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[Thank you, Saturn, for the screencaps!]

Gatchaman Episode 70: “Death Girls Unite!”

BOTP Episode: “Rage of the Robotoids”



 




The episode begins, at night, with a lone policeman walking down a deserted street amid warehouses and commercial buildings, shining a flashlight before him.

The music is ominous.

This guy is so utterly doomed…

He pauses, and a tin can rolls across the ground towards his foot.

“Who’s there?” he demands nervously, “Show yourself!”

He’s shining his flashlight around on the nearby buildings and then we see him coming around the corner of a building. A figure is waiting there for him, though all we can see are its smooth, artificial looking legs.



 



The policeman can see the whole figure, and he reacts by shouting in alarm and dropping his flashlight on the cobblestone street, where its glass shatters. Next we can only see the policeman’s shadowy outline on a building’s wall, but he’s struggling and we can hear him gasping and crying out.

Then he tumbles backwards and into our view again, but now he’s looking gaunt and emaciated, and his lips are shriveled and drawn back. His glasses fall from his eyes to the cobblestone street (and suffer the same fate as the flashlight).



 




Elsewhere, lightening streaks across the sky and rain begins to fall as the wind of a storm causes a set of casement windows to blow open and let rain and wind into a room. A man in a dressing gown, crying out in horror, is staggering backwards in the direction of the windows. The lightening flashes again, and we can see that the man, still crying out, is clutching one of the curtains as a strange energy blob writhes over the surface of his hand. He falls down onto the floor and now we can see that several more energy blobs are scattered all over him. He skin begins to shrivel and desiccate, pulling back from his eyes and mouth.

Elsewhere again, rain continues to coming pelting down as another man, also shriveled and emaciated, lies on the wet ground, dead.

“A sudden series of mysterious murders,” the narrator tells us, “Bizarre incidents.”

Now we even see a dead, shriveled man hanging by his legs from the branch of a large tree. What the heck was he doing up there?



 




“In each case,” continues the narrator, “the corpse is found mummified as the police, in desperation, continue their search for the unknown killer.”

And we see yet another mummified man, and he’s sprawled on its back in what appears to be the middle of the desert –clearly this “unknown killer” gets around!

And the narrator adds that “the number of victims keeps rising…”

And now we cut to the Crescent Coral Base and its ubiquitous schools of fish.

“So, that’s what’s been going on,” says a pensive Dr. Nambu, hand to his face, as he paces past the assembled Science Ninjas, “And what makes these cases so different from ordinary murder cases is that all the victims have been mummified”

Yes, I’d certainly consider that “different”!

“Do you suppose Galactor has created something like the jigokillers again?” asks Jun –a very good suggestion and a nice little bit of inter-episode continuity. Besides, since jigokillers only killed women, it’s only fair that Galactor create something that (apparently) only kills men.



 




“It’s possible,” says Dr. Nambu, pointing his finger imperiously, “Here’s your mission: I want you to hunt down the source of these killings and eliminate it. Starting tonight, I want all of you to go on patrol!”

After a quick group “Roger!” everyone turns and runs from the room.

Next we see Ken’s jet flying through the sky as, on the ground, Jun zooms along on her motorcycle through some rocky terrain while the narrator explains that the Ninjas are searching for the unknown killer. Jinpei’s buggy is flying through a darkening sky, shining its lights ahead. “In the fields, in the sky, and on the sea,” continues the narrator, and now we see the God Phoenix flying low over the ocean, “their patrol continues.”



 

 

 

 




At last, we cut to Joe’s G-2, driving through terrain that looks similar to the region Jun was searching.



 



“Damn it, stop beating around the bush! Stop hiding, you monster!” says Joe as he zooms along at high speed.

Meanwhile, somewhere else, a cab driver turns to look at his female passenger (whose face we cannot see) and asks “Are you just waiting for someone, Miss?”

“I’m ready now. Go on,” she replies, and the cab driver then heads along a twisty mountain road with a rock face on one side and air and a long way to fall on the other side. From across a narrow valley, Joe pauses his car and watches the cab from a distance.

“What the hell are they doing out here?” he wonders.

But the cab continues to drive along. Suddenly, there’s a strange, mannequin-like woman standing in the road.



 




“Aughh!” cries the cab driver, frantically turning the steering wheel to avoid hitting her. He misses the mannequin but instead smashes the cab into the rock face on the side of the road. His female passenger is alarmed, and now we get our first look at her face.

“What’s happening?” she cries.

What’s happening is that a whole bunch more of the female mannequins are arriving on the scene.

“What the hell?” cries the cab driver, pointing a quivering finger, as the mannequins line up to form an arc, surrounding the cab in its position against the rock face.



 



Sounds of fear come from the female passenger as each mannequin extends its right arm and shoots glowing blobs of energy at the cab from their finger tips. The energy blobs strike the cab, cracking its windshield.

Both the female passenger and the cab driver flee the cab, and it’s apparent that the cab driver has energy blobs on his back. She appears to be unscathed and the chivalrous cab driver tells her to “Get out of here!”


 





With an anxious “okay!” she flees and he falls to the ground. “Please, somebody help me!” he cries (um, but you just told the only “somebody” around to run away) as the energy blobs writhe over his body. “What’s happening?” are his final words as he becomes mummified.

But high above, Joe has gotten out of his car, and is looking down from a cliff at the action below. “Aw, crap!” he says.



 




The female passenger is still running away. Five of the mannequins suddenly leap high into the air and, back to back, form a circle with their legs extended straight out.



 




Each mannequin’s two legs then transform into a spike, lined on either side with sharp blades, and the entire formation-of-five starts spinning rapidly, like a flying circular saw blade.

Rather foolishly, the female passenger runs straight for a spur of cliff that juts out into open air –a definite dead end. Well, perhaps not “foolishly” as it should seem a bit odd to any viewer that she deliberately chose to be out in the middle of nowhere at night in a cab, and knowing what sort of women Joe is prone to encountering…

But her terror seems very genuine.

With nowhere left to run, she turns as the mannequin saw blade comes whirling towards her, shooting energy blobs at her, which strike the ground at her feet.

“Help me!” she cries, as one of her heels send a cascade of pebbles over the edge of the cliff to fall far, far below.

But Joe is back in his car now, speeding towards her. He sends his car careening down a slope so steep it’s nearly vertical. “Damn it,” he mutters, as his car’s tires squeal but he manages to stay in control.

Meanwhile, the mannequin saw blade is closing in on the female passenger, still firing energy blobs her way. Casting an anxious look over her shoulder, she loses her footing at the very edge of the cliff and, with a scream, falls backwards.



 

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Luckily for her, Joe has stopped his car on the ground far below her. As she falls, he leaps from his car, straight up into the air and he catches her. Holding her, Joe falls to the ground, cushioning her and breaking their fall with his own body.



 

 




She’s lying alongside and partially atop Joe, his arm around her waist. Her eyes are closed. Lucky girl, she’s probably savoring the moment -I know I would be!

The mannequin saw blade now breaks apart into five individual mannequins again, all of whom take off running as soon as they hit the ground.

Joe sits up and stares after them, frowning. “What the hell were those things?” he says. I don’t think he was expecting an answer, but now he stares down at the girl. Eyes still closed, her head is resting against his chest now and he has his hand on her shoulder.




 


The music kicks in again, with a more wistful, melodic tune as the “camera” closes in on her now-serene face.

Again –lucky girl!

Now we see Joe’s face, as he gazes admiringly at her. “Aw man, this girl is one hot momma,” he thinks.

