him as naught but a boy, untouched and untested by the true horrors of the world. And we know that’s not true. Leon is no longer a clueless whelp. Now he has the strength of body and conviction to back up his big words.

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The night of the final showdown with Luciano commences, and to my surprise, it’s a thrilling aerial battle, calling to mind Last Exile or Pilot’s Love Song. Familiar vibes aside, Ema’s elegant system of gliders she hops to using thread and hooks, and the sleek alien stealth fighter design of Luciano’s horror form, are all very creative touches.

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The fact the battle weaves between cloud systems and is lit by the full moon gives it that much more of a dramatic, artistic flair. Ema has always been an acrobatic fighter, so it stands to reason when she gets really serious she takes to the sky itself. Especially when Luci opens up a barrage of red particle weapons at her, this is mostly just immensely fun stuff to watch.

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And Just as Garm foresaw, Ema does end up in a position where she really should have died. Using a spell of her own, she’s able to awaken a part of Luciano that still loves her, and he catches her before she’s impaled on a church spire. But he’s still a horror, and Ema doesn’t possess the ability to change him all the way back, any more than he did, so as he prepares to eat her, she’s ready with a giant sword made out of her thread. With the only thing keeping her suspended over that spire, killing him means her death too…if it weren’t for Leon, that is.

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A younger, less seasoned-by-life Leon would have surely tried to put an end to the fight before it began, but especially after hearing her story, he holds back until it’s over, only swooping in to save her after Luciano is gone. He does it because Ema is a friend, and she is someone he can protect, so he does. 

But his actions means more to Ema than he knows. She was willing to give up on her own life to release Luciano, he wasn’t. All of Ema’s disdain for Makai Knights was borne from the way they’d always swoop in like scavengers while undervaluing what she and Luciano did, and more importantly, when those same knights detained her, preventing her from taking care of Luciano a long time ago.

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But Leon is proof that not every Makai Knight is necessarily a shithead. He tends to her wounds and comforts her. In every encounter, including the early ones this week, Ema had mockingly referred to Leon as a boy, but suddenly, in that dimly lit room she realizes he’s no longer that boy in her head, but a man; the first man she could truly let her guard down and trust in a long time.

It’s a huge epiphany for her, which is why I don’t remotely begrudge her going in for a kiss. This new matured Leon proves her instincts were right by neither blushing or recoiling but kissing her right back, even taking things further, the risk of wounds opening be damned. It’s a very sexy scene,  and a great note to close on…and it’s earned.

For so long on this show Ema stood apart, out on the periphery, with us not knowing exactly what she was after or why. Now we not only know what she wanted to do; but she did it. Leon saved her, finding someone new to protect in the process. Now they’re standing a lot closer together, and the show is all the better for it. The question now is, do the two go separate ways the next day, or stick together for a time?

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Stray Observations:

  • With Lara, Ximena, and now Ema, we are officially in Garo’s Feminist Period. Seriously, it’s loaded with badass women.
  • On that note, let’s not forget Octavia, who’s still lurking in Alfie’s palace. Wonder if she’ll get a fleshing out.
  • I’ll admit, there were a couple poorly-drawn moments, but the episode more than makes up for it with that dogfight along with its usual stylishness.
  • Ema’s thief’s outfit in the flashback reminded me of FFXIII’s Lightning’s Ignition garb.
  • Ema kinda has to tell Leon about Luciano, since Zaruba is in a particularly chatty mood this week. “I’d rather say it myself than have a ring blab about it!” I LOL’d.

GARO: Honoo no Kokuin – 18

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First, I must give kudos to Garo (Kuros?) for sticking to its guns with Lara’s death. As much as I wanted her to wake up and start coughing in Leon’s arms, she’s dead dead, and not coming back. Leon’s only comfort was that she stayed alive long enough for him be the last thing she saw. Now he’s in the very unenviable position of having another excuse to go all apeshit on the world again.

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Prince Alfie lends him a sword and returns to the capital, but regrets leaving Leon alone and seeks Herman’s advice. J/Ximena hasn’t seen him, but when she goes back inside, there he is, but only to pay her for his stay and be off. Ximena doesn’t let him leave so easily, and Herman gives her what she wants: a kiss. Leon may have been content to live with Lara forever, but as much as he cares for Ximena, Herman’s latent transience, and his Makai duties preclude him from such a future, as nice as that would be.

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Umm…you might want to dig that hole a little deeper, kid.

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Ridiculous shallowness of the grave aside, carrying Lara to the field, digging it, and placing her in is hard to watch, suffused as it is with loss and grief. Throughout the process, a voice within urges Leon to embrace the flames once again—the flames within him that have never truly left ever since he was born in them. Hatred and revenge; the shade says this is his nature.

