_.Nope._

A mix of spoilers, light novel, and script that follows the Kidd Pirates’ quest for vengeance after their defeat. [Warning: Extreme violence and a very long story]

The chapter starts with a flashback. We see things from Kidd’s perspective in a series of panels.

First, we see Shanks’s fleet in front of him. On the right side, Killer is telling him not to lower his guard.

In the next panel, the Damned Punk cannon fills the scene. We see that he is aiming at the ship in front of him.

The next panel is split in two. In the first one, we see Killer jumping in front of him, screaming, “Look out, Kidd!” In the second and last panel, we see Shanks above him, unleashing “Divine Departure.” The page gradually becomes black.

There are only a couple of speech bubbles with people screaming, “Save the captain!” or “Killer too is wounded!” After those, pitch black.

The next page is a single large panel where we can see Kidd from above, awakening from the knockout, screaming, “Killer!” They are on one of the two halves of the ship. He is surrounded by the remains of his crew, who were kneeling down, waiting, hoping for him to wake up.

Some of them were treating his wounds. As soon as they see their captain awake, they start screaming, “He’s alive! The captain is alive!” “Hooray!” “Bring more bandages!” and other similar exclamations.

Kidd slowly tries to stand up while some of the crewmates try to keep him sitting. “Calm down, Captain, calm down, you’re wounded.” Kidd doesn’t listen, and once he is up again, he tries to walk while screaming, “Where is Killer? Where the hell is Killer? Tell me!” The crewmates are hesitant; they don’t look Kidd in the face.

One of them, while looking down, says, “He’s down, Cap. He was wounded heavily, and they had to operate on him quickly.” We see a close-up shot of Kidd, shocked and furious. “What! How! Damn you, Killer, why?”

We see him walking down the remains of the ship, screaming, “Out of my sight, you idiots!” The crew members are scared and concerned as they open a path to let him pass. After a couple of meters, Kidd falls to his knees. “Captain!” say the crew.

We see him kneeling down, crying, “Why, you! Don’t you dare die on me, don’t you dare!” For the first time, we can see a large wound on his belly and chest from Divine Departure.

He is losing a lot of blood and also starts bleeding copiously from his head.

In a long shot, we can see the whole crew rushing to save their captain. “He’s very wounded!” “He should have stayed lying down!” “Quickly, we need a transfusion!”

Before losing consciousness, we see Kidd standing up again and rushing down a ladder. The crew behind him: “No, Captain, stop! You’re wounded!”

Close-up shot of Kidd’s face on the verge of collapsing. He is furious, with tears falling down his cheeks: “I’m sorry, Killer, I lost again.”

In the next panel, we see Kidd in front of the door, shocked: “No! No, Killer! No! What have I done to you?!”

On an entire page, we see Killer on a table, tubes everywhere, some even in his head. Blood bags surround him, and medical devices are scattered around the room.

He is completely bandaged. The stains of blood cover the bandages. Kidd is almost unconscious, both from his wounds and from seeing his friend in that state.

He walks slowly towards the table holding Killer. He hugs his friend carefully, saying: “Forgive me. I’ll fix you. Believe me, I’ll take care of you, Killer.”

In a series of two panels, we see Kidd fainting, slowly falling while covering Killer with his blood.

In a double spread, we see both Killer and Kidd from above. Kidd is on the floor at Killer’s side. Blood is everywhere, and people are screaming: “Help them!” “We need blood, quick!!” “Captain! Killer! Hold on!” Chaos erupts.

In the last panel of the page, we see a long shot of the remains of the boat with the surviving members of Kidd’s crew drifting towards a cave on the coast of Elbaf Island at sunset. A couple of speech bubbles say: “Row faster! Faster!” and “Quick, we’re losing them!”

On the next page, we see a box in the left corner saying: “20 days later.”

Dorry and Brogy are walking on a trail in the woods, smiling as always while carrying two big chests full of tree trunks.

Dorry says: “Hey Brogy, this is the last cargo, right? We should be able to finish the new vessel with this wood, right?” Brogy answers: “Sure, Dorry. I can’t wait to see that beauty finished once and for all. Imagine the look on Shanks’s face when he sees our masterpiece.”

The duo laugh, and Brogy gives Dorry a pat on the back.

In the next panel, we see a close-up shot of both giants, where their faces change from joyful/happy to utterly terrified.

Dorry is only able to whisper: “This can’t be real.”

In a double spread, we see the entire city of Elbaf in the distance below, completely enveloped in flames.

Back with the giant duo, Brogy exclaims: “We need to rush, Dorry! People need our help, quick!” They drop their wooden chests and start running down the hill.

In the next panel, there is a high shot of the giants from behind. We can see the city getting closer. Suddenly, a column of flames and smoke erupts in the western part of the city, while, at the same time, a series of giant pillars and dust emerge suddenly from the eastern side.

Dorry: “What is this madness?!” Brogy: “I don’t know, but we must do something. Let’s split up, Dorry. I’ll go left, and you go right. Okay?” Dorry: “Gotcha, Brogy. Let’s meet up with all the survivors on this hill after the chaos settles down.” Brogy nods to Dorry, and in the next panel, we see the duo splitting in two opposite directions.

On the next page, we see a back-and-forth between Dorry and Brogy.

Brogy is rushing through a street surrounded by buildings and houses in flames. Every tree is a giant torch. We see him clearing the space in front of him with his sword, previously blocked by wooden beams, tables, pieces of walls, and all sorts of rubble.

The same goes for Dorry, who, instead of being surrounded by flames, is moving through an intricate labyrinth of metal beams and iron poles. Each building is pierced by giant metal bars.

We see both of them hearing screams and rushing further down the street to help those in need.

Back with Brogy, we see a close-up shot of him, disgusted, as he looks at what seems to be a corpse burned to a crisp. With a furious expression he screams: “Who’s the demon behind this?! I’ll make you pay for what you’ve done!”

Back with Dorry, he is running too. Suddenly, after turning a corner, he emerges into a giant plaza. What was once a beautiful display of giant architecture is now a huge pile of rubble, blood, and metal.

The only things still standing are the columns that surround the plaza. On each one of them, there is a corpse pierced with a metal beam. Dorry is speechless: “What is happening here…” His facial expression is that of a man who isn’t sure if he’s living a nightmare or reality.

His gaze is drawn to a dark figure with its back turned, at the end of the plaza.

Dorry looks at the figure incredulously: “It can’t be you. You should be at the bottom of the ocean.”

On the next page, we see Brogy destroying every obstacle in his path with his axe. Burned corpses are everywhere, but now there are also bodies chopped to pieces. The street is a bloodbath, and the buildings are splattered with huge blood stains.

