Ghede: Guerrier Extraordinaire #8: Pages 9-10

Page 9, 5 Panels- Hallway, Kagu-Tsuchi's Mountaintop Dwelling Panel 1: Action shot of the Haitian guerrier calmly gliding down the left side of the hallway. Her eyes examining carefully the concrete busts that line up in a row on individual pedestals stretching to the left of the panel view. Each one showing the concrete profile, from the head down to the shoulders, of an Asian nobleman. He shares the same kind of facial structure (except for slight differences), though the parts of the clothing they wear which range from the 13th century on through the 18th. GHEDE [translated from Japanese; to Kagu-Tsuchi]: Here I thought it was only humans who did the "blind worship" thing. Panel 2: Same setting/layout as the previous panel. She tilts her head up toward the ceiling in the direction of where she thinks the Japanese water god is observing from off-panel. You can see next to her more of the busts lined up to an end spot far in the distance of the panel view. Each one that we see following the same motif as the previous panel. This time though, representing the same type of man from the 19th up to the 21st century where the final one looks deathly familiar. GHEDE [Cont., snarky/faux caring; not noticing the last of the busts]: Or maybe it's a "forbidden love" thing. No judgment if it is...though I'd ix-nay the stalker stuff. It's not a good look! Panel 3: At the end of the line of concrete markers of the past, we see an empty doorway covered in darkness appear in distance of our heroine. Ghede chuckles, holding her Molltach just high enough off of the ground to gently touch the edge of the ground. As this goes on, you can hear a loud collective banging sound off-panel, as if a piece of concrete is being chiseled. KAGU-TSUCHI [Off-Panel, to Ghede; translated from Japanese]: Ahh, young Ghede...I know the two of you aren't close by any means. Panel 4-5: Cut first in Panel 4 to a close-up shot of our titular heroine a few moments later as she's about to step into the darkened doorway. She looks over to see the mysterious creature that has appeared off-panel here. In Panel 5, we see the creature in full view- a massive concrete representation of Great-Great-Great-Great Grandfather Ozawa. Albeit more muscular and terrifying. KAGU-TSUCHI [Cont., Off-Panel; Panel 4]: But I figured you would have recognized the familiar similarities. OZABOT [Panel 5]: GRRAAHH....! Page 10, 7 Panels- Kagu-Tsuchi's Mountaintop Dwelling Panel 1-3: A three-part set of panels centered back on Ghede moments after seeing the massive concrete statue coming toward her. In Panel 1, we see the shadow being cast from the Ozabot on our titular heroine. Her sword raised up with her left hand, set to defend from the oncoming creature. In Panel 2, however, we see the concrete behemoth's arm cross into view, smacking her to the right and through the wall. GHEDE [translated from Haitian Creole, muttered growl to herself; Panel 1]: Ah, da-- GHEDE [Cont., Panel 2 and 3]: AAAAMMMMN! Panel 4-7: The setting for the next three panels (Panels 4 through 6, to be exact) flash through quickly as she moves. The wall behind her giving off the illusion that it's moving like the cards on a rolodex at ultra-fast speeds. Finally, in Panel 7, Ghede crashes through the middle of the wall which at this point reappears in its normal dimensions. GHEDE [spurting from her mouth as she crashes through the wall; Panel 1]: Sweet FUCK!