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But this time, Leon resists. When he thinks of the light and the flowers and all the beauty in the world Lara will never see again, he doesn’t let the flames get the better of him. He seeks out Alfonso, in the same place where a raw, angry Alfie himself trained, and asks him to give the Golden Armor back to him.

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Alfie agrees, but only if he proves himself worthy, leading to an intense, frenetic duel between the two, accented by setting of the ruins at dusk. Throughout the fight, Alfie is just waiting for Leon’s flames to burst out again—whereupon Leon has instructed him to cut him down—but it doesn’t happen. Leon has matured. Even if he lost Lara, he still has something to protect: her memory.

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After night falls, Herman leaves the site of his lovemaking with Ximena and slips out, as his his tomcat wont, leaving a flower as a goodbye. Still, the way he looks back at that inn (and man, that is a pretty city), he may not be back.

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I figured he was off to deal with Leon one way or another, but Alfie already did that. All that remains is for Leon to prove he has the strength to bear the Golden Armor again. A spriggan-style horror terrorizes a couple of kids, he does the legwork so Alfie (in his Gaia armor) can land the finishing blow. Teamwork!

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Once the horror is gone, Leon looks back at the elation and gratitude in the girl’s face, and can’t help but see Lara’s smile, causing him to shed a tear while still wearing his armor. No one said this would be an easier path than going on another rampage, but it is the right path. Garo is back.

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Zaruba judges that Leon has once again become worthy of him, which pleases German, who was watching from the shadows. Then he drops a big duhn-duhn-duuuuhn on his son and nephew, telling them he’s off to help out Mendoza, just as Garm ordered him too.

His explanations to them and me are hardly adequate, but I’m going to give Garo the benefit of the doubt on this for now. ‘Dozer’s return explains why we got his torment-filled backstory after his apparent demise, but it will still take some doing to make me feel anything but contempt for the bastard going forward.

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GARO: Honoo no Kokuin – 17

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“People may not understand what they don’t experience themselves,” says Prince Alfie, in during his surprise visit of the lands where Leon has settled into a new life. Let me preface this review by noting that I’ve never experienced so much harrowing emotional turmoil from an episode of Saturday morning animation in my life. That alone would have warranted a high score, but it’s far from all Garo No. 17 has to offer. 

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I will also admit, despite all the evidence suggesting Lara would remain by Leon’s side for some time to come ever since her story didn’t end with one episode (as is usually Garo’s M.O.), every scene with the two was tinged with dread, like there was a target on Lara’s back, as well as the members of her family.

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Alfie doesn’t visit Leon’s village for him; he had no idea he was there. That being said, their meeting in the lord’s manor is a fantastic scene for both of them. There’s no chest-thumping or rancor; only reminicing and apology. Leon recalls how sheltered and oblivious he though Alfie was (and Alfie admits, he was), but now he admits he was just as clueless. Furious at the world he was meant to protect as a Makai knight—because that world allowed his mother to burn—Leon didn’t feel he had anything worth protecting, which is why he failed.

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Now he’s just a regular man, but he’s finally found something to protect. Lara, her family, her farm, and her simple, peaceful way of life. Speaking of which, hey, why’d you leave her out in the cold? At least invite her in for a cup of tea!

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When Lara sees that Leon knows frikkin’ Prince Alfie, she’s filled with dread that he will leave her for bigger, more important things, but she’s misread the situation: Leon has no intention of going anywhere. He’s going to stay right here, with her. My heart lifted when Lara’s face brightened up at this news.

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In what would tragically turn out to be their final day together, Leon and Lara spend the eve of dusk on the roof of the house, where Leon no longer sees “nothing.” They’re no that high up, but in the countryside where buildings are scarce, there’s still a unique thrill to being up there, having a more commanding view. He sees the world he belongs in, and the person he wants to protect.

But just as Lara’s visible breath portended, the first fluffy flakes of winter snow begin to fall, heralding the worst night in Leon’s life, and a pretty shitty one for Alfie too.

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Alfie is here to hunt a burrowing horror who has been eating villagers. One night Leon and the dog get a bad feeling, and the horror appears on the doorstep of Lara’s house. And the age-old irony takes form: just when Leon has found something to protect, he is powerless to actually protect it.

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He begs Lara and the others to race to the fairy mound—which is really an anti-horror barrier where they’ll be safe, while he races to warn Prince Alfie. But then the horror sets the barn and house aflame and threaten their stores of food for the winter—which are no less than their very lives, to say nothing of paying off debt. Lara’s grandfather races back to their home, regardless of the futility, and Lara and the others follow her.

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So often in anime buildings are leveled and crops burned and entire cities or even planets wiped out, but it’s rare when the destruction of something so relatively small as this family farm carries so much emotional weight, but it does. These buildings prove to really be not only the entirety of Leon’s new world, but the entirety of their inhabitants’ lives.