Brogy, furious and terrified, exclaims: “Oh my, oh my, this can’t be real. I must hurry.”

A series of loud screams snap him out of his thoughts. A close-up shot shows him lifting his head and looking ahead: “There are still people I can save! HOLD ON, I’M COMING TO SAVE YOU!”

After a couple of turns, he arrives at the source of the screams, in the market plaza.

In a double spread, we see a giant pyre made of wooden beams and tree trunks. The pyre is humongous; it towers over every surrounding building by a large margin. On each beam, there are two or more giants tied with rope — men, women, children, elders — all screaming and crying in pain.

The ground surrounding the giant pyre is covered with every sort of wooden object: doors, chairs, tables, wardrobes. It’s as if every house has been emptied of its contents to fill the plaza.

Brogy looks at the chaos in front of him in disbelief: “This is madness.”

A gaunt figure appears on top of a beam near the bottom of the pyre — it’s Heat.

“You!” exclaims Brogy. “You should be dead already! Curse you! What have you done to my people?”

Slowly, the other members of the Kidd Pirates emerge from the shadows, each standing on one of the highest pillars of the pyre. Only Killer is missing.

Heat very calmly says: “Do you like our farewell gift for you giants?”

Brogy: “What?! Farewell? What are you talking about? Free my people immediately!”

Heat: “Oh, but you will understand soon enough. In the meantime, let’s play a game. Let’s see if you can free all of your fellow giants before they burn to a crisp.”

Close-up of Brogy, his facial expression one of panic: “Don’t you dare, stop!”

As Brogy rushes toward the pyre, Heat blows a torrent of flame toward the ground covered with wooden objects. Everything immediately catches fire, and with a couple of jumps, Heat reaches the highest beam of the pyre, surrounded by his crew.

Brogy momentarily halts his charge to scream: “NO! WHAT HAVE YOU DONE, YOU CRAZY MONSTER!”

We see a series of panels in which giants scream in pain, the light of the flames reflected on their faces.

In the next panel, we see a low-angle shot of the Kidd Pirates. Heat is in the center. He says: “Good luck! And let us know how the challenge goes. See ya!”

After saying that, the pirates jump behind the pyre and vanish from the plaza.

A long shot shows Brogy breaking everything in front of him with his axe. The flames are already at the base of the pyre. Screams of pain and panic fill the air around him.

A close-up shows him exclaiming: “Curse you, Kidd Pirates! We will kill you! Shanks will kill you all!” Another wave of cries echoes through the plaza. Brogy: “Hold on, brothers! I’ll save you, I promise!”

With a massive swing of his axe, he destroys a huge area of debris in front of him, creating a path to the pyre.

On the next page, we see Dorry in a battle stance, looking at the dark figure at the end of the plaza. “I thought we erased you from this planet, Kidd. Shanks was wrong. He should not have spared your life back then.”

Side view of Kidd’s mouth as he speaks: “You are right, giant. Look at what happened because of that fool, Redhair.” He smirks.

Back view of Dorry: “SHUT UP, YOU MONSTER! I’LL MAKE YOU PAY FOR WHAT YOU HAVE DONE!” With his sword unsheathed, he lunges toward Kidd.

In a big panel, we see a long frontal shot of Kidd, smiling without looking behind him. His appearance is different. He has a huge scar across his torso, with large metal stitches holding it closed. On his left eye, he displays a sort of metal orbit-like piece covering the part of the skull where the eye is. Inside the orbit, a red glowing eye gleams. A large scar marks his head, starting from the forehead and reaching the middle of his cranium. A couple of strange bolts mark the bald spot on his head.

His left shoulder is covered by a levitating round pauldron. Above the pauldron, a series of long, thin spikes float slowly.

He has a noticeable amount of bolts and pieces of metal embedded in his body, giving him a crazier look on his face.

Behind him, we see the huge figure of Dorry leaping into a swing directed at Kidd’s head.

“DIE, KIDD!” screams Dorry.

The next panels are a series of images following the trajectory of the massive blade.

The power of the swing suddenly stops just 1 cm from Kidd’s head.

We then see Kidd’s face in a side view shot with the blade above his head. He is laughing.

“Come on, big boy. You can’t even touch me? Can’t you do any better?” asks Kidd in a condescending tone.

The next panel shows Dorry trying to move the blade with all his strength, but without any success.

“Curse you, Kidd, and curse your damned power!” exclaims Dorry, veins bulging on his face.

Kidd continues: “I never liked you giants, but I was wrong. Now I consider you really valuable. You are the perfect tool for me to beat Red-Hair.”

Dorry: “Nonsense! You’re crazy, Kidd!”

But as soon as he finishes speaking, Kidd releases the sword, which snaps back at Dorry with the full force he was using to move it.

In the next panel, we see a side view of Dorry hitting his own head with his sword. Kidd looks up as if he’s thinking about something.

In the next two panels, we see Dorry’s helmet breaking under the impact of the sword, and he drops to the ground, leaving a trail of blood in the air.

Dorry lies on the floor of the market plaza, holding his head with his hands. He takes a couple of moments to recover from the massive hit. Slowly, he gets up, still dazed. His face is covered in blood, with a big gash on his forehead. Luckily for him, the helmet was able to stop the blade from cutting into his skull.

“YOU’RE DEAD, KIDD, PREP — ” the giant screams angrily, but before he can finish, he notices that there’s no one in front of him.

We see a panel from behind Dorry’s shoulder, showing nothing in front of him.

A couple of text balloons appear from the side of the panel: “A bait, like the lowest of worms. That’s what you are to us. You will bring Red-Hair here.”

Dorry’s face looks surprised and scared.

In the next panel, we see Dorry quickly turning to face Kidd. Kidd is mid-air, his face oozing bloodlust from every pore, while the new robotic red eye glows menacingly. We can see that his left arm has transformed into a huge cannon. With a scary smirk, he says: “Last time you were lucky, but not now. DAMNED PUNK.”

In a highly detailed double-page spread, we see a slightly high shot of the cannon’s final blast. In front of him stands the corpse of Dorry, decapitated but still on his feet. Behind him, we see the trail of the huge projectile that Kidd shot.

Everything in the path of the projectile is destroyed, leaving a huge hole in the city.

The hole stretches beyond the horizon, revealing that the entire city has been pierced. All around the trail, buildings are in various states of destruction. Debris litters the scene, trees have been cut in half and are flying through the air, and screams fill the air in text balloons. It’s a portrait of pure destruction.

On the next page, we see Kidd descending to the ground, his left arm transforming back into the massive metallic arm that he always wears. Smiling like a madman, he says to himself, “And now, let’s wait for the fat one.”

In the next panel, we see a mid-shot of Brogy, helping to reassure a young giant who is crying. “Everything will be okay,” he says with a big smile on his face.

