Zombieland Saga: Revenge – 09 – The Legend Continues

As those who share Kiichi’s views grow in number, he still finds time for tea with Yuugiri, who whips up a medicine for his ailing grandfather. Kiichi and Itou pose with Yuugiri for a photograph, which for me meant that somewhere in the present day there’s a very old black-and-white photo of the Legendary Courtesan out there—assuming it survived the war.

However, those who have joined Kiichi don’t necessarily want a new Saga for all; they want their old Saga back, and as many of them are veterans of the war lost eight years ago, they’re willing to take up arms and spill blood to do it, which is far beyond the peaceful return of Saga of which the idealistic Kiichi dreams.

Itou, in between ripping down Kiichi’s flyers and passing messengers disguised as vagrants, gives his friend one final warning to give up his crusade now that it is poised to become a violent one beyond his control. But Kiichi isn’t quite ready to give up on Saga, either for himself or the comrades he’s gathered.

Unfortunately, those comrades armed themselves and planned an armed rebellion behind Kiichi’s back. On the snowy night when they spring into action, Itou meets them in a quiet street…and cuts them all down on orders from the government.

By the time Kiichi catches up to his comrades, Itou has already slaughtered them all. It turns out he was watching out for spies all along, and while he knew Kiichi didn’t mean for things to turn out this way, he’s crossed a line he can’t un-cross, and now it’s Itou’s duty to kill him.

Yuugiri doesn’t let him, whipping a katana out of her shamisen to meet his, saving Kiichi’s life. When the local police approach with whistles blaring, Itou flees one way while Yuugiri and Kiichi go another. All the while, Kiichi’s gramps is having some kind of attack and collapses before he can reach the medicine.

After losing the fuzz, Kiichi starts to sob and whine, and Yuugiri slaps him, telling him he’s come this far for Saga’s sake and can’t give up now. As we saw in a previous scene, she’s already written to some of her many powerful friends who have sworn to protect Kiichi until things cool down. Kiichi doesn’t want to leave the Saga he loves, but he listens to the legendary savior whom he loves.

By the time Itou finds a casually smoking Yuugiri, Kiichi is long gone. Yuugiri forewarns that she was trained by someone called the “Sheathed Kichiemon”, whom Itou knows as “The Demon of Hibiya,” and thus knows he can’t go easy on her. In the ensuing one-slash duel, Yuugiri bests Itou, killing him, but is shocked that he let himself be killed.

No doubt if Itou failed to kill Kiichi, he was as good as dead anyway; he simply let Yuugiri take care of him for him. And with the snow ceasing and the clouds opening up to reveal a majestic full moon, Yuugiri accepts her fate. The next morning, Gramps wakes up and finds a letter from Yuugiri amongst the medicine.

In it, she says by the time he reads it she’ll likely be dead; beheaded by the military in a unilateral execution for killing Itou, a government official. Interspersed with her beautifully lit and solemn execution scene, she tells Gramps that if he’s truly “Saga” (as in, the human embodiment of Saga) as claimed, he’ll guide the new Saga Kiichi creates.

The following spring, May 1883, Saga re-gains independence from Nagasaki thanks to a peaceful appeal from supporters in the prefecture, and by August, unilateral execution was banned, and just nine days after that, Kiichi’s dream officially came true, as the first Saga prefectural assembly is held. Yuugiri’s death, and that of Kiichi’s comrades, weren’t in vain.

With that, we find ourselves back in the present, as Yuugiri takes center stage in a bopping swing-style concert, resplendent in period-inspired garb as her fellow idols support her. This particular concert hits different now that we’ve seen everything Yuugiri’s been through to come to this part of her (after)life.

In a very cheeky epilogue, she has some very nice whiskey in a very classy bar tended by a man who looks and sounds like a younger version of Kiichi’s gramps. He is aware that Yuugiri was alive in the Meiji era, and the black-and-white photo of her with Kiichi and Itou is behind the bar, so this guy must really be the immortal Saga.

Not only did this two-parter give the legendary Yuugiri the epic backstory he deserved, in which she was revealed a hero, martyr, and unsung founding mother to the new Saga—it also expands the mythos of the show by introducing an undying character who has been on the margins of this whole story all along, and may well be behind the necromancy that brought Yuugiri and the other idols back. In any case, I’m eager to see where this goes!

Crow and Irina talk episode 9 here!

Attack on Titan – 57 – Prisons

We return to Grisha’s accounting of the day he learned he was a prisoner, and always was. A prisoner of the oppressive Marleyans who confine all the Eldians to internment camps. A prisoner of history, for the Marleyans punish the Eldians for the crimes of their ancestors.

He’s a prisoner in his powerless child’s body, unable to save his little sister Fay from a terrible fate—being attacked and eaten by guard dogs—just for the crime of leaving the camp without permission. And he’s a prisoner to his father, who is a full-on collaborator who is happy to condemn his ancestors if it means being able to live out his humble life.

We also learn that the lands where the three walls that were the entire setting for Titan up to this point are only a tiny sliver of the world; in fact, everywhere Eren & Co. have ever known occupy a relatively small island called Paradis—the last refuge of King Fritz and the Eldians.