When the buildings burn, so does Lara’s family, and Lara herself is burned and crushed under the rubble. We saw that target on their backs, clear as day, but couldn’t have predicted such a bitterly awful, merciless end for them.

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Even then, I held out hope that because Leon found Lara, her injuries could be healed, and they’d leave this place in search of a new home, together. But it isn’t in the cards, as Leon is forced to say goodbye to the girl he never confessed his love to, nor her to him, but at the same time never really had to, because it was plain. Lara feared Leon would leave her for somewhere far away, but it ends up being her who leaves him, and at this point my tears were falling as steadily as the snowfall.

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The final shot is of Lara and her family’s would-be refuge, the fairy mound the villagers had forgotten the true power of because their home had become so peaceful, and instead assigned a folktale to it. At this point Leon could blame throwing his powers away for this tragedy, but the truth is he wouldn’t even be here if he hadn’t fallen. And even Alfie, a full-fledged Makai knight, couldn’t be everywhere or protecting everyone at once. But the brothers must not lose heart, even though they’re broken along with mine.

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GARO: Honoo no Kokuin – 15

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GARO has never been shy about shuffling off to a totally different story in its world when it feels the urge to. The serial tale of the Makai knights’ struggle against evil has always gone hand and hand with the smaller but still interesting stories of the people they’re protecting. Episodes like this are successful when they find a way to tie the two together. In this case, without meaning to, the common folk’s activities provide another lesson for the Prince Alfie, still young and learning what it means to rule.

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I won’t blame you for not remembering the blacksmith Julio, who had dealings with Herman and Leon and whose dad Sergi (or Jordi, depending on the subs) became a horror and had to be killed. But even if I hadn’t looked back at my older reviews, I’d have recalled him, and I’m glad they brought him back rather than making new characters. We know this kid’s history, and why he’s so determined to build his own Golden Knight; not just so he and his can protect themselves, but be able to help out the real knight.

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I will say, however, that the trial-and-error quality of developing the suit gets a little repetitive, and the sophistication of the technology employed strains credulity quite a bit (the Makai knights’ clearly supernatural armor). I simply don’t buy that elbow grease and some pig iron are capable of building a mobile suit in what is clearly a pre-industrial time period.

It’s also hard not to see this as filler, especially when our main characters get so little time. That being said, the show seems intent to tell us other stories precisely because Leon and Alfie are both kind of in holding patterns. Leon’s one scene with Lara is nice, but it doesn’t provide anything new; these two like each other, but Leon is transient. There’s also something awesome about the prince’s uncle sneaking into the palace through a window just for the hell of it…but it’s hardly substantial stuff.

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In the second half, things pick up when a widow visits the workshop with tales of a monster prowling their farmland. Time to test the anachronistic suit! And despite having, delicate, perishable pig intestines for hydraulic hoses, the suit holds up pretty well…though they’re not actually dealing with a horror, but a big bear made bigger and scarier by the light of the moon.

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Herman and Alfie just happened to be passing by this battle, and Herman is able to step in at the last minute when it seem’s the mecha’s pilot Bruno is about to be blown up with it. The lesson to Alfie is that the people he is sworn to protect are not helpless—indeed, in the ways of the world, they are far stronger—so it’s important not to see them as merely sheep to be tended.

As royalty and a Makai knight, maintaining and protecting the realm is a collaborative effort with his people. They can take care of themselves by and large, but it’s crucial he be there in case whenever they’re in a pinch.

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GARO: Honoo no Kokuin – 14

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90% of last week’s episode was given over to Leon’s rebirth into a simple life of working the land. This week it’s Prince Alfie’s turn to get the lion’s share of the episode, and while his adventures have nowhere close to the emotional impact as Leon’s, it’s still a respectable, if episodic, romp.

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Exhausted by the ample rigors of being the Golden Knight and a prince being groomed for the throne, Alfie gives his portrait artist the slip and hides inside a wagon that just happens to be robbed while on the road, and its young driver is tied up and thrown in the back with him.

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Leon continues to enjoy the company of the fair Lara (voiced by Aiba Madoka, her first role, and a damn good one) and Emma happens to cross paths (it’s probably more like Emma was looking for him.) Emma confirms Leon is okay, tells him Alfie is okay, and they part ways. Short and sweet, but it’s good to know Lara is going to be around more than one episode.

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When the thieves arrive at their abandoned (and haunted) castle hideout, Alfie reveals himself and asks them to surrender, but not only does Herman appear on the balcony, but the Juliet to the tied up guy Mauro’s Romeo; in love with each other, but with feuding families.

Mauro tells tales of Count Juste—the castle’s former lord, whom Alfie always idolized as a great knight—coming home to find his wife Isabelle had become a witch, and killed her. Alfie assumes Uncle Herman came to address a potential horror infestation in the castle. The fact that Herman knows nothing about the curse and merely came to collect white lilies for his new lady friend Himena, the romantic bastard.

