Cop Craft – 04 – Temporary Insanity

Picking right back up from last week, Tilarna and Kei reach the roof where the fairy Leahyah is trapped in a psychic bomb on a timer. Zelada is ready with magical blue flames that horribly burn the better part of Kei’s back.

As Tilarna tries to counterattack with little success, Kei focuses not on what his eyes see but on what he hears, knowing Zelada is hiding himself with illusion magic. His pistol, which Tilarna said had a certain level of latena, briefly glows purple before he gets a shot off, and it’s a direct hit.

Tilarna presses the attack by claiming one of Zelada’s arms, but he throws himself off the building rather than suffer the dishonor of being killed by a human and a pipsqueak knight. With Kei too burned to get up, the clock winding down on the bomb, and no known way to defuse it, Tilarna sits down with Kei and Leahyah for their final shared moments alive.

Realizing the child she helped when she was lost in the forest is ready to die beside her, Leahyah sacrifices her body before the bomb detonates. With no other choice, Tilarna uses the resulting output of latena to cast a healing spell on Kei. With Leahyah dead, Tilarna and Kei have failed in their primary mission.

Tilarna prepares to board a ship back home where she’ll return a disgraced and dishonored knight, but is ready to face the music. He gives her the floral broach he got back from O’Neill, and she thanks Kei for his partnership, praising him as a “gallant doreany soldier” when they part.

And from the time they bid one another farewell, Kei goes through the rest of the day positively miserable—more so than usual for him. Then he comes home and hears the TV is on, tuned to a basketball game. He draws his gun, looks inside…and finds Tilarna, in casual clothes, lazing on the couch with Kuroi.

She changed her mind: Zelada may not be dead, and there are other threats in San Teresa, so she got a field commission to detective in order to continue serving as Kei’s partner. Kei tries to seem put out, but there’s no doubt he’s happy about this.

On their next arrest raid, Tilarna and Kei are front and center when they take the door, but in her medieval overzealousness Tilarna also takes the finger of a gunman. She thinks nothing of it—she was simply serving justice—but their new chief, Zimmer, lights them both up, saying whatever the “alien” (as he racistly refers to Tilarna) does, her partner Kei is just as responsible.

Thus the old earlier dynamic Tilarna and Kei being at each other’s throats continues apace, with Kei refuing to thank Tilarna for rescuing him and Tilarna repeatedly punching Kei in the back. This all looks like flirting to other detectives, who show them an old wooden coffin with Semanian writing…and a Semanian mummy inside.

They take the mummy to the medical examiner (and Kei’s ex), Dr. Cecil Epps, who resents having to perform an autopsy on an archaeological artifact, but becomes fast friends with Tilarna when the two women share their mutual disdain for Kei. Though Tilarna still isn’t quite clear what an “ex” is, she does chalk up her reunion with Kei as a bout of “temporary insanity.”

The pair is summoned to the station to speak with the suspect whose finger Tilarna sliced off, and she immediately establishes herself as the “bad cop” by pulling her dagger and tossing the perp around. It ultimately pays off, as she learns from where they stole the coffin…and realizes that Cecil is in mortal danger.

Back at the M.E.’s office, Cecil has delegated the CT scan of the mummy to her assitant, Chapman, who either hates her or has a secret crush on her he’s not handling well. That means Chapman becomes the mummy’s first victim, as Cecil enters the CT room to find all his blood being drained and drunk by the now fully animate vampire.

Tilarna arrives to save Cecil, and the vampire says something in what she identifies as “the old language.” The vampire is superbly nimble—not to mention extremely creepy—and even naked, unarmed, and without her morning coffee, still proves more than a handful even for Tilarna. Perhaps she’ll get some timely backup from her partner and his latena-infused sidearm.

While Cop Craft’s fish-out-of-water buddy cop dramedy is deceptively simple, it sports some of the summer’s best and most creative cinematography and action animation, and Tilarna’s striking character design is one of the coolest (and cutest) while Yoshioka Mayu does some great work as her seiyu. And despite its perils, San Teresa is still a really fun place to spend time.

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Cop Craft – 03 – Tilting at Windmills

We soon find out where Tirana went—to O’Neill in order to get her into the Pioneer Club run by Elbaji. O’Neill makes sure she looks the part with a skimpy cocktail dress, hose and heels, and attempts to walk like an Earth Girl are unsuccessful. But it doesn’t take long for her to find Elbaji, because he comes right up to her at the bar to make a pass.

Once they’re alone in Elbaji’s office (with two of his guards) and he learns who she is and what she’s after, the chatting is replaced with fighting. Tirana pulls a sword out of her purse and relieves the guards of their hands in the blink of an eye, but Elbaji has a sword too, and soon overpowers her (she left her good sword with Kei, after all).

As Kei learns though Wikipedia (natch), a Knight of Mirvor leaves their sword behind when they are taking a temporary step away from their chivalric code, be it temporary or permanent. But it isn’t long before Kei is on Tirana’s trail as she’s captured and brought to some abandoned temple ruins in an undeveloped district of the island.

Chief Roth tells him to hold his position and wait, but things down at the temple are moving very fast. After Elbaji gives Tirana to Zelada for questioning, Zelada, a supposedly otherwise venerable wizard, leaves her alone with disposible guards, which she quickly dispatches and follows Zelada to his horrifying workshop, where she finds thousands of jars containing fairies in various stages of dismemberment.