When Grisha learns the truth about Fay (confirming his suspicions), he joins an underground movement of “restorationists” bent on restoring once great Eldians—and of course, exacting revenge on Marley for their brutal oppression. They are aided by a member of Marleyan security, known only as the “Owl.”

That informant sends them the last surviving descendant of the Eldian royal family: Dina Fritz, and she and Grisha soon fall in love, get married and have a son, Zeke. But their attempts to indoctrinate him and make him the instrument of Eldian salvation fail miserably, as he turns in his own parents to save himself and his grandparents.

Grisha doesn’t blame his son—after all, he ended up building a prison for Zeke just as his father had tried to build for him: the prison of adopting the beliefs (and grudges) of one’s predecessors. But after thorough torturing, he, the other members of his cell, and Dina, are all sent to the island of Paradis, to be injected with serum to transform them into wandering Titans. Dina is transformed first.

Eren suddenly wakes up in a stockade in the present—he realizes he’s been connected with his father’s memories, such that it feels more like he’s been re-living Grisha’s experiences rather than simply having a normal dream. He and Mikasa are behind bars for their insubordination of Levi, but Armin, whom they defied Levi to save, is there with them.

Back in Grisha’s recounting, he finds himself at the boundary of the Titan penal colony, having just seen his friend and his wife transformed into mindless giant monsters, and the same officers he and Fay encountered the day she was killed are present with him. The mustachioed officer tells him he doesn’t feel remorse for the terrible things he does to Eldians because it was their ancestors who started the fight. Besides, life is more “interesting” if every day is lived like it’s your last.

As it happens, it is the last day for Mr. Mustache, as his colleague, Kruger, who was there back when Fay died and is here now, pushes him and not Grisha into the pit to be eaten by a Titan. Turns out Kruger is the Owl, and he cuts himself to transform into a lucid Titan, in order to demonstrate to Grisha what a Titan can do.

This was another trippy journey that vastly expanded the show’s universe and revealed more crucial answers about What This Is All About: a seemingly endless, vicious cycle of retribution between two races of men, neither of which can ever forgive the previous generations of the other; one ultimate prison, containing everyone in the world. So, when will Eren & Co. try to squeeze through the bars?

Attack on Titan – 56 – The MacGuffin Unveiled

After a very creepy dream, Armin wakes up atop the wall, beside an injured Sasha, remembering virtually nothing after Bertholdt transformed. Eren fills him in on everything that’s transpired since then. He learns he was chosen to live on over Erwin, not just because Eren and Mikasa insisted to the point of insubordination, but because Erwin gave Levi the final call, and he made it.

Furthermore, only nine members of the Scout Regiment remain: Hange, Levi, Eren, Mikasa, Armin, Sasha, Connie, Jean, and Floch…and that’s it. It’s a very end-of-The Last Jedi situation, with one important difference: they’ve dealt a serious blow to the Titans by freeing Wall Maria. Now there’s nothing between Eren, the others, and the mythical Basement. An an anime watcher only, I’ve been waiting for this for six years.

With such a long and drawn out buildup, a disappointment seemed nigh inevitable. And boy, do they ever lay the final buildup on thick, splicing scenes in the present day with scenes of Eren and Mikasa on the day the Titans came. But it works very well, thanks to the gorgeous scenery, haunting soundtrack, and all of the brooding closeups of the pair as they draw closer to the place where it all began.

After moving a boulder blocking the trap door, they access the hidden stair, but to Eren’s shock, his key doesn’t fit in the lock of the door they find. Levi simply smashes the door, and they walk into a seemingly innocuous chemist’s laboratory and office.

Even behind a locked door and hidden stair, Grisha took great pains to hide the secret of the basement from any possible incursion from the Interior Police. It’s not until Mikasa knocks a wooden cup on the ground that she spots another keyhole in the desk – one in which the key does fit.

Inside the unlocked drawer are three preserved books, the first of which contains a strange and very detailed and lifelike portrait. Grisha’s handwriting on the back describes it as a “photograph,” and reveals an entire society outside the walls that “lives elegantly.” Needless to say nobody in that room had ever seen a photo before, and there’s something very unnerving about that.

There’s an odd flash-forward showing Eren, Levi, Mikasa and Hange returning to further within the walls, where news has come Wall Maria has been taken back and the streets are full of celebration. Hange is holding the books they found in her arm. We don’t see their faces, but no doubt what they say in those books has changed them forever.

Post-credits, Grisha’s story begins when he runs out of the house with his little sister Kay in tow. His mother makes sure they’re wearing their armbands, and along with the whole bleak look of the place, high walls, loudspeakers, guards, and zeppelin, there’s a Nazi Germany ghetto vibe to the whole place, suggesting that life wasn’t so “elegant” for Grisha and his family.

Thousands of words could be written attempting to complete the picture this sequence only begins to paint. For instance, are the walls behind which Eren lived most of his life merely an upgraded version of the ghetto from which his dad hailed? What made the people in the ghetto different, besides clearly lacking the money of the zeppelin-riders?

Still, I’ll have to be patient at least one more week (since the French Open is wrapped up the next episode shouldn’t air late); no need for wild conjecture when the series seems committed to finally delivering the answers that had been delayed so long some feared they’d never come. But now here they are, and from what we’ve seen, they’re strange and disturbing…Classic Titan.