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When night falls, Fana springs Mauro from the dungeon, but get cornered by guards, and happen upon a hidden passage that leads to the room where Horror-Juste and Isabelle remain in their deadly embrace.

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Juste takes Fana for his new bride, but Horror-Roland (Juste’s rival for Isabelle’s heart) possesses Fana’s dad, and the two start to fight in Horror Mode. Yes, there’s a lot going on here; not all of it necessary, but the detailed story is surprisingly easy to follow along.

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Since these guys are horrors, that means Herman and Alfie can actually fight them. Lo and behold, they’re both complete pushovers, though when Juste is about to drain poor Fana of all her blood, his face opens up to reveal a gruesome face that wouldn’t be out of place in Parasyte. Herman takes out Roland, Leon takes out Juste, and Mauro reaches out and catches a falling Fana, cushioning her landing.

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In the end, Mauro and Fana, who we don’t really care that much about, end up together (who knew the Garo Knights were yentas?), Alfie has a little adventure away from his palace, along with some exercise, and Herman has to look somewhere else for white flowers for Himena. Nothing super-consequential, but stylish and witty as always, and thus still enjoyable.

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GARO: Honoo no Kokuin – 13

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Prince Alfonso buries his mother and starts the long process of rebuilding his country, Herman makes a friend in the lady who was doing laundry back during his extended streak session, and Emma is the only one looking for Leon, though even Garm doesn’t know what’s become of him.

Leon, meanwhile, is lying in a riverbank, near death after his plunge into that gorge. He is no longer keeper of Garo nor Zaruba’s partner. He’s just Leon again. Having failed miserably in the world of demons and dark magic and fantasy, what he needs is a good dose of reality, which is exactly what he gets thanks to his savior, a farmgirl named Lara.

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When Lara brings Leon home and nurses him back to health, his first words to her are “Why did you save me?” when they should have been “Thank you.” Lara’s dimiutive but tough-as-steel grandmother puts an end to his pity-party right then and there: if they hadn’t saved him, he would have died on their land and they’d have had to waste time tending to his body, and time is the farmers’ enemy.

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This is a strange new world for Leon, whose former life had been pretty transient and action-packed. Here, it’s quiet, calm, boring, but the onions have to be planted and the firewood collected and the irrigation canal fixed before the ice comes. There are debts to be paid to the lord, and that Lara’s father was killed by wolves doesn’t change the fact they need a good harvest to pay them off.

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Leon watches these farmers, and the kinda and lovely Lara in particular, as if they were some kind of exotic animal. When he asks her how she can stand this unending routine of drudgery, and whether she ever dreamt of leaving and living a different life, she states simply that this is her father’s land, and it’s up to her to keep tending it. She isn’t the kind of person to abandon her mother and grandparents for her own selfish dreams. But in any case she seems to like her life just fine, and it’s been made a lot more interesting by the traveler’s arrival.

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Once Leon is strong enough, the grandpa gives him the shovel so he can take a breather (the episode is full of close-ups accentuating just how hard the elderly characters are working). Leon is understandably terrible at this non-combat manual labor, and Gramps shows him how, making it look easy. But it dawns on Leon as he sleeps beneath the full moon: nothing here is easy, but nor is it pointless, and he can be of help.

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The highlight of the episode is, surprisingly, a montage, but a truly powerful one, set to a bold, epic piece of soaring orchestral music that calls to mind the work of Joe Hisaishi (the whole episode has a distinct Ghibli vibe to it, for that matter.) It sounds like a determined march to a tough battle, only the enemies are nature, the elements, and time, and the weapons shovels, hoes, axes, and elbow grease. This really is a new world for Leon, but takes up these arms all the same and fights beside Lara and her family.

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And they are victorious, completing the canal before the ice comes, giving the family a chance at that good harvest. This was just one battle, but the war Lara and the farmers are fighting is unending. Now Leon can answer his own question from back when Lara first saved him: it was as if fate had brought Leon to Lara’s lands so she could restore his health, and in turn he helped them rebuild the canal and save their crops. They saved each other.

More enticing still, Leon doesn’t say farewell and leave by the end of the episode. Is Garo not quite done with this new, good-honest-labor setting for Leon? Will Lara continue to play a role in this second cour? In both cases, I hope so.

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Back in Santa Bard, Nuncle Herman assists his nephew the prince with a nasty-looking leftover horror from a Giger sketchbook, before considering hitting up a brothel or two, but his “butterflies” euphamism soars right over dear sheltered Alfonso’s head. The Herman/Alfie dynamic is a nice one, and while both are worried about what’s become of Leon, they know only he can help himself now.

I kinda wish Alfie hadn’t retained Mendoza’s closest confidant, and connected the dots that she was the one keeping his father ill. But that’s a classic rookie prince mistake, and I’m sure it won’t be his first.

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