I think I prefer the subtitles’ “What a pretty girl… she’s beautiful.”



 




Now the scene changes suddenly to Ken’s gloved hand banging down on a desk. All the Ninjas are present; it looks like the Crescent Coral Base.

“Joe, why didn’t you contact us right away when you found those monsters out there?” demands Ken, accusingly. Joe’s got his arms crossed and he’s looking decidedly unapologetic.

“I had no other choice,” he says firmly, “I was in a race against time to save the girl’s life.”

It’s interesting here that Ken is by himself on one side of the desk, and Ryu, Jinpei and Jun are gathered around Joe. It seems that Ken’s been given the role here that usually falls to Dr. Nambu and that the others are, literally, on Joe’s side.



 




“That’s no excuse!” snaps Ken.

“But Ken,” says Jun, from her position at Joe’s side, “You have to remember that she was saved because of Joe.”

Jun might well be wishing that Ken, like Joe, could put the charms of a pretty girl ahead of the dictates of duty…

“But the monsters were the name of the game,” continues Ken angrily, turning his back on the others, “And we got nothing on them!”

Joe glares, eyes narrowed. “What are you saying, Ken? That I should have just gone ahead and let her die?”

Hmm, Ken doesn’t answer Joe’s question here; he merely asks “Where’s the girl that you saved right now then, Joe?”

“Who cares?” says Joe. Well, you for one, Joe, it seems! And Ken.

Ken turns around to look at Joe now. “Don’t you see? This could be a trap, just to get close to us!”

Joe bangs his fist on the desk as Jinpei, awash with either anxiety or awe, stares at him. “All right, that’s enough, Ken!” Now Joe points an accusing finger at Ken. “What the hell is wrong with you anyway? Ever since Galactor killed your father, all you care about is your revenge.”

Now it’s Joe’s turn to show his back to Ken, with an indignant sweep of his cape.

“Hey, Joe…” says Jinpei a bit timidly in his wake as Joe stalks off and leaves the room.

Ooh, juicy scene. It’s hard not to sympathize with Joe, the guy who’s putting his heart before his mind and wanting to believe the best about the girl he just met. It seems the writers are setting up a little dichotomy here and Ken has certainly been saddled with the less-inspiring side, namely that of reason and logic. But nothing is ever quite black-and-white in this show and much as Ken is seeming stern and cold, there’s no denying that his suspicions of the girl are necessary. (And valid –just what was she doing out there in the middle of nowhere in a taxi cab? Isn’t it a little convenient that she got attacked just as Joe was arriving on the scene?)

It doesn’t take a genius to see that Ken is probably correct here, even as it’s very moving that Joe, in spite of everything he’s endured, is still in essence a romantic.

It’s also very interesting that Joe singles out the death of Red Impulse as a point from where since, in his opinion, Ken has changed. I’ve often sensed, over the course of the whole first series, that Ken does shift somewhat from a sort of youthful “We’re going to win! Good will triumph!” optimism to something a little more cynical and almost weary, as if his idealism is being eroded by the seemingly endless war and bloodshed.

But I digress.

Okay, so Joe stalks off in a huff.



 



“Joe…” says Jinpei, still staring after him.

Jun turns to Ken. “Ken, it’s no wonder Joe is upset! You’re really being kind of-“

Ooh, again. Joe’s not the only romantic on the Team…

(Jun missed her chance, though, to point out to Joe that he’s acting a lot like she did about Koji back in episode 56 –and we all know what Joe’s reaction was then! But maybe that was a case where he actually understood all too well what was motivating her to defend Koji.)

Unfortunately we don’t get to hear Jun’s assessment of Ken’s conduct as, just then, Ken’s bracelet starts chiming.

“This is Gatchaman here,” says Ken. It’s Dr. Nambu, informing Ken that another mummified corpse has been found in “Buffalo Field,” and instructing them to go investigate immediately.

“You heard what the Doc said,” says Ken crisply, “Let’s get moving.”

“But what about Joe, Ken?” says Jun.

“Joe, huh? There’s no help for it; we’ll go on ahead. Jun, find Joe and then follow us,” says Ken, “Let’s go!”

He, Jinpei and Ryu then rush from the room as a somewhat flustered Jun is left behind.



 




I’m wondering if she’s wondering if this is an indication that Ken is annoyed with her for trying to defend Joe or instead a (likely accurate) conclusion on Ken’s part that she’s got the best chance of placating Joe and persuading him to get with the mission now.

She tries to contact Joe on her bracelet, to no avail.



 




“He’s turned off the receiver,” she notes, adding “I wonder where he went…”

I suspect you know where he went, Jun, you just don’t know where that particular “where” happens to be located.

But now we find out where the girl is, as we see Joe’s car pulling up in front of a large hospital. (I wonder how he got from the Crescent Coral Base back to the city.) He gets out and looks up at the building as if he knows which window is hers. Inside, the girl is sleeping in a hospital bed. The wistful, melodic music is playing again –something with a lot of flutes.

There are flowers in her room. I wouldn’t be surprised if they’re from Joe.



 



The girl opens her eyes, and light briefly glints from one of them. Outside in the hall, a nurse is approaching her room. She knocks briefly on the door to announce her entrance and goes inside. Almost immediately, she screams and comes staggering back out into the hall and collapses. Glowing blobs of energy are attacking her (so much for men being the only victims of this mummification plot) and she’s screaming.

Just as the nurse becomes mummified (and stops screaming), Joe comes around the corner of the hallway, some distance away, and sees her.



 





The energy blobs now leave the dead nurse and fly back into the hospital room. As we see the girl now come out of her room and walk right past the dead, mummified nurse, Joe ducks back behind the corner, concealing himself.



 




She walks off in the other direction, and now Joe reemerges to stare after her, frowning…

He’s remembering Ken’s earlier words, “Don’t you see? This could be a trap, just to get close to us!”

“Not that girl,” says Joe to himself now, “I’m not believing it for a second.”

Now the girl is walking down an empty street near a river or some other body of water. At a distance, Joe is following her and he’s in birdstyle now.



 



The girl subtly glances back as she’s walking, as if she’s aware he’s following her.



 



“I wonder where she thinks she’s going?” says Joe to himself.

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Meanwhile, at Buffalo Field, which is indeed a large, empty field, Ken, Jinpei and Ryu are looking at a car whose driver is dead and mummified.




 



Jinpei, sounding creeped out, wants to leave, as it’s apparent “the monster’s long gone.” Ryu asks him if he’s scared, but Jinpei indignantly insists he’s no “fraidy cat!” and mutters “Shut up,” for good measure.

Now the mummified man slumps forward against the car’s steering wheel, causing the car horn to sound (and causing Jinpei to duck behind Ryu –hee!)

Ken regretfully admits that there isn’t anything here that’s going to help them find the monsters. Ryu now points out that the girl Joe saved might know something, and that she’s the only person who’s survived an attack. Ken likes that idea, but just then, he’s contacted by Dr. Nambu.

He informs Ken that he’s just received a call from the National Hospital, and that a nurse there was attacked and mummified. “Go there right away,” he instructs Ken.

Ken passes on the news to Ryu and Jinpei (who says “No, not another one!” anxiously.)

At the hospital, Ken and Ryu (in civvies now) take a look at the dead nurse and agree that “it’s the same M.O.” as the other victims. “How totally cruel,” says Ryu sadly. Jinpei is standing some distance away, his back to them –clearly he has no desire to see a mummified nurse!



 




Ken asks the director of the hospital if there were any witnesses to the attack, and is told “Right after the incident, the female patient who was in the room seems to have disappeared.”