In the background, we can see that the pyre has been disassembled and that all the giants previously bound to it have been saved. They are now safe and sound behind Brogy, who is looking at some of the wooden debris still burning. Alongside the giants, we see newly arrived pirates treating the burns of some survivors.

In the following panel, Fugar of the Social Club Pirates emerges from behind Brogy, walking in front of him.

“Hey Brogy, now that we’ve saved all of your fellow giants, you need to rest a bit. We need to treat your burns.”

Brogy, looking down at the smaller man, answers, “Sorry, Fugar, but I can’t. I need to find those responsible for this madness and punish them. Also, I need to reconnect with Dorry; he’ll be mad when he finds out what happened. Oh, and thank you for what you’ve done! Without you, I wouldn’t have been able to save my people. We giants will always be in debt to you.”

On the next page, we see the tall figure of Fugar on the left side, occupying the entire page vertically, while on the right side, we see a flashback of what happened after we last left Brogy.

Fugar starts talking: “Oh, please don’t mention it, good giant. You would have done the same for us. Plus, your people shielded us numerous times from the Marines, even before joining the Red-Hair fleet. It was just luck that we were still around Elbaf. We were at the dock in the north, ready to depart, when we spotted the flames in the distance. Once we saw the fire spreading in the city, we rushed to help those trapped in that hell.”

In the next panels, we see Fugar and Brogy smiling. Fugar gives a pat on Brogy’s huge boot, saying, “Thankfully, we were able to reach you just in time. The most important thing is that everyone is safe now.”

We see them smiling together, with pirates and giants smiling in the background.

In the final panel, we see a giant projectile piercing the city in the background, destroying the pyre and launching everything nearby into the air.

The scene continues with buildings being pulverized by the devastating power of Kidd’s “Damned Punk” attack. Every pirate and giant caught in the projectile’s path explodes in a gruesome cloud of blood.

Fugar and Brogy, who were laughing just seconds ago, now stand frozen in terror, their faces petrified by the horror of what just happened. The air is filled with the screams of people running in every direction, panic overtaking them.

In the following panels, we see Fugar and Brogy turn slowly, their expressions shifting from shock to disbelief as they take in the living hell before them. The plaza, once filled with life, is now a scene of unimaginable carnage.

A series of panels depict the chaos: people torn to pieces, giants and pirates weeping over the bodies of their fallen comrades, children crying in terror, and the entire plaza reduced to a massive pile of debris. Amid the chaos, people run around in a frenzy, a true depiction of madness.

Fugar and Brogy look like ghosts, their faces drained of color and life.

After a moment of stunned silence, Fugar suddenly screams, “Guys! NOOOOOOO! NOOOOOOO!!!” His voice is filled with raw pain as he begins to cry like a child. We see him running towards his fallen men, desperation in his every step.

Brogy, still standing, doesn’t move, but his face is a mask of anger and despair. He mutters to himself, “This can’t be true, this can’t be true, I must be dreaming. Curse you, Kidd, and curse you, Redhair, for not killing that monster.”

In the next panels, the focus shifts to the survivors. People are desperately trying to rescue the wounded, while Fugar collapses to his knees behind his dead subordinates, sobbing uncontrollably.

On the next page, the overwhelming desperation among both pirates and giants turns into a frenzy of anger. The air is thick with shouts of rage: “We want the ones responsible for this! We want vengeance!” “THE KIDD PIRATES!! THEY ARE THE CULPRITS!” “I want them!” “They must pay!”

The following two panels show Fugar walking with his head down, his fists clenched tightly at his sides. His face is hidden, but the zigzag lines around his body indicate that he is seething with fury.

Brogy, now on his knees, stares blankly at the destruction before him, still struggling to process what has happened.

Fugar steps in front of Brogy, still looking down. In a close-up shot, we see Fugar’s face for the first time — it’s a mask of pain, desperation, and pure anger. Tears stream down his cheeks as his teeth clench together.

Through gritted teeth, he says to Brogy, “Let’s erase them from the face of the earth. They killed my people and your people. I just want to kill them and avenge my comrades.”

The final panel shows Brogy looking at Fugar, his expression one of disbelief. It’s as if he never expected to see this frail, old man so consumed by fury and bloodlust. The two of them are united by their shared grief and burning desire for vengeance.

Seeing Brogy in his numb state, Fugar snaps, shouting, “WAKE UP, GIANT! THEY KILLED YOUR PEOPLE, THEY’VE DESTROYED YOUR CITY, THEY ARE ERASING YOU GIANTS FROM THIS PLANET!!! WE NEED TO STOP THEM! WE NEED TO KILL THEM NOW!!!”

Brogy, still shocked, remains silent, simply staring at Fugar with his mouth agape.

Frustrated by his friend’s inaction, Fugar turns back to his crew. Before moving to join them, he slightly turns his head and says in a calmer tone, “Don’t worry, if you prefer to stay here, I understand. I don’t blame you. I only blame that stupid Redhair for letting those monsters live. It’s his fault this madness has happened.”

Turning to his remaining crew, Fugar roars, “Get ready, brothers and sisters! Today we will avenge our comrades who fell to those cowardly monsters! Let’s give them a lesson they’ll remember for the rest of their short lives! Let’s go!”

The next panel shows Fugar’s crew, energized by their captain’s words. Each member is furious and bloodlusted, with some readying their weapons, others screaming battle cries, and a few painting their faces with war colors.

We see Fugar leading the charge, his crew following the path of destruction left by the projectile. He looks ahead, scanning the horizon, and shouts, “That’s the direction! LET’S GO, SOCIAL CLUB PIRATES! LET’S HAVE OUR VENGEANCE!” This is followed by roars of approval from his crew.

In the next shot, Brogy’s silhouette stands in the middle of Fugar’s path, almost as if trying to stop them.

A mid-shot of Brogy reveals his face shrouded in shadows. Calmly, he says, “Fugar, wait.”

In a close-up of Brogy’s face, his wrath is palpable. “THE GIANTS WILL HELP YOU!! LET’S VANQUISH THOSE DEMONS AND AVENGE OUR PEOPLE!!! LET’S HONOR OUR ANCESTORS, BROTHERS!!”

He then turns to a young giant, saying, “Olafar! Take everyone else to the mountains, far from this madness, and make sure everyone is safe.”

The young giant, though reluctant, nods and begins to follow Brogy’s orders.

In the next panel, we see dozens of male giants behind Fugar’s crew, screaming battle cries and ready to avenge their people. The giants are armed with improvised weapons — beams, wooden trunks turned into maces, and crude cleavers.

Two panels show Brogy and Fugar looking at each other, followed by a large panel covering almost half of the page. This panel depicts both captains from a low angle, with their crews behind them. Both Brogy and Fugar are screaming, “LET’S GO!!” while pointing their respective weapons forward.

