#Empire of Corpses

[shonakk]

Any "shisha no teikoku/empire of corpses" fans out there...?🥲

[prinzessinhypnagogic]

In love with Empire Of Corpses which definitely deserves more visibility. Just like Watson and Friday. I love them so much!

[kkyos]

if this guy really was Moriarty at the end of the film, it means he got bringed back to life for him to only just go ape shit 💀

[canmom]

Animation Night 127: Project Itoh

Hi friends!

It’s Thursday - my last Thursday in America for the foreseeable future, in fact. On Monday I’ll be making a bizarre journey back to the UK via the ‘extremely direct’ route of Norway and Latvia, because it turns out that’s the cheapest way to get across the Atlantic. So that’s gonna be quite an adventure. I’m going to write some kind of post about things I’ve seen in America but probably when I get back for the sake of enjoying what time I’ve got left here...

Anyway, on to movies!

Tonight we’re going to be checking out a curious little sort-of trilogy of movies by different studies and directors from 2015, celebrating the works of the short-lived but influential science fiction author Satoshi Itō, aka Project Itoh.

Here’s a picture of Itoh hanging out with his close friend Hideo Kojima at a book launch (via Metal Gear Trivia)

So who’s this Project Itoh guy? Born 1974 in Tokyo, there’s not a lot of biographical details about Itō’s early life, save that he went to Musashino Art University and worked as a web designer until the publication of his first novel, Genocidal Organ, in 2007.

What we do know is that he loved Metal Gear. Like, a lot. Itō got into Kojima’s games from the very start, and indeed most information about his life comes from Kojima’s account, alongside the blog where he published Snatcher and Metal Gear fanfic. The pair met at the 1998 Tokyo Game Show, at which Kojima was immediately struck by Itō’s devotion to his works, describing Itō as the one person who truly understand what he was writing about - an experience which ‘saved’ Kojima.

The two became close friends - and three years later, when Itō went into hospital with cancer in 2001, Kojima rushed to his bedside, and while there, showed him the first footage of MGS2: Sons of Liberty. Itō responded by promising he would not die until Kojima finished MGS2.

The experience of being hospitalised seems to have been very formative for Itō’s worldview. Youtuber The Canipa Project translates a blog post in which Itō talks about the experience of having his body sustained by scientific means only recently invented, making him a cyborg.

This time, Itō was able to keep his promise; when MGS2 came out, Itō wrote extensive analysis and exegesis of the game’s philosophical themes, getting a lot of attention within the fandom.

As the 2000s went on, it seems he judged it time to spread his wings and try releasing his own original stories under the pen name Project Itoh. The first, Genocidal Organ, was adapted from a fanfic he wrote about Snatcher into an original story. He submitted it to a novel writing competition in 2006, and while it didn’t win, he found a publisher in 2007; the novel became a hit, and so impressed Kojima that he asked Itō to take on the daunting task of writing a novelisation of Metal Gear Solid 4: Guns of the Patriots.

Itō apparently succeeded handily at the novelisation, and off these two successes, seemed set for a great writing career. His next novel, Harmony, dropped in 2008, dives straight into the themes of medical control; a dystopia in a post-nuclear war world where humans in the aftermath managed to cure cancer and most other diseases, only to institute a program of social control in an attempt to complete their utopia by eliminating mental illness as well. A story that’s clearly cutting pretty close to the bone from Itoh’s own experiences, since he was spending the 2000s dealing with recurrent cancer that took him back to hospital over and over.

And, indeed, the inevitable came in 2009, at which point Itō had just begun on his third novel Empire of Corpses. His cancer returned in force and he returned to hospital; once again Kojima went to his bedside and broke NDA to tell Itoh in detail about his next game, Metal Gear Solid: Peace Walker - that’s the odd PSP one featuring the Sandinistas. And once again, Itoh promised to live until Kojima finished the game, and write the novelisation of MGS3 and Peace Walker. But this time, it was a promise he could not keep; Itoh died at the age of 34.

In the wake of his death, a devastated Kojima dedicated Peace Walker to him (and later revealed he had planned to name as a successor following MGS5), and his friend Toe Enjoe took on the task of finishing Empire of Corpses. Once again, I’ll turn to Canipa Effect’s translation of some of the words Itō wrote three months before his death:

Humans dwell in others as a story. People can continue to live within someone else as a narrative. Then, by being part of the variety of spoken words, they become part of the fiction that can shape humanity.

(Words that resonate too strongly with the death of my friend Fall earlier this year.)

So far, a tragic story - but in some sense one with a slightly hopeful touch, in that rather than dying of cancer in 2001, Itō was able to enjoy eight more years of life and write several novels. But what has it got to do with animation?

Enter Noitamina (the word animation backwards), the late-night anime programming block run at the time by Koji Yamamoto as a means to get experimental, creative animation - such as Masaaki Yuasa’s adaptation of The Tatami Galaxy or Kenji Nakemura’s BakeNeko and Mononoke  - out to a wider audience. Yamamoto departed the block in 2015, but in its heyday it was home to a number of radically creative works; you can read more about it over here on sakugablog in a recent post on the context behind The Tatami Galaxy.

So, in 2015, Noitamina announced it would fund three movie-length adaptations of Itoh’s three novels, each by a different studio and director. For all three movies, the character designer would be illustrator redjuice of the ‘band’ Supercell, a somewhat odd musical project consisting of just one musician and ten illustrators and designers who produce materials around the music.

Genocidal Organ would go to the hands of Shūkō Murase, at Studio Manglobe, a unique studio renowned for original works like Shinichirō Watanabe’s Samurai Champloo, Ergo Proxy, and Michiko & Hatchin (the latter of which I covered back on Animation Night 36). Murase seems like a natural choice for a highly philosophical cyberpunk story, given Ergo Proxy... but a spanner was thrown in the works when Manglobe went bankrupt; Genocidal Organ would eventually be saved by the resurrected Manglobe in the form of Geno Studio, but for this reason, it missed the planned simultaneous release of the three movies.

The story concerns a world in which a series of social breakdowns and genocides take place in a short period of time, all seemingly associated with an American named John Paul - who, when tracked down, claims to have discovered a ‘genocidal organ’ which can be activated to incite humans to acts