Elbaji confronts her there, and as before, he shows off some of the noble background he shed in order to find his own fortune in America: the Land of Opportunity where Money is God. Tirana looks like she’s in trouble again with nothing but a stick to fight with, but Kei arrives in the nick and tosses her her knightly sword.

In a wonderfully-drawn fight full of bold flourishes, Tirana shows what a Knight of Mirvor can do, particularly one who was taught swordsmanship from Lord Verada Vreideni. And just like that, a bad guy I thought she and Kei would have to deal with for some time dies right there on the ground in a pool of his blood.

Unfortunately, the “psychic bomb” Elbaji had on him is a dummy; the “fairy” inside is just a doll. Now reunited, Kei and Tirana find a passage out of the temple and track down Zelada, but the arrest is interrupted by the arrival of Chief Roth, which is very confusing for Kei, considering Zelada sure looks like the guy who killed his whole unit in The War.

Roth shoots Tirana and orders Kei to let Zelada go. Turns out he’s a hardcore xenophobe who wants to use the threat of the psychic bomb to re-separate the two worlds, politically and culturally. Never mind if many humans have adapted; he doesn’t want coexistence, period.

But like Elbaji, Chief Roth doesn’t last long, as Tirana’s sword caught the bullet, and her getting back up is enough distraction for Kei to pull a second gun from his ankle holster to kill Roth, who up until tonight had been like a father to him. Roth’s grand plot also seemed a bit too sprawling and ambitious for a man of his relatively humble station. We’ll see if anyone else in his unit or the department harbors similar positions and goals.

The chase for Zelada continues, leading to the tallest building in the city, Forest Tower. The results would be disastrous if a psychic bomb were detonated there. While on their way to the roof, Tirana notices that Kei’s sidearm has a faint hint of latena, created from feelings put into an object or weapon. Thus, he might not be entirely useless in the impending fight with the red wizard.

This was another strong entry from the great-looking and sounding Cop Craft, which really gets its world-building, little details, and combat right. It’s villains have a tendency to drop pretty quick, but its not like Elbaji or Roth were particularly compelling (though Elbaji’s forsaken noble past wasn’t nothing). More than anything, it’s fleet, fast-paced, and fun, and the central partnership is starting to gel nicely.

Cop Craft – 02 – Fearful Kitten

When gunshots won’t bring down one of the zombified baddies, Tirana ignore’s Kei and kills it with her sword. Kei then impugns Tirana’s honor by insinuating she’s working against the case for profit, Tirana puts her blade to Kei’s neck and warns him never to insult her like that again, and Kei points his pistol at Tirana’s face.

At the Medical Examiner’s office (Cecil, Kei’s ex), they determine that Rick’s murderer and the guy Tirana slashed were both dead before they were killed: place under a wizard’s spell and manipulated like remote control zombies. But it doesn’t take an M.D. or Ph.D. to pick up on the fact that Tirana and Kei’s relationship is having a tough gestation.

Kei drops Tirana off at her hotel, but within minutes she’s tossed for not surrendering her sword (indeed a ridiculous request to make of a knight), and she calls his cell. He considers leaving her to sleep on the ground for the night, but reconsiders and picks her up. The moment her face of dejection turns to joy is a sight to behold.

At Kei’s place we learn why he wears a mask: a cat allergy. But he was the only person at the station who would take the cat in, so he’s keeping it “temporarily.” This leads Tirana to laugh and realize Kei is more of a softie than he lets on, and then thanks her for letting her stay. Appropriately, Kei later checks a translator and learns she was flubbing his name intentionally to the phrase “fearful kitten.”

I liked how those neat mini-mysteries were organically solved this week, as Kei and Tirana put down their defenses and act more like the professional partners they’re supposed to be (Tirana also mentions that despite her childlike appearance she’s 26). The veil is also lifted on the identity of the villains and their plan. A club owner from Semaani named “Mr. Elbaji” meets with a “terrorist” named “Mr. Kareem.”

The former demonstrates a prototype “fairy bomb” that enables his on-staff wizard, Zelada the Sage, to control humans without the time and effort of getting them hooked on fairy dust (like the two zombies Kei and Tirana have encountered). They test it on a couple doomed cops who respond to a call. Once the bomb is perfected it could be used as a superpower-threatening WMD.

After Rick’s suitably morose funeral which Tirana observes from a respectful distance, she and Kei inspect the corpses of the cops, which again suggests they were fairy dust users, but since they’re cops, there’s something else in play here. Tirana suspects gold to be a factor, unaware of just how big the threat is becoming.

Kei believes a digitally-controlled manufacturing device is in use, and some digging reveals that a Mr. Elbaji is in possession of such a device. Obviously from a world where justice is dispensed more quickly and the ideals of chivalry still rule, Tirana wants to go after the guy immediately, but Kei tell her they need to find proof and do paperwork first.

During dinner at a diner, Tirana goes to the bathroom, but leaves her sword behind, something she said was as important as her life (and which got her kicked out of her hotel). By the time Kei realizes she didn’t go to the bathroom, it’s too late; she’s in the wind. Just when the two were getting along, Tirana goes her own way, for her own reasons. When Kei catches up to her, he’s not going to be happy.