In the final panel of the page, we see, from a bird’s-eye view, the massive group (in the hundreds) of pirates and giants leaving the plaza and entering the enormous tunnel in the buildings created by the projectile.

In the next page, we see a long shot of the plaza, with Kidd always at the center of it. He is surrounded by his crewmates, all except Killer.

A side view shows Kidd walking, holding his chin with his hand. Around him, Heat and the other crew members are present. Kidd appears to be deep in thought. He asks calmly, “Did you bring the giant to the shore?”

“Yes, Captain!” Heat responds. “The guys are preparing the welcome party for Red-Hair’s return.”

Kidd smiles with satisfaction. “I bet he will be extremely happy to see his fellow giants.”

Heat adds, “Captain, we still need more resources to finish the preparations for the party. Right now, we have only the giant. It’s not enough.”

Kidd replies, “Worry not. Heat, the fatty should be on his way. Hopefully, with some of his fellows, we’ll have plenty of resources once I’m done with them. Now go and help Killer with those devices.”

Heat says, “Sure, Captain,” then turns to his crewmates. “GUYS, DID YOU HEAR THE CAPTAIN’S ORDER? LET’S REACH KILLER; EVERYTHING MUST BE READY FOR RED-HAIR’S RETURN.”

In the next panel, we see the group quickly heading outside of the plaza.

We then see Kidd turning to look at the giant void he created with Damned Punk. He continues to hold his chin with his hand, thinking, “I need to avoid the tallest buildings; I need those as markers. Also, we need to place one on each hill. Yeah, but we also need to supply power to all of them. Mmm, those batteries should do the trick. I hope Killer will be able to set up THAT.”

But while Kidd is immersed in his thoughts, the next panel reveals a crowd in the distance walking through the tunnel toward him.

“They’re here,” says Kidd with a smile. “But who are those others?” he adds, squinting into the distance.

In the following panel, Kidd focuses his right eye, while from the red mecha-eye, a strong red light begins to glow.

In the next panel, we see the point of view from the artificial eye. The view is like looking through a telescope, with graphs, numbers, and symbols creating a HUD. The mecha-eye switches focus from giant to pirate and finally zeroes in on Fugar, who is framed by a rectangle with a short bio beside him.

We return to a close shot of Kidd’s satisfied face. “Fugar!! Ahaha, that old fart!! Where the hell did he come from?? I thought no pirates were on the island! This is almost comical! He looks furious, ahaha. I must have killed a couple of his subordinates with my attack. Ahaha!” As he laughs, he continues, “Oh dear Red-Hair, this will be great! You’ll have so much fun once you’re back!”

In the next page, a series of panels depict the crowd of giants and pirates running toward the plaza, screaming curses and threats at Kidd. They finally arrive in the plaza, still at a distance from Kidd. They stop, surrounding the dreaded pirate.

From behind, the crowd parts to reveal Brogy and Fugar. They are holding their weapons — Brogy with his usual axe and Fugar with a pair of large guns, seemingly too big for his frame.

A mid-shot of Kidd shows him with his arms wide open, like a host receiving his guests. “Welcome everyone! I’m glad you could make it to the party!”

An over-the-shoulder shot reveals Kidd talking to the group in the distance. We can see their angry faces. Still smiling, Kidd continues, “Hey Brogy, I see you brought friends! That’s a fantastic surprise! They’ll help us prepare the perfect welcome party for Red-Hair’s return! Oh, and I’m happy to see that you won the fire challenge — that’s great.”

Brogy shouts, “CUT THE CRAP, KIDD!! YOU ALMOST KILLED MY PEOPLE! I’LL DESTROY YOU!! WHERE IS DORRY? SPEAK!!”

Kidd, trying to suppress a laugh, responds, “Oh, Dorry, right! Well… he lost his head… so I brought him to the shore to cool down a little. I think he’s now helping Killer and the others preparing the party.”

Fugar, enraged, cries out, “DON’T MAKE FUN OF US, YOU MONSTER! YOU KILLED MY MEN!! NOW PREPARE FOR OUR REVENGE!! GUYS, GO!!!”

Dorry shouts, “LET’S GO GIANTS! WE NEED TO TAKE BROGY BACK!! FOR OUR ANCESTORS, FOR ELBAF!!”

In a landscape panel, we see both pirates and giants charging into battle with guns blazing, with Brogy and Fugar leading the charge.

Back to Kidd, who is laughing. “Woooow, calm down, everyone!! First, let me explain your role in all of this, then you can have your fun, okay??”

In the next panels, we see Kidd snapping his fingers. Different shots depict pirates and giants instantly losing all their weapons: blades, spears, guns — every sort of metallic weapon is being drawn from their hands by Kidd’s power.

The following panel shows a massive ball of weapons forming above the crowd’s heads. Fugar and the stronger members of the group try to hold onto their arms, but they are unable to resist the force.

Seeing that things aren’t going as planned, Brogy, the only one still able to hold his axe, tries his luck. “You wanted it, Kidd. This time, I’ll erase you: HAKOKU SOVEREIGNTY!”

A series of panels shows the axe descending. At first, we only see the handle, but after two panels, once the attack is completed, it’s clear that the metallic head of the axe is missing, and the attack didn’t even start. Dorry looks in disbelief, first at the wooden handle of his axe, then above him. The metal part of the axe is levitating above his head, and as soon as he looks up, the axe drops on his head with enough force to knock him down.

The giant ball of weapons suddenly explodes, sending blades, swords, and projectiles flying towards the crowd.

Everyone in the group tries to shield themselves with whatever they can, or with their bare hands. Some turn their heads in fear, bracing for the worst.

In the next shot, every type of metal weapon is planted deep in the dirt, just a few centimeters from hitting each member of the crowd.

A mid-shot of Kidd shows him laughing like a maniac. “Ahaha, I can’t laugh any harder or I’ll die! I can’t breathe!” Then, his expression changes instantly to seriousness. “You are pathetic. A bunch of worms. But you’ll serve well as guinea pigs for my new creation. Let’s see if it’s colorful enough.”

The next panel shows Fugar rushing towards Brogy, who is touching his head. Everyone else looks terrified.

A very close shot of Kidd’s mouth: “GOREPUNK”

In the next panel, we see a long shot of a humongous head emerging rapidly from the terrain below Kidd’s feet.

The following shots reveal different parts of a titanic metal structure rising from the depths. We see terrified pirates and giants, vibrations so intense that some of them fall to their knees. There are clouds of dust and debris, along with claws, hooks, saws, fangs, chains, spikes, and collapsing buildings. Huge shadows are cast over the frightened giants’ faces.