Ken wants to know what she looked like and is told she’s “around 17 or 18 years old,” [and in the subs the director adds she was “a good looking girl”] Oh yeah, actually, a boy about your age… Yes, he brought her here just last night. His eyes had a bit of a hard look to them.”

A succinct way of describing Joe.

But, this means that Joe had transformed out of his civvies when he brought the girl to the hospital. Surely he wouldn’t have transformed right in front of her, unless he thought she was asleep or unconscious when they approached the hospital, but if she was only pretending to be…

Maybe that’s one reason why Joe’s so determined to believe she’s innocent –because he might well have compromised his secret identity in her presence.

“That settles it, it was Joe,” thinks Ken, frowning.

The director then holds out an object that was found on the girl’s bed, though he’s not sure if it belongs to her or if it means anything.



 



Next we see the object –a white, petal shaped fragment, being placed on a desk by Ken as Jun, Ryu, Jinpei, Jun and Dr. Nambu all stare at it.

Dr. Nambu says it’s a piece of plastic but wonders what it was doing on a bed.

“I think it’s obvious this girl Joe saved has something to do with the case, Doctor,” declares Ken.

Dr. Nambu points out that Joe isn’t there and asks where he is. At that moment, Ken’s bracelet chimes.

“It’s Joe, can you hear me?” Ken wants to know where he is too.



 



Now we see Joe, outside somewhere with a near dark sky behind him.

“The doll cemetery –come quick!” replies Joe, as a bright beam of light hits him.




 




Joe gasps and looks up to see that dozens of mannequins are lined along the ledge of a nearby building, and in their midst stands someone beside the bright light shining on Joe.

It’s a blond woman, wearing a mask, but her chin is very similar in shape to the girl Joe had been following.



 




“Glad you could make it, Condor,” she taunts.

Joe frowns and laughs, “You finally showed up, huh? What’s your name, blondie?”

Suddenly a rocket powered missile –which is shaped like a mannequin’s hand- comes flying at Joe and hits him right on the back of his neck, knocking him down.



 



Meanwhile, Ken is calling into his bracelet, trying to find out what just happened with Joe, but admits he’s “lost the signal.”

Jinpei is instantly eager to rush out and save Joe, and stares at Ken, who hasn’t moved. Jun points out to him that they don’t know where Joe is.

“The doll cemetery…” says Ken, picking up the fragment of plastic again and staring at it closely.

Jun speculates it could be a piece from a mannequin (clever, Jun!) and this leads Ryu to wonder if “cemetery” means a place where unwanted mannequins have been discarded.

Ken’s likes this theory of Jun’s and Ryu’s and tells everyone to split up and search for “a dolls’ dumping ground.”

There’s a “Roger!” and they’re all ready to go dashing from the room until Dr. Nambu halts them.

He, it seems, has been pondering the big picture and has concluded that mummifying randomly-selected civilians in odd locales can’t be the villain’s main plan here.

“If this is the work of Galactor,” says Dr. Nambu, “they must be after something. There are just too many unknowns, so listen to me very carefully. I want you all to exercise extreme caution in finding Joe.”

“We will, Sir,” replies Ken hastily and they then all immediately dash from the room.

As the narrator summarizes the situation, we see that the remaining four Ninjas are each in their own G-machines, searching.

“Where has Joe vanished, and what awaits them all?” concludes the narrator, as we see Ken in his jet’s cockpit, looking grim. “Hang in there, Joe,” he thinks.


Commercial break!


We see the same body of water that the girl had been walking along when Joe was following her (a river or canal, I think) and on a nearby street, a dog is sniffing the contents of an overturned trash can. Something approaches and the dog turns and growls. It’s one of the mannequins and she doesn’t look too worried about the dog but she points her finger at it…

We cut to Jun, driving her motorcycle down a street. Over the sound of her motorcycle’s engine, she makes out the sound of a dog squealing in pain and she comes to a stop. Now she hears more squealing and goes to see where it’s coming from.

The dog is lying in the street now, seemingly unscathed, but dead.



 



“This looks like the work of that monster,” thinks Jun. Out of the corner of her eye, she sees something moving. Turning her head, she catches a glimpse of a mannequin running away and she pursues it on her motorcycle.

The mannequin nimbly crosses the canal or river, leaping along a few small boats moored in it, but Jun still follows, jumping her motorcycle straight across the water.

She loses sight of the mannequin as she enters what looks like a junkyard, and she stops and gets off her motorcycle, glancing around quickly in all directions.

 




“Where did it go? It just disappeared all of a sudden… how strange,” she says. She continues to walk around the junkyard but all is dark and quiet. But, a more ordinary-looking mannequin suddenly falls over in her path, causing one of its arms to break off and startling Jun.

She looks around more closely now and spots a large heap of mannequin pieces, and realizes she’s found the “doll cemetery” where Joe had been. She walks towards the heap, but behind her back, mannequin hands are reaching out to seize her.



 




She turns, and we get a quick glimpse of a mummifying mannequin’s face and then Jun’s own startled face…

But then the scene cuts to the God Phoenix flying low over the city. On the bridge, Ryu is studying the buildings below and spots what he deems to be a “suspicious place.” Looking more closely, he spots Jun’s motorcycle and realizes that’s she’s already there.



 



So, Ryu lands the God Phoenix in the junkyard and then exits through the dome. He looks around, calling out to Jun but there’s no answer. But, light glints briefly off of something amidst the heaps of junk.

Ryu decides to go see what it is. As he walks towards a junk pile, we can see that one of the mannequins is there, and light glints off its eye again. As Ryu sees the unmoving mannequin before him, he hears female laughter coming from behind him.

“Who’s there?” he demands, and then several more mannequins leap into position and surround him completely.

“Who are you people?” says Ryu angrily, as the laughter continues.



 



“You’re the one responsible for the incidents, aren’t you?” says Ryu, sounding quite calm under the circumstances. He raises his bracelet.

Now we cut to Ken, in his jet, and Ken is now hearing everything that Ryu is saying although Ryu isn’t making it apparent to anyone that he’s transmitting the audio of his current predicament.

Ken starts demanding to know what’s going on, but all we hear is Ryu crying “Aughh!” and then only a bird scramble signal is coming through to Ken.



 




“Something must have happened to Ryu!” says Ken, veering his jet quickly in a new direction.

This post has been edited 1 time(s), it was last edited by lborgia88 on 29-03-2010 at 04:19.
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We cut to a room, somewhere, with an elaborate chandelier on its ceiling. Doors into the room open and the girl comes in. The female Galactor commander is already in the room, dressed in the same way she was in the “Gezora” episodes –her “lady of the manor” mode.

Without even bothering to turn to look at the girl, she asks “How are things going?”



 



The girl informs her that everything is on schedule and that “we’ve captured three member of the Science Ninja Team so far.”

“I see,” says the female Galactor commander, taking a drag from a cigarette (and its light causes her face’s reflection to briefly appear on the painting she’s gazing at), “Make sure you capture the remaining two, and there’s no excuse for failure. Do you understand me?”

She turned now and is looking at the girl.

“Yes,” says the girl, bowing her head, “right.” She turns to leave the room.

“Wait!” says the female Galactor commander, “Is it still your intention to leave Galactor when it’s done, Maya?”

Yes, the girl has a name. She’s looking anxious about the question she’s hearing, but determined.



 




She nods her head.

“Your mother, your father and your siblings all work for Galactor,” continues the female Galactor commander in a stern voice, “and yet you refuse to follow in their footsteps.”

“I want to live my life the way I want to!” cries Maya suddenly, turning to face the female Galactor commander, “You promised to allow me to resign after this mission is over and I expect it!”

Oh my –does she know just who she’s yelling at?

“Ah yes,” says the female Galactor commander, taking this outburst surprisingly calmly and casually sitting on the edge of a desk, “That’s right. Well, do what you want –just remember, in exchange you must destroy the Science Ninja Team.”

“Yes, I know,” says Maya, calmer but with resignation, and she leaves the room.

So, Joe’s instincts about the girl weren’t completely misguided. She is working for Galactor but, like the Devil Star in episode 31, it’s because her family is already serving Galactor. She’s doing it against her will. So in a sense, Joe was right about her and Ken was right about her too.

As Maya leaves, the female Galactor commander stares after her with a very sinister gaze.

“Hmm,” she says, sounding amused as she stubs out her cigarette in an ashtray.

Now we’re seeing the exterior of a shabby, run down mansion. Ken and Jinpei are here, and they’ve found a curving flight of stairs that lead down into the mansion’s basement level.

When they reach the bottom, Ken notices a set of fresh footprints in the dust on the floor. They follow the trail and soon they’re opening a set of doors that lead into another room. It’s a large, multi-tiered room with ornate, elegant architecture going on –archways, pillars, statues, paintings on the walls, a large chandelier etc.



 

 




The doors close abruptly behind them and Jinpei discovers, to his alarm, that the doors are now sealed, trapping them inside the room.

They can also now hear someone laughing menacingly –Berg Katse!

“Now all five of you have fallen into the trap,” says Katse’s voice.

Ken certainly recognizes his voice!

Ken can’t see him but we see Katse now push a red button on a wall panel. Suddenly the floor that Ken and Jinpei are standing on starts descending down rapidly into the ground, taking them with it.

It stops soon, and the subterranean level they’re on now has classical-styled murals painted on the walls. Someone is laughing again, but this time it’s not Katse.

It’s the blond woman with the mask that Joe had seen right before his capture.



 



“Gatchaman, take a look behind you,” she says mockingly. A large panel behind Ken and Jinpei rises as they turn around. Behind the panel, Joe, Jun and Ryu are all manacled between pillars.



 

 



“You Galactor filth!” says Ken with righteous indignation, “Enemies of peace! I will never let myself die before I destroy you!”

“There would be no war if you’d just quietly let Galactor take over the world,” retorts the blond woman smugly, “You guys just aren’t very bright, are you now?”

Hmm, I think Ken had the better lines here.

“Whatever,” says Ken, “You’re nothing but Galactor’s pawn –you can’t even do any better than sneak around in dark, filthy places with the rest of the useless vermin!”

It’s apparent that Ken’s hit a nerve.

“You shut up!” cries the woman, “Anyone who goes against Galactor shall die as they deserve! Do it!”

As she cries “Do it,” we can see that all the mannequins have assembled in the room and they extend their arms and fire energy blobs at the three manacled Ninjas.



 



Joe, Jun and Ryu all cry out and writhe in pain, but they don’t immediately mummify. Perhaps their birdstyles are offering them some protection.



 

 

 



As Jinpei notes that he and Ken are surrounded by the mannequins, the mannequins leap into the air and form another flying circular saw blade –an even bigger one this time.



 


It zooms towards Ken and Jinpei but they’re able to dodge it. It immediately separates back into individual mannequins and one of them fires energy blobs at Jinpei.



 



Ken grabs a handful of explosive charges from his belt compartment.



 



He hurls them at several of the mannequins, who are blown to pieces, revealing metal components.

Ken is startled to see that they’re “cyborgs!” (I think “robots” would be a more accurate word here, but whatever…)

Meanwhile, Joe, Jun and Ryu are still manacled and still suffering from the energy blobs’ attacks.

The remaining mannequins –and there are still lots of them- now run and leap about in a circle, surrounding Ken and Jinpei. They break into eight separate groups and once again, take on spinning “saw blade” formations.



 





All eight convene towards the center of the room but Ken and Jinpei (who, despite being hit with an energy blob earlier, seems okay for some reason) leap up into the air to avoid being sliced to bits.

Ken hurls his boomerang and Jinpei his bolas. Jinpei’s bolas shatter one of Joe’s manacles.



 



Ken’s boomerang slices through one of Ryu’s manacles.



 




A hand shaped missile, similar to the one that struck Joe earlier, comes flying at Ken and he throws himself to the floor to evade it but then gets hit with an energy blob.



 



A mannequin is zooming in on Ken, her arms transformed into two spikes with which she clearly intends to skewer him, but suddenly she’s hit with the hook from Joe’s cable gun and her arms shatter and she drops to the floor and breaks apart.

Ken struggles to his feet, turning to see that Joe is now standing behind him (and has freed his other arm from its manacle).



 



Ryu is still held by one wrist manacle but he manages to break it.

Once again, the mannequins make saw blade formations. But one mannequin alone leaps to use her arms skewers on Ryu –who is busy trying to un-manacle Jun.



 



Ryu’s legs are longer than her arms, though, and Ryu kicks her in the chest and sends her flying before her arms can pierce him. Elsewhere, Joe is grabbing mannequins and hurling them against the floor such that they break apart.



 



I guess their birdstyles really do protect them from the energy blobs –everyone seems to be okay, not mummified.

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Numerous mannequins form a spinning, circular barrier around all Ken, Jinpei and Joe, trapping them in the center of the room, while other mannequins (legs transformed to spikes) prepare to drop from the ceiling and impale them.



 



“They’re trying to corral us all into one area!” says Ken. He hurls more explosive charges at the mannequins that are forming the rapidly spinning barrier around them, and pieces of shattered mannequin do come flying at them, but the barrier is nevertheless maintained.



 



Just then, the spike-legged mannequins begin to drop down from the ceiling towards Ken, Joe and Jinpei.

But with a cry of “Yoyo strike!” Jun’s yoyo flies up and hits them, creating an explosion that shatters and scatters them.

As harmless pieces of mannequin debris rain down, Jun and Ryu both join the others now.



 




Ken calls for the Tornado Fighter, and they all quickly assemble and start their own spinning attack.


[Out of context, this image suggests Joe and Ryu are suddenly best buddies.]
 

 



It’s an extremely effective tactic against the mannequins here. They’re caught up by the whirlwind and bashed against walls and pillars where they break into pieces.



 



Now the Ninjas separate again. Ken hurls his boomerang at some mannequins who are still standing, breaking their necks.



 



Jun takes out some more with her yoyo. Ryu picks one up and flings her at several others, causing them all to break.

 



Joe takes out more of them with his cable gun. Finally, Ken hurls some more explosive charges.

Observing from the sidelines, the blond woman is hit with pieces of flying mannequin debris and realizes that the fight is clearly not going in her side’s favor.

“Damn it,” she cries as she turns and runs away.




 



But all five Ninjas are now chasing after her and we get a close up of Joe’s face as he runs.

The blond woman turns a corner, and there stands Berg Katse. She gasps and halts.

“So you failed me, Maya” says Katse, pointing a gun at her.



 



Yes, I think we’d all guessed by this point that she is Maya. She recoils in fear.

“Lord Katse,” she cries, “Please, just give me another chance!”

But he shoots her in the chest, just as the Ninjas are getting close.



 




“Over there!” cries Ken, and they all run in the direction of the gunfire.

“Either way, you’re going to die,” Katse gloats, “Whatever made you think you could leave Galactor and survive?”

“Damn you,” gasps Maya quietly and bitterly, “Wasted my whole life on you, you bastard.” She’s still on her feet, clutching her chest. But Katse merely laughs mockingly and disappears through a set of doors that suddenly open in the wall beside him and then seal immediately behind him. Maya topples forward onto the floor and her mask and blond wig fall off.



 




The Ninjas come rushing in now and see her lying on the floor.



 



Joe recognizes her now and gasps. “It’s… Not her too,” he thinks, and he rushes to her side.



 




“You should get out of here quickly,” she tells Joe in a weak voice, “It’s dangerous, this place is going to blow up soon.”



 



He’s staring at her with a distraught expression on his face, still holding her with his hands.

“I’m so jealous,” she continues, looking at Joe, “I wish… I wish I could have lived in the sun too, just like all of you do…”

With those words, she dies.



 



“Maya…” whispers Joe (in the dub, anyway. I’m not sure if he really knew her name.)

But she was right –explosions are breaking out throughout the mansion and all five Ninjas leap clear of it just as massive explosions begin obliterating it all completely.

Some distance away, the five Ninjas are crouched behind junkyard scrap, watching the devastation somberly. We get a last look at Maya as, inside the mansion, rubble from the ceiling falls on her body and an explosion renders her into nothingness.



 



Outside, Joe is visibly wracked with emotion, and beads of sweat run down his face.



 



“Joe the Condor knew that the beautiful Maya had hoped to leave the evil of Galactor and be free,” says the narrator as the Ninjas watch the mansion burn.



 



The narrator adds, as we see now the starry night sky high above, “but she died without ever realizing that hope.”

I’m willing to bet that Ken will never say “I told you so” to Joe –he’s too good of a friend and too decent to do that. Really, there’s probably a lesson in this episode for both of them.

As Ken called the mannequins “cyborgs” (though I think, again, that “robots” would be the more accurate term for them), it’s got me wondering how Maya was able to fire the energy blobs at the nurse when she was in her hospital room (and how she was able to, apparently, direct the robots without ever being seen issuing instructions to them). When Ryu encountered the mannequins in the junkyard, the first thing he noticed was a glint of light in the eye of one of them. When Maya woke up in the hospital room, there was a glint of light in her eye too. It could be a total coincidence, but it makes me wonder if, like the mannequins, Maya had some sort of artificial component in her that produced the mummifying energy blobs, if she were, in some sense, a cyborg herself…

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BOTP version: “Rage of the Robotoids”

“Down here at Center Neptune, deep beneath the sea,” says Zark, as we see an underwater view of it, “We keep a close and never-ending watch on all of outer space.”

Now we’re seeing Zark himself as he admits to having assistants on distant planets though, which is okay because “This is the nerve center; everything clears through me."

Right now, he’s checking on Vega, “the brightest star in constellation Lyrae” (an astronomical fact from Zark that is, I believe, correct –amazing!)

It looks “A-Okay.”

Now Zark is explaining that “the light from some stars comes from so far away that the stars have faded out and disappeared before the light gets to us. That’s what makes my job so tricky –what looks okay may not even be there anymore!”

Yes, this is also a correct astronomical fact, but it completely undercuts the fact that Zark is nevertheless apparently able to observe a troubling occurrence on a planet of a star many light years from Earth and yet dispatch G-Force there before much time at all has passed since the occurrence on that planet. We are probably not supposed to think too much about how, exactly, Zark is achieving FTL observation of the happenings in distant star systems!

Now Susan calls in –no doubt Zark considers her one of his “assistants.”

She reminds him that she is Susan, at the Early Warning Station on planet Pluto, in case he might have her confused with another assistant on some other planet.

She tells Zark that she has noticed a “very strange, unidentified object hurtling through space” and that it “appears headed for the solar system and possibly Earth.” She continues “It was launched from the Crab Nebulae [sic] and you know what that means.”

He knows it means the planet Spectra and Zoltar. 1-Rover-1 has been just sitting there all this time, silent and unmoving –he must come equipped with an “off” switch.

Within seconds, Zark is watching this beyond-the-solar-system object on his monitor (and saying nothing at all as to whether he’s seeing days or hours old images from light only just now reaching Earth).

“It is out of time warp and orbiting towards the solar system,” says Susan who for some reason is sounding more batty than sexy to me in this episode.

Zark confirms that it is now passing Saturn and heading towards Earth. “It is centering on Sector 9, azimuth 4,” says Susan, one-upping him in the accuracy department.

“That means it’s due to strike somewhere in Metro City,” counters Zark, even adding “I’ve alerted the area”!

Yes, Susan, you’re only an assistant, remember? All information clears through Zark.

Now a policeman with a flashlight is walking down a dark street, presumably in Metro City –not sure if he’s received Zark’s alert though.

A tin can rolls past his foot for no apparent reason and he pauses apprehensively, looking around.

“Say, what’s going on here?” he asks no one in particular as there’s no one in sight.

But now he’s rounding the corner of a building and someone with smooth, artificial-looking legs is awaiting him. Just as the policeman sees this person-

-we immediately cut to a flash of lightning in the sky and torrential rain falling.

Then we cut abruptly to Chief Anderson, walking and holding his chin as if perturbed.

“It’s happened again,” he’s saying “This time to a policeman down on the waterfront. What they found was a badly injured man; he’s in the intensive care ward.”

It’s G-Force, in their civvies at Center Neptune, to whom he’s telling all this and Princess responds “That’s horrible! Do the police investigators have any explanation?”

“They’re baffled and the people are in terror,” says Anderson with grim drama, flourishing one pointy finger, “They don’t know where or when it will strike next. I want you to go there and see what you can come up with.”

With a group shout of “G-Force!” the five of them are off at a run.

Next we see Mark’s jet flying through a dark sky and Princess driving her motorcycle through rocky terrain. Zark explains that, by splitting up and using their own forms of transportation, they hope that one of them will find something to “help solve the riddle,” and we see Keyop’s buggy and the Phoenix too.

Last of all, we see Jason’s car driving fast through a mountainous region as Zark adds “And it is not long before Jason comes across a scene that he will never forget!”

“There’s no traffic on the road so I should make good time,” says Jason to himself. He’s zooming along a twisty mountain road with a cliff on one side and, some distance away, he sees another car driving along a similar stretch of road.

“Huh?” says Jason, surprised that he has company out here. He stops his car and looks again at the other car.

“What’s a taxi doing out here?” he wonders.

Inside the taxi, the driver is suddenly startled to see a mannequin-like figure standing in the road and he swerves his cab to avoid a collision.

He avoids a collision with the mannequin-like figure, but not with the wall of rock on the side of the road.

“Oh!” cries a female passenger from the cab’s back seat, “Oh please, no!”

More mannequins jump down from on high and stand all in a line.

“What are those things?” cries the frightened cab driver, pointing a trembling finger.

Whatever they are, they’re surrounding the cab. Each of them extends its right hand and shoots energy blobs from their fingertips that strike and stick to the cab’s exterior. The cab’s windshield cracks and both the cab driver and the girl passenger exit the cab and start running away (which they’re able to do because, somehow, the mannequins aren’t surrounding it quite as well as they were a moment earlier).

Meanwhile, Jason is out of his car and looking down from a high cliff at the action going on far below.

“I’m coming!” he cries.

The girl is still running, and five mannequins combine together to form a flying, spinning saw blade. The girl has, unfortunately, run up to the edge of a cliff and she has nowhere left to go as the whirling saw-blade-of-mannequins closes in on her. It’s firing energy blobs at her too, which hit the ground near her feet.

No idea where the cab driver went…

The girl backs up anxiously, sending some loose pebbles falling from the cliff’s edge, and she screams.

Jason is back in his car, zooming her way so fast he’s briefly airborne and also descending extremely steep cliffs. He’s still speeding along, and the flying saw blade is still shooting energy blobs and the girl is still teetering on the edge of the cliff.

But now, along with some more rocks, she falls off the edge of the cliff, screaming…

But Jason has stopped his car down below and leaps from it high into the air and catches the falling girl. They both drop to the ground together, and he breaks her fall.

The flying saw blade breaks up into individual mannequins again who hit the ground running and disappear fast as Jason stares after them.

“What were those things?” he asks, but then he looks down at the girl in his arms whose eyes are closed as her face rests against his chest. “And why would they want to hurt anything this beautiful?” he thinks.

Now we’re seeing Center Neptune’s underwater exterior again.

Inside, Mark is banging his hand on a desk.

“Wait a minute, you’re all wrong, Jason,” he protests “And I’m not accusing Tyna of anything!”

(It’s “Tyna,” not “Tina” in Hofius’ and Khoury’s G-Force Animated book, so I’m going with that.)

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Jason is looking angry and defensive though, arms crossed.

“It sure sounds like it and it’s not fair, Mark. You didn’t see what happened! Those robotoids tried to kill her!”

“That’s what puzzles me,” says Princess (who’s standing beside Jason), “Why’d they pick on her?”

“And what was she doing way out in the middle of nowhere in a taxi?” asks Mark, turning his back on Jason.

Jason eye’s narrow in anger. “Give her a chance –I’m sure she has a good answer to all your questions,” he insists.

“If that’s true then she’s got nothing to worry about,” replies Mark, still with his back to Jason.

“Oh sure,” says Jason sourly.

“All I’m asking you to do,” says Mark, turning around now, “Is to keep an open mind about it.”

Jason bangs a fist on the desk as Keyop stares agog at him. “That’s a laugh,” says Jason, pointing an accusing finger at Mark, “There’s Tyna, lying in the hospital all alone and you act like she’s the one at fault! Well I don’t like it!” Now, with a swirl of cape, Jason turns his back on Mark.

“Jason,” appeals Keyop, but Jason is already storming out of the room.

Some pretty, somewhat sad music is playing as Jason pulls up in front of the hospital and gets out of his car, looking up at the hospital’s windows.

Inside one of the hospital rooms (with flowers on her table), Tyna is in a bed, sleeping.

Or not sleeping –her eyes open now and light glints off one of them.

Out in the hallway, a nurse approaches the door to Tyna’s room but no sooner has the nurse gone inside the room, she comes staggering out, screaming and covered in the same energy blobs the “robotoids” had been firing at Tyna the night before.

We see the energy blobs floating back into the room and the nurse has stopped screaming. Just then, Jason comes around a corner of the long hospital corridor and sees the nurse lying on the floor up ahead. He ducks back behind the corner.

Just then, Tyna leaves her room and, ignoring the prostrate nurse, goes walking down the corridor in the other direction as Jason looks out from around his corner, watching her go and frowning.

He’s remembering Mark saying “All I’m asking you to do is to keep an open mind about it.”

“It looks like I was wrong and Mark was right,” says Jason glumly.

Now we’re seeing a river or canal, with a small boat tied to a dock. Not far away, Tyna is walking alone down an empty street in a rather deserted-looking part of town. Further back, Jason is in his uniform now, and following her covertly. But she glances back slightly, as if she knows he’s there.

“What could she be up to?” wonders Jason, still following at a distance.

Meanwhile, back at the hospital, the other four G-Force members are gathered around a hospital bed –whose occupant is draped with sheets and concealed from view.

“What can make a thing like that happen?” asks Mark, sounding perplexed. Keyop apparently doesn’t want to look –he’s got his back turned.

“These severe burns,” says a white-coat-clad doctor, “are caused from intensively applied heat coming from several angles.”

“It’s mighty strange,” says Mark, frowning.

The nurse (I’m assuming it’s the nurse) in the bed says nothing at all!

The doctor doesn’t understand it either but adds that there’s also “an unidentified gaseous element that brings on temporary unconsciousness.”

Ah yes, the nurse is unconscious.

Or is she? The doctor adds that he found an object “near the body.” From his pocket he produces what looks like a fragment of white plastic.

Now we cut to Center Neptune, where Anderson and all of G-Force except Jason are staring at the fragment, now lying on a desk.

“Zark has put it through a battery of tests,” says Anderson, “That substance is not found on Earth.”

“Maybe not on Earth but I’ll bet it’s found on Spectra,” says Mark, “Am I right or wrong chief?”

Aren’t you always right, Mark? Even Jason’s just admitted that.

“Right,” says Anderson, “And that means we have Zoltar to deal with.”

“G-Force! Mark here!” says Mark, suddenly responding to an incoming signal on his wrist communicator.

“Mark, it’s Jason.”

“Where are you now?” asks Mark.

“Down on the waterfront. I followed-”

We can see Jason, and a bright beam of light has just caught him in the face. He looks up and sees that he’s surrounded by dozens of robotoids. Standing near the light, though, is a woman with a cape.

“Ha! Curiosity killed the cat!” she says (sounding rather nasal).

“When the cat’s away the rats will play,” says Jason.

But the “rats” have fired a small missile at Jason and it hits him hard in the back of his neck, laying him flat.

Meanwhile Mark is calling “Jason, what is it? What’s happened?” into his wrist communicator, but he’s not getting any response.

“Chief, I think he’s in trouble,” says Mark, looking to Anderson.

“What’s he doing down on the waterfront?” Anderson wants to know.

“Following Tyna around,” says a scowling Keyop.

“You make it sound so romantic,” says Princess (with, I believe, sarcasm).

“Maybe it is,” says Keyop, still scowling.

“That’s enough of that stuff,” reproves Mark. After a pause, he looks thoughtful and says “Now what?” Staring at the un-Earthly fragment, he adds “If Zoltar’s got his hands in the pot, anything could have happened.”

“Well maybe it’s nothing to worry about –the radio could have just conked out,” suggests Princess.

“You don’t believe that any more than I do,” says Mark, frowning.

“That Tyna is a very pretty girl,” says Tiny (though I’m not sure how he would know this), “But that’s not what we’re supposed to be talking about, are we?”

“We’ve got to find out what’s happened to Jason,” says Mark sternly (yes, “enough of that stuff”), “So let’s get on it!”

This elicits a group “G-Force!” but as they’re all turning to leave, Anderson says “Wait!”

“You don’t know what you’re getting into, so keep your eyes open. I suggest that you travel to Metropolitan City separately –it makes you less accessible as a target. Other than that, well, it’s your baby.”

They all turn and run (perhaps to avoid hearing Anderson use any other trite slang).

As Chief Anderson pauses to study his reflection on a screen on the wall, Zark begins informing us that Anderson has sent G-Force is on its way, “but not without grave misgivings.”

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Now we see that Mark, Princess, Keyop and Tiny are all out again in their vehicles, searching.

“It is never easy for him to put them is situations that could become very dangerous, but time and again, they have proved themselves individually and as a team,” continues Zark, adding that “And when one of their number is in danger, you can be sure nothing will stop them. It’s one for all and all for one!”

And the montage ends with Mark, looking grimly determined as he flies his jet.

Now we’re at Zark’s room in Center Neptune. Zark is pacing.

“Imagine robots being programmed for evil,” he says, sounding appalled, “It gives me a chill in my trigatron just to think of it and Spectra’s robotoids are swarming all over Metro City.”

Again, 1-Rover-1 one appears to have been turned off; he’s silent and unmoving. Maybe Zark turns him off during his monologues lest 1-Rover-1 draw any viewers’ attention away from Zark himself.

Now Zark is telling us how dangerous waterfronts are, with all their big, empty buildings where Spectrans can hide.

Yes, kiddies, don’t try this at home –you’re not G-Force!

Now Zark abandons the inert 1-Rover-1 to fly across the room to his monitors, telling us he’s going to bring up images of the waterfront himself and try to find something that could help G-Force.

Now we’re seeing a dog that is actually capable of moving. But it’s a real dog, and doesn’t have a control-freak robot for an owner. It’s sniffing in an overturned trash can, but something gets its attention and it suddenly turns and starts growling.

Yes, this wise dog hates robots –it’s growling at one of the robotoids who is pointing a finger at the dog…

And we suddenly cut to Princess, driving her motorcycle down a street on the waterfront (surrounded by dangerous, big and empty buildings).

She hears a dog squealing and stops her motorcycle.

But we don’t see the dog at all, just Princess saying “I wonder what scared him so?” as she catches a glimpse of a fleeing robotoid.

She gets back on her motorcycle and pursues it, leaping her motorcycle across a canal or river to do so.

Princess arrives in what looks like a junkyard. She’s lost sight of the robotoid so she stops, gets off her motorcycle and hastily looks around.

“That’s the same kind of creature Jason saw on the mountain road,” she says to herself, still looking all around. She starts walking around amidst the piles of junk and is startled when the door of a junked car opens and an ordinary store mannequin falls out onto the ground, breaking off an arm in the process.

“Not a creature, a thing!” she thinks, looking alarmed.

“That fragment we found came from one of them,” she thinks as she notices a large pile of broken and damaged mannequins like the one that fell out of the car. She walks closer to the pile, still looking side to side, but she doesn’t know that mannequin hands are reaching for her from behind…

Princess turns, mouth wide in shock though she makes no sound, as she sees a robotoid lunging for her.

Now we cut to the Phoenix, flying low as Tiny studies the buildings below, muttering “No sign yet.” But then he flies over the place where Princess’ motorcycle is parked.

“That’s funny, no sign of Princess yet. She should have been-”

Tiny looks surprised and goes “Hmmm.” He lands the Phoenix in the junkyard and exits through the dome. Nearing at Princess’ motorcycle he calls out “Princess, where are you?” and stares all around him. There’s no answer but he sees a glint of light from within one of the junk piles.

“Is that something moving over there?” he wonders, and goes to investigate.

He encounters an unmoving robotoid, a glint in her eye, but Tiny reacts very calmly and says “Hello there.”

“Hey, what was that?” he asks, less calmly, as he realizes several more robotoids have suddenly appeared and are surrounding him, “I was just passing by!”

“Mark, do you read me? I need help, now,” says Tiny (somewhat woodenly) as he raises his communicator nearer to his mouth. The robotoids still have him surrounded but they aren’t making any moves.

“I’m at the waterfront junkyard,” he adds as we see Mark in his jet, listening to Tiny’s message. Mark instructs Tiny to activate his “direction finder.”

“Good boy,” says Mark as his communicator begins flashing, “If he’s in trouble, what about the others?” He veers his jet and flies off quickly.

Now we’re at a mansion with a big chandelier. Tyna enters a room where Mala is standing with her back to the door, smoking a cigarette.

“You wanted to see me, Mala?” asks Tyna, “I hope you’re not still angry. It was foolish of me to try to run away. I know that now.”

“Yes,”’ says Mala, taking a puff before she turns to face Tyna, “My brother Zoltar would never allow such a thing but I am more generous. I am going to give you another chance.”

“Generous?” cries Tyna indignantly, “And all the while you hold my parents hostage on Spectra –what other choice do I have?”

“Absolutely none, my dear,” says Mala harshly, sitting now on the edge of a desk, “I hope you understand once and for all! Now that’s settled, I’ll expect only your best efforts from now on.”

“Thank you,” snaps a very ungrateful sounding Tyna, who turns to leave the room. Mala’s sinister gaze follows her…

Now we can see the exterior of the mansion, and it’s looking very run down and abandoned and it seems to border on the junkyard as old barrels are lying around on the ground near it.

Mark has rounded up the one G-Force member who isn’t in trouble –Keyop- and they’re entering the mansion via a staircase that descends to a level below ground.

Down inside, cobwebs festoon the corners of hallways and Mark notices a set of footprints in the dust on the floor. He decides they should see where they lead.

They lead to a large, ornate room with a very high ceiling and surrounding balcony. Once inside, the doors shut behind them and Keyop discovers they can’t be reopened. As he tugs on the door handles, a woman’s laughter can be heard.

“Welcome G-Force,” says the female voice.

“Who are you?” demands Mark, but now the whole floor that he and Keyop are standing on begins descending down like an elevator platform. They arrive on a lower level, where classical looking murals decorate the walls. A chandelier lights up and more female laughter can be heard.

Mark and Keyop frown, staring around, and Mark says “Hey, who’s that?”

But now he can tell, as a blond woman wearing a mask –the same woman who captured Jason- is there.

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She mockingly informs them “Now we have all of G-Force here,” as wall panels now rise to reveal Jason, Princess and Tiny, manacled between pillars.

“What a grand reunion of G-Force,” says the blond woman, “Appearing together for the very last time.”

“Maybe that’s what you and Zoltar think,” retorts Mark, “But I can guarantee you this is not our farewell performance.”

“Very brave words from someone who stands here my prisoner,” replies the blond woman, before calling out “Robotoids!”

At her cue, the robotoids all point their fingers and shoot energy blobs at Jason, Tiny and Princess.

“No, don’t!” cries Tiny, clearly in pain.

“Glad you’re not people!” snaps Keyop, glowering at the robotoids.

And with that reminder that only mere robots are going to get hurt here, the big fight scene begins.

The robotoids briefly adopt a spinning, saw blade formation before scattering around the room to attack individually, and one of them shoots an energy blob at Keyop. “I’ll get em,” shouts Mark and he tosses a handful of explosive charges from his belt. This blows several robotoids into fragments, although plenty more are still running around.

“How are we supposed to fight against machines?” demands Mark angrily, staring at some mechanical looking robotoid debris now lying on the floor.

Really, Mark ought to be glad they’re machines –maybe this means he can be quite violent and not have his scenes cut.

(Oh, and Jason, Princess and Tiny are currently not suffering from energy blob attacks.)

The robotoids are leaping and circling rapidly around Mark and Keyop now, confining them to the center of the room.

(But they don’t try to slice Mark and Keyop to bits with eight smaller saw blade formations.)

But Keyop throws his bolas and breaks one of the manacles holding Jason and Mark does the same for Tiny with his boomerang.

Suddenly, Jason is grabbing robotoids and flipping them or hurling them against the ground (and there was apparently no need for him to save an energy-blobbed Mark from being skewered here by firing his cable gun or any need for Tiny to avoid being similarly speared while trying to free Princess by kicking a robotoid in the chest.)

Now several robotoids leap up high and cling to the ceiling, while Jason, Mark and Keyop are standing below them. “As fast as we knock them out, more come!” yells Mark.

Now other robotoids are running in a circle around the three of them, so fast that they create a barrier. Mark grabs more explosive charges from his belt and hurls them at the robotoid-barrier. There’s an explosion and some robotoid scraps go flying but the barrier remains.

For some reason, Keyop looks up in the air and cries “My bolas!” We see Princess’ yoyo suddenly lash out at some robotoids and blow them to pieces but it’s not at all apparent where these robotoids came from (and surely they weren’t dropping down from the ceiling with pointy-sharp legs to impale Mark, Jason and Keyop because that would be too traumatic!)

At any rate, Princess and Tiny are now with the others, and Mark calls for their whirlwind pyramid attack.

This sends many robotoids flying, smashing into walls and pillars and breaking apart, as the blond woman looks on in dismay and then decides to run for it.

And the robotoids are now all defeated by the whirlwind pyramid (with no need for Mark to slice their necks with his boomerang, or for Jason, Princess and Tiny to destroy others with cable guns, yoyos or by hurling them into each other).

I guess such specific violence, even towards robotoids, was deemed unsuitable for young viewers.

Everyone takes off running after the blond woman, and we get a brief look at Jason’s face as he runs.

They all come running into a room and stop at the sight of Tyna’s mask and blond wig lying on the floor, and then Tyna herself lying on the floor.

“Hurt,” says Keyop.

Everyone rushes closer to Tyna and Jason stares, looking stricken. Then he rushes to kneel at Tyna’s side as she tells him “I hurt my leg. It’s a small price to pay for all the wrong I’ve done.” She’s saying this in a fairly matter-of-fact tone, but Jason looks like he’s hearing something dreadful.

“We have to get out of here quickly,” adds Tyna, as Jason keeps his hands on her shoulders, “Zoltar will blow up everything to destroy you -we haven’t much time Help me up and we’ll go. Please!”

The very next thing we see is a big, fiery explosion, then an exterior view of the mansion and more explosions wrack it. The five members of G-Force all coming diving out of the mansion just as an explosion erupts behind them.

I guess Jason found a pair of crutches for Tyna to use and sent her out through some other door because she’s nowhere in sight.

And more explosions now destroy the entire mansion completely.

Staring at the destruction, Jason is sweating and looking extremely upset but we must assume that he’s actually feeling fine as Zark now informs us that “Luckily G-Force was able to escape the inferno, taking Tyna with them. She was only serving Zoltar to spare the lives of her captive parents.”

As we get a view of the starry night sky, Zark continues “And now, maybe G-Force will be able to free them from the Spectra slave planet where they’re being held. I’ll put all my components to work on it.”

Now we’re seeing Zark and 1-Rover-1 at Center Neptune. Suddenly, a very proportionally-challenged Mark and Princess appear for a visit.

I’m very glad that Jason never visits Zark.

Princess explains that they wanted Zark to know that they’re all back home and safe.

1-Rover-1 is apparently still turned off –no sound or movement from him.

“I have some very good news for your new friend, Tyna,” says Zark.

Tyna’s their friend now? That was fast.

“Tell us quick,” says Princess eagerly.

Zark explains he “put all his interstellar probes to work” and he’s learned that “While you were rescuing Tyna, her parents escaped from the Spectra slave planet and are now safe and secure on the friendly planet of Tolack.”

How very convenient!

“Zark,” says Mark, “I’ve said it before, you’re a genius!”

“You always come up with the most beautiful answers to everything!” gushes Princess, “Is there anything you don’t know or can’t do? You’re wonderful.”

Some perspective here, people! All Zark did was obtain a bit of information!

But Princess goes and kisses Zark on the head.

“We’ve got to tell Tyna right away! Thanks, Zark!” says Princess now and she and Mark are gone.

Zark must have switched 1-Rover-1 back on as soon as they left, for now he starts yapping.

Apparently this yapping translates to “It’s nice to be appreciated” and that 1-Rover-1 has a puzzling question for Zark to answer.

It seems that 1-Rover-1 wants to know why the G-Force members weren’t burned by the energy blobs like the policeman and nurse were.

A good question, really.

And Zark is completely flustered and babbles something about their “transmutation configuration” or that it could be “molecular cell-” He babbles nervously some more before lamely declaring “It’s much too technical to explain.”

“It’s best in these cases not to question the incredible abilities of… G-Force!"

And with these words, encouraging millions of impressionable young viewers to accept ignorance over knowledge if the explanation is complex, he salutes.

Aargh!


The End.

This post has been edited 2 time(s), it was last edited by lborgia88 on 29-03-2010 at 04:42.
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Again, this is an ep I've only seen the BotP version of. It is one I love as this is an ep wehre Jason actually has a chance of getting a girlfriend who won't try to kill him (again - I guess if you reform the past attempt doesn't count).

This is one of those where you can hope that off camera, Tyna and Jason have made a go of it.

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quote:
Originally posted by lborgia88


[Out of context, this image suggests Joe and Ryu are suddenly best buddies.]
 


"72 bottles of beer on the wall, 72 bottles of geer..."

"Wait - you said 'geer' not beer...hic."

"Din't, I said geer. Oh, crap." *gulp, gulp* "Right, where were we?"

"70 something...hic... 78?"

"You kna, I'm fairly certin, certain, we've done that one already."

"Nah...hic...definitely 78."



Sorry, really couldn't help myself....

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Great episode recap, LB, and great screenshots, Saturn! Thank you again for your work!

Such a creepy episode! ... again, where mannequins are concerned, I'm not quite that happy! But it is an episode which is full of emotions and which helps a lot in character development. Poor Joe ... he's surely not fortunate in love!

ITA with all your comments, LB, especially that regarding the ability of Maya to fire energy blobs ... there was no hint that she could have been some kind of cyborg (or, as you have said well, they looked more like robots than cyborgs!)! The conversation between her and Katse gave me the idea that she was totally human!

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I really like this episode...it shows the softer side of the Condor...LB, you did a great writeup, too! Great insights!

And the picture of Ryu and Joe as "Best buddies" was hilarious...Green, your addition to it is priceless! pound pound

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Green ... it's just now that I saw your addition! It's hilarious! ROFL 2

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Oh Green!!!! ROTFL pound pound pound pound pound

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I just wish I could photoshop - could you imagine how hilarious it would be with a couple of foaming mugs in the picture?

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Gotta love screencaps. You can have such fun.


It's never made clear, but perhaps Galactor used Maya's escape attempt as bait for the SNT. If it succeeded, great; if not -- they were going to kill her anyway. (How could Maya believe Galactor would let her leave? It must have been drilled into her that nobody leaves Galactor alive.)

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You've done a great job, LB, and Saturn, you got some great screencaps!

Ah, poor Joe and his doomed romantic interests. I too find it interesting that both Ken and Joe were right about the girl and her motives.... even though in both cases they were going on something flimsy upon which to base their judgments. Although I think I prefer the idea from BOTP that she was trying to 'escape' Galactor, and that's why the mannequins were after her.

quote:
“You always come up with the most beautiful answers to everything!” gushes Princess, “Is there anything you don’t know or can’t do? You’re wonderful.”

Some perspective here, people! All Zark did was obtain a bit of information!


You seem to have forgotten, LB, that when Mark and Princess are drawn in Zark's Ready Room, perspective is the one thing that's lacking!!!

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Bad pun. Bad, bad pun! spankbott

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quote:
Originally posted by Transmute Jun
Some perspective here, people! All Zark did was obtain a bit of information!


You seem to have forgotten, LB, that when Mark and Princess are drawn in Zark's Ready Room, perspective is the one thing that's lacking!!![/quote]


LOL pound

LB once again that was a great write up. Thanks again for the screen captures Saturn.

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