After this medley of terror, we see a mid-shot of Fugar, Brogy, and other pirates looking up, their mouths agape.

Fugar can only manage to say, “That’s …. Impossible.”

In an epic double-page spread, we see Kidd’s machine of pain in its entirety: a gargantuan steel creature occupies almost the entire plaza, standing at least 500 meters tall. The creature has a frail human body with ten long arms, five on each side, forming a fan shape. Each arm ends in a hand with ten very long, thin fingers. The legs are hidden beneath the plaza.

The creature has four heads. The front and back heads display a painful expression, with mouths open in what seems to be a scream of agony. Each jaw is lined with long fangs, and the eyes are covered with bands. A halo of long spikes crowns the forehead. From inside the ears, two long spikes emerge, and the lengthy lobes descending to the chest are adorned with spiky piercings. The face of the creature is covered in piercings everywhere.

The left and right faces are nearly identical to the others, but with mouths open in a ghastly laugh, and long metal tongues hanging out. These tongues are pierced with numerous metal spikes.

The most terrifying aspect of the iron monster is that it is entirely covered in tens of thousands long chains with hooks and spikes, huge saws, razor-sharp blades, and drills. Scattered across the creature’s body are thousands of large mouths, all with long fangs bared in a hateful expression. A massive mouth dominates the creature’s belly.

A myriad of chains hang from the long fingers and arms. The silence around is broken by the sound of these chains oscillating slowly.

The fingers themselves are made of long blades, and numerous circular saws emerge from the palms. Two of the ten arms hold large kris blades, while two others are colossal chainsaws, each the size of a tall building. One arm clutches a giant metal head by its steel hair; the head’s eyes are sewn shut, and its mouth is open in an “o” shape. The final two arms are enormous drills.

Lastly, we see a small black dot on top of the head of the steel monster. It’s Kidd.

In the next page, we see a series of small panels showing the terrified expressions of the pirates and giants, still paralyzed by the shock of the unreal creature standing before them.

The following panel reveals a full-body shot of Kidd, his arms raised in a triumphant pose: “BEHOLD MY MASTERPIECE!! Have you ever seen such a spectacular work of art?! This is our passport to the One Piece! No one will be able to stand in our way — not the World Government, nor the Yonkos. Not even your hero Shanks! With this, we will reshape the world!”

A mid-shot of Kidd continues, his demeanor shifting to that of a madman: “And this is all thanks to your and Redhair’s incompetence!! If you had killed us on the spot, none of this would have happened!!”

“And I bet you giants didn’t even realize you were sitting on a goldmine of iron! As a matter of fact, your land is a massive chunk of iron! We never would have dreamed of creating such a giant machine of war until we stumbled upon this land, particularly one of the caves your ancestors abandoned thousands of years ago, thinking there were no more minerals left.”

Panels show a flashback: first, we see Kidd’s crew reaching the shore on the remnants of their ship. Pirates are seen carrying the wounded, including Kidd and Killer. Next, we see them discovering a huge, abandoned cave entrance, blocked by dense vegetation and plants.

A panel shows the pirates breaking into the cave. We see Kidd and Killer gradually recovering. Kidd appears furious, recalling what happened. He works tirelessly in the cave until night, crafting a plan to defeat Redhair, his anger evident as he tinkers with scrap parts.

We see him grafting his skin and implanting metal parts into his head and other parts of his body. He works on some kind of machine, moving from euphoria to anger due to a lack of sufficient resources.

We then see him discussing with his pirates, pointing at a blueprint on the wall. The blueprint depicts a strange war machine (different from the one he is currently using) with a series of points connected by lines. Kidd is seen punching the table, expressing frustration over the lack of resources to complete his plan.

In the following days, we follow him as he walks around the cave in a depressed state. He takes a torch and explores the vast mine.

We see him touching the walls of the enormous cavern, looking up at the ceiling, which is obscured by shadows in the distance.

Thanks to his Devil Fruit powers, he deduces that this must have been a very old iron mine, at least 2000 years old. He moves iron dust through the air, then concentrates, trying to “feel” the iron around him.

Suddenly, almost shocking him, he hears a strong signal emanating from the depths of the mine. We see him modifying a piece of his metallic arm into a sort of hoverboard, then soaring at breakneck speed toward the bottom of the mine with a manic grin on his face.

He rushes through the cave tunnels, the signal growing stronger as he plunges deeper. He follows a narrow, seemingly bottomless vertical tunnel, then launches himself into the abyss.

At one point, he has to switch to his newly made artificial eye to see in the darkness. After what seems like a long descent, he reaches the bottom, but to his surprise, there’s nothing around — only a very narrow space with some debris.

The iron signal is still incredibly strong. He holds his head, as the signal is almost painfully intense.

He looks around, searching for any clue that might lead him to the source of the signal, but finds nothing. He sits down on a strange, rounded rock.

As soon as he sits, he jumps to his feet immediately in pain, massaging his rear. Something has bitten him. He looks at the rock and, to his surprise, sees a series of strange spikes emerging from where he was seated. Curious, he clears the surface of the “rock,” and suddenly, his amazement is palpable.

From the perspective of his artificial eye, we see what Kidd was sitting on: it’s the top of a massive diamond spike. He looks astounded.

He then transforms his mecha arm into a gigantic drill and begins drilling around with fervor.

In a double spread, we see him from above in a wide-angle shot: a vast expanse of white crystals fills the entire scene. Thousands of crystals with incredible geometries stretch beneath Kidd’s feet.

At the center, a massive spiked ball stands partially embedded in the crystal terrain. It resembles an ancient tool stuck in the ground, with several of its spikes broken and a long crack running through its center, splitting it in half.

Kidd looks initially astounded, but then a huge smile spreads across his face. “It’s a drill! That’s the head of a massive drill, yeah! Once they exhausted the iron deposit in the upper part of the mine, they must have drilled until they hit this layer of crystals!

They must have tried to drill into the minerals, but when the drill broke apart, they probably thought there was nothing but crystals below the top surface. They surely didn’t have any device to sense the iron beneath. Oh hell, this is crazy!! Ahahaha!”

With a wild look, screaming like a madman, he exclaims, “Brace yourself, Kidd, we’re opening this can of worms. AHAHAHA, I’LL BLOW THIS PLACE TO PIECES!! AHAHA!”

He then flies up the tunnel, looking above him and saying, “Let’s try this new trick.”

We see the huge metal arm disassembling itself and then reassembling into an enormous coil, levitating in the middle of the tunnel. Its two extremities converge into a large sphere above the spiral. Kidd hovers above the coil, just in front of the spheres. What was a madman just minutes ago is now a cold, calculating mind.

Close-up of his face: “Now this will be hard.”

Another close-up shows Kidd’s face under extreme stress, followed by a series of panels depicting iron dust moving from everywhere in the cavern above. It converges into a massive iron cloud and then rushes down the tunnel at high speed.

Full-body shot of Kidd, every muscle in his body contracted to its maximum capacity, his lone hand resting on the sphere. His face is a mask of pain and fatigue as the surrounding walls crumble slightly: “NOW MELT!”

In the next panel, a stream of iron dust surrounds Kidd, then enters the top of the spiral.

The following panel shows a long shot of the coil, with Kidd completely obscured by the torrent of iron. As the dust enters the coil, it quickly melts, pouring out from the bottom in a massive flow of molten iron. The coil glows with a bright white heat, flooding the darkness of the tunnel with light.

We see another shot of the tunnel below with the enormous broken spiked ball in the distance and the massive torrent of melted iron descending rapidly. Then we return to a very close shot of Kidd’s face.

His expression is a mix of euphoria, madness, and extreme stress. Veins are popping all over his face: “IT’S SO FREAKING HOT!!!! I AM MELTING!. BUT I CAN’T STOP NOW!!!”

We see a series of panels showing the flow of both liquid and solid iron diminishing until the dust at the top of the coil has completely transformed into molten metal. Kidd appears on the verge of collapsing.

A mid-shot shows Kidd throwing his cape, now full of iron dust, down the tunnel. His serious face is partially covered in shadows.

In the next panel, we see him falling, seemingly having fainted. However, in the following shot, we realize that he has actually collapsed onto his cape, which is now levitating, straight as a board, thanks to the iron dust it absorbed. Kidd is lying down, smiling, with his arms and legs dangling outside the black cape.

He is sweating profusely and gasping for air, his body recovering from the inhuman stress. Some burn marks are visible on his arm and chest. Despite being extremely tired, the pirate is euphoric, laughing heartily: “AHAHAH, I did it! I did it!! This is going to be great!”

A close shot shows him turning onto his side and leaning out of the cape to admire his new creation. Ecstatic, he exclaims: “BEHOLD MY MEGA-DAMNED PUNK!” as if addressing a crowd.

On the next page, we see a one-point perspective shot of a humongous cannon occupying almost the entire length and width of the tunnel on the left side. On the right side of the page, there are various shots detailing the massive weapon. Numerous panels, pipes, and valves cover the enormous cannon, which resembles a larger, more refined version of the Damned Punk. It features slick and shiny surfaces everywhere.

We see Kidd slowly getting up, placing both hands on his hips. He says: “Okay, now it’s time to fire this thing and see what treasures this cave holds.”

In a mid-shot above his waist, he is first seen inhaling deeply. In the second shot, he exhales slowly and says calmly: “And now…” His face is covered in shadows.

“LET’S GOOOOO!!!” screams Kidd, diving headfirst into the tunnel with his finger pointed at the cannon.

The next shot shows the cannon from below, firing an enormous bullet. The shot is so powerful that the cannon explodes into pieces, partially destroying the surrounding tunnel.

The entire second half of the page depicts the projectile leaving a trail of energy as it strikes the massive spiked ball partially submerged in the crystal layer below.

The impact is staggering. Although the projectile is considerably smaller than the gargantuan drill head, it pulverizes the spiked ball, sending millions of crystal shards flying everywhere and even denting the surrounding layer where the drill head was embedded.

We see the vibrations from the incredible shock causing a small earthquake-like effect. After a brief overview of the reactions of Kidd’s pirates and some random giants to the sudden tremor, we return to the crystal layer, now featuring a massive hole in the middle.

In the next shot, Kidd is seen falling through the tunnel, initially covering his face from the debris with his hand, then looking ecstatic at the hole below: “I did it! I DID IT!!!!”

A close shot from the side shows Kidd’s face: “And now, let’s see what secrets lie in there.”

A long shot from above shows him falling into the tunnel, with the immense darkness of the hole in the background.

A series of shots follows him as he dives into the hole. From the perspective we observe, Kidd appears minuscule compared to the vast dimensions of the hole. “I’ve never felt such a gigantic presence of iron,” he says while falling.

Inside the hole, a very long shot shows him as a tiny dot against the surrounding darkness.

A mid-shot captures him with his mouth open in disbelief: “It’s pitch black. Let’s see what’s around here.”

A close shot of his face shows his artificial eye glowing red: “This is unbelievable,” he says, astonished.

In a double spread, we see Kidd floating in the air, overwhelmed by the breathtaking view around him.

The cavern is impossibly vast and filled with iron; the veins are everywhere, almost as if the rock is 100% metal. The cavern is so immense that the walls and the bottom are lost in darkness.

We see layers upon layers of iron, columns of rock, and massive stalactites of minerals creating a surreal landscape.

A grid is superimposed on the environment, as if we are viewing the enormous cave through the artificial eye.

Kidd screams, “REDHAIR, PREPARE YOURSELF! WE WILL ERASE YOU FROM THIS WORLD!!” in a manic tone.

A mid-shot of Kidd shows his expression, a blend of madness and euphoria: “Look at this, Killer. This is our passport to the One Piece.”

In the next page, we return to the present. Kidd stands with his arms wide open, proudly displaying his creation: “And that’s how we created this work of art. You giants were really close to a goldmine of iron! Really damn close. With that, you could have become a power rivaling the World Government and the Yonkos.”

A close shot of Brogy shows him looking up, his face a mix of disbelief and awe. The terror he felt moments ago has faded, replaced by curiosity and incredulity: “That’s… that’s impossible. Our ancestors were master miners; they couldn’t have…”

Before he can finish his thought, Fugar interrupts with urgency: “BROGY! YOU STUPID GIANT, WE NEED TO RETREAT FAST! WE CANNOT MATCH THIS POWER!! QUICK, WE MUST GET TO SAFETY AND INFORM SHANKS!” Fugar grabs Brogy, pulling him from his stunned state.

A mid-shot of Brogy shows him snapping back to reality: “Yes! Yes, you are right! MEN, LET’S RETREAT, QUICK!”

A long shot captures the huge crowd of pirates and giants scrambling away in panic, desperate to escape.

In a mid-shot, Brogy is seen running with Fugar close behind him. Fugar glances back at Kidd and shouts: “IT’S NOT OVER, KIDD! WE WILL NOT FIGHT THAT THING NOW, BUT BE SURE, WE WILL RETURN WITH THE ENTIRE FLEET!!”

The following panel shows Kidd from an above-the-shoulder angle, watching the retreating crowd. From this vantage, the fleeing figures appear tiny. Kidd is laughing, enjoying the chaos.

A mid-shot of Kidd shows him deep in thought, his hand on his chin: “I won’t need to use the arms right now, but it would be useful to test their functionality. Mmmh, but I can’t destroy all the buildings. Aaaah, I’ll test them another time, maybe with Killer and the others.”

A close shot of Kidd’s face reveals a demonic grin, his artificial eye glowing ominously on the metal skull plaque: “Let’s start the party.”

The next page showcases a collage of panels illustrating the enormous spikes at the end of the chains, levitating in mid-air under Kidd’s control. The spikes move like serpents, emerging from various parts of the steel creature: its arms, chest, shoulders, and fingers.

Suddenly, the chains begin to whip and shoot down towards the retreating crowd of pirates and giants.

The following panel depicts a tidal wave of spiked chains raining down upon the fleeing figures.

In the next panel, a pirate, running frantically, looks up with a horrified expression as he sees the spikes descending. “NOOO!” is all he can scream before a massive spike pierces him through the chest.

The next panel shows the pirate who was impaled by the massive spike, hanging lifelessly, his body limp and bloodied. The spike is almost as tall as him, piercing through his body and pinning him to the ground.

Behind him, a grim tableau unfolds — tens of other pirates are similarly impaled by spikes, their bodies gruesomely displayed. The giants, however, remain untouched.

The rest of the page consists of a series of small, intense panels showing pirates being violently skewered by the spikes: some through the head, others through the chest, and some in multiple places. Each panel captures the sheer brutality of the assault, emphasizing the chaos and carnage.

Amidst the chaos, Fugar, seeing his comrades slaughtered, turns. Brogy in a panic: “NO, FUGAR, YOU CAN’T DO ANYTHING! RUN!!” But Fugar, already facing Kidd with rage, responds: “YOU DAMNED DEMON, I’LL MAKE YOU PAY FOR TH — ”

The next panel reveals the grim reason Fugar cannot finish his threat: a colossal spike cleaves his legs apart, while another spike impales him through the chest, slicing him nearly in half. He dies instantly, the life leaving his eyes as the brutal attack overwhelms him.

A close shot of Brogy shows him, tears streaming down his face: “FUGAR, YOU DAMN FOOL, WHY DID YOU STOP? THIS CAN’T BE REAL, THIS CAN’T BE REAL!!!”

A long shot follows, with Brogy and the other giants frantically running away, surrounded by the chaotic scene. The giants are in full panic mode, shouting: “RUN!!!! EVERYBODY RUN AWAY FROM HERE!!!!” In the background, the bodies of the fallen pirates are being dragged towards the steel creature’s body by the chains.

Above the shoulder shot of Kidd shows him observing the pandemonium below with a satisfied grin.

With a twisted smile on his face, he comments: “That was pretty cool, but now it’s time for the main attraction! Let’s see if Brogy will like the surprise.”

Kidd raises a finger, exclaiming: “HEY BROGY, ARE YOU READY TO MEET DORRY?”

He then dramatically declares: “GATES, OPEN!!”

The next page illustrates the horrific transformation of the steel monster. Hundreds of the thousands of mouths scattered across its body suddenly snap open. The panels show various perspectives of these mouths opening, their gaping maws revealing nothing but darkness and the terrifying anticipation of what’s to come.

A long frontal shot focuses on the massive mouth on the creature’s belly. Behind its jagged, fearsome teeth, an array of horrific machinery is revealed: massive spiked columns, spinning drills, razor-sharp saws, and every conceivable device of pain. It resembles a colossal meat grinder, prepared to tear through anything in its path.

A close-up of Brogy’s face captures his terror as the sounds of the opening mouths and the whirring of the machinery behind them reach his ears. He instinctively looks over his shoulder, his face a mask of pure fear and disbelief.

What he sees is so shocking that he stops, drops to his knees, eyes rolled back, his body completely unable to move from the sudden and unimaginable wave of terror that overwhelms him.

A double spread depicts Brogy on his knees, viewed from behind, with giants running in panic in the foreground. The background is dominated by the colossal steel monster, covered in hanging chains, each with a pierced pirate body dangling from the end.

All of the monster’s mouths are open, revealing a terrifying cluster of blades, drills, and spiked columns, similar to the huge mouth on the creature’s belly. It’s a massive meat grinder, a monstrous machine of pain, death, and terror.

Thousands of smaller spiked chains are already flying through the air, targeting each giant. Some of the chains have enormous hooks instead of spikes.

On the next page, we see each chain piercing and hooking the giants, some of them impaled by multiple spikes or hooks. The air is filled with screams and pain.

In a side view of Brogy, with chains passing over him, he murmurs, “It’s a dream, this must be a dream. It can’t be real,” incredulously.

A series of panels shows him slowly getting up, completely dissociated. He has a smile on his face as he walks toward the massive machine of pain.

“Now I’ll go inside that thing and wake up. It must be one of those silly nightmares. It can’t be real, it simply can’t! It must have been the booze we drank yesterday with Dorry. I’m sure he’s already awake.”

In a front shot, he continues walking with a smile, while behind him, giants are being dragged back by the chains, rapidly flying toward the giant meat grinder. The scene is filled with cries: “BROGY, SAVE US!!!” “AAAAH, SOMEBODY SAVE US!!!!” “NOOOOOOO!” “LET ME GO, PLEASE!”

Everyone is crying and screaming, as panic fills the air.

Brogy keeps walking: “…and I bet that Mrs. Gumrir is already baking her cakes. I love her cakes. I can’t wait to wake up and eat…”

His mumbling is abruptly cut short by seven spikes and three hooks piercing his body from all directions.

“GAAAAAHHHH!” he screams, spitting blood. His eyes return to normal, almost as if the pain has brought him back to sanity.

“AAAAAAH, WHAT’S THIS PAIN? WHAT’S HAPPENING?” he asks, staring at the chains pulling him. “UH,” he mumbles, looking above him.

On the next page, a series of panels shows the chains pulling each giant into the massive meat grinders.

Blood explodes from the mouths, screams of pain echo, bodies are chopped to pieces, and meat oozes from the teeth of the grinders — a true depiction of hell.

“NOOOO! NO, MY PEOPLE!” he screams while being yanked through the air by the merciless chains, inevitably sealing his fate.

A long shot shows the massive mouth on the belly of the creature wide open, rapidly approaching. All of its instruments of pain rotate furiously as chains from deeper within the mouth pull Brogy into the giant meat grinder.

A close shot of Brogy reveals him looking ahead, screaming with tears streaming down his face. His expression is a mask of terror, panic, and desperation: “CURSE YOU, SHANKS!”

In a double spread, we see the gargantuan iron monster from below. Blood pours from every mouth, and pieces of meat fly through the air.

In the center, a huge pool of blood erupts from the massive central mouth, with fingers, a foot, and other parts of Brogy being launched upward.

It’s a statue of madness, blood, and gore. Even the worst demons couldn’t conceive such a machine of torture.

Blood flows like rivers over the slick surface of the iron monster. Every member of the giant group of pirates and giants has been reduced to a bloody pulp. No one is left alive.

The air, still reeking of blood, is eerily quiet. The only sounds are the creaking of chains hanging slowly and the dripping of blood. Birds are singing in the silence.

In the next panel, we see a long shot of Kidd, his hand raised, his head tilted upward like an opera director at the end of a grand rhapsody. Without moving an inch, he slowly says, “Masterpiece, did you hear that, Shanks? Did you hear my symphony of death?! I bet that such a triumph of pain has reached your senses. My creature is perfect.”

“Oh! Don’t worry, you’ll be able to try it yourself!” says the madman, now laughing with his hands on his hips, gazing down at the blood-stained plaza below.

A series of panels shows Kidd leaping off the massive creature.

Once on the ground, he starts mumbling again, hand on his chin, like a scientist analyzing the results of his experiment: “Yeah, that was cool. Everything worked fine, although it’s not easy to keep everything moving simultaneously. No doubt this masterpiece will be able to take on entire armies. Plus, with the help of the guys, I can just focus on amplifying Haki. Now, Killer should have finished with those devices. Shanks will…”

“Hey, that was really cool. A little bit bloody, but cool nonetheless,” Killer says, standing on a broken column surrounded by other crew members. He is holding a cube-shaped device with sonar-like screens and a round antenna on top. His other arm is completely bandaged, and a huge scar on his chest is closed with grafts.

“Killer! Guys! You made it to the spectacle! Did you see our creature?? It’s crazy, isn’t it?”

“Yeah, with that thing, we’ll be able to bring down both the Marines and the World Government,” Killer replies.

“HEY, DON’T FORGET ABOUT REDHAIR!” Kidd screams angrily.

“Yeah, Redhair, obviously. Anyone who stands in our way will face our vengeance. We will claim the One Piece, Kidd.”

Close shot of the faces of Kidd and Killer: “You can bet on it, my friend!”

Long shot of the group together: “But before that, have you finished placing the radar system on the shore?” Kidd asks impatiently. “We need to cover the whole island before Redhair returns. Oh, and now that we’ve finished here…”

Close shot of Kidd’s face with a menacing grin: “I’ll add my final touches to the Welcome Party!”

The next page starts with a box that reads: “Three weeks later.”

We are on Redhair’s pirate ship.

Shanks is sitting on a barrel, looking down, absorbed in thought and visibly concerned. The rest of the crew surrounds him, having never seen their captain like this.

A mid-shot of Benn Beckman asks: “Hey Shanks, is it really that bad?”

Shanks, raising his head, says, “I have a really bad feeling, Benn. First, that wave of pain that reached me while we were on Egghead, then the nightmares, and now this disturbance — I can’t feel anything other than this noise. Those nightmares were insane, and the fact that we haven’t been able to contact anyone on the islands doesn’t help.”

Lucky Roux, trying to lighten the mood for his captain, says, “Come on, Cap, maybe a storm caused interference with the comm system! Let’s not jump to conclusions.”

Close-up shot of Shanks’ face in side view: “I hope so, Roux. I hope so…”

“Captain, we are near the shore!” Yasopp shouts, pointing to the beach getting closer in the panel.

In the next panel, we see the crew on the shore. Shanks is looking around, with Beckman at his side, looking in the opposite direction. Shanks observes, “Nobody in sight, Ben — no ships, no fishermen, nothing.”

Benn responds, “That’s unusual…”

Shanks says, “Let’s prepare for the worst.”

Mid-shot of Shanks unsheathing his sword: “Everyone, keep your eyes open! I have a really bad feeling. Stay alert and watch out for traps.” Behind him, his crewmates have already unsheathed their weapons, standing on their toes and dead serious.

Close-up shot of Shanks leading the group: “And now, let’s go meet the giants.”

A series of panels shows the crew climbing a path from the beach to the city gates.

In the next page, we see them walking around a giant cliff. Shanks, irritated, says, “And now let’s see what the hell is happening.”

The following page shows the entire crew from above in a semi-long shot.

They are looking slightly above in disbelief. Every crew member has their mouth open, stunned by what’s in front of them. Lucky Roux has dropped his pork leg, Ben Beckman has his hands in his hair, Yasopp is covering his mouth with his hand. Some of them are crying, some are looking away, and some are angry.

Shanks is crying too, staring ahead in a dream-like state. “It’s my fault. This is just my fault,” he says, tears streaming down his cheeks.

In a terrifying double spread, we see the scene from the Redhair pirates’ point of view.

In the foreground, the crew is visible, with some on their knees, while in the background, a scene of madness unfolds: A giant wall stretches from one crest of a mountain to the other, with a huge gate in the middle.

The decapitated body of Dorry is pinned to the wall to the left of the gate with poles that pierce his body. Where his head was supposed to be, a crude drawing made with blood stains the tiles of the wall. It looks almost like a child’s drawing, if not for the gory ink used.

On the right side of the wall, there is another crude drawing depicting Brogy’s body and head. A boot and a couple of fingers are pinned to the wall. A sign with an arrow saying “I am here! :)” points to a barrel at the base of the drawing. The barrel oozes blood and red organic matter from its fissures.

Above each drawing is the name “Dorry” and “Brogy,” surrounded by drawings of smiles, butterflies, and hearts. Above the gate, a huge billboard reads: “Welcome Home, Shanks!” with rough drawings of Kidd and Killer’s faces, blinking on either side of the text.

In the valley in front of the gate, scattered are hundreds of chopped parts of giants, impaled on long poles linked together by threads with hanging little flags, almost like decorations at a birthday party or fair.

Blood and red ooze everywhere, staining the green of the grass.

Below, scattered like mannequins, are hundreds of pirate bodies with holes in them.

Each body is in a different pose: some are dancing, some are kissing each other, some are singing, and some are holding cotton candy or playing with swords. Metal bars run through each body to keep them upright in the desired position. All the pirates have grafts pinching their lips, cheeks, and eyebrows to create a grotesque illusion of a smile.

Finally, we see the trunk of a body placed on top of a metal pole, almost like a scarecrow. One hand is raised in a greeting sign, while the other points to the gate. The body wears a blood-stained uniform. A gaunt head with light bulbs instead of eyes looks at the visitor with an empty expression. A long white beard surrounds an impossibly wide-open mouth from which a giant speaker emerges.

It’s Fugar’s.

Suddenly, from the speaker, a disturbing jingle plays, followed by a silly voice saying: “Welcome Home, Redhair Pirates! Come to the central plaza! A big surprise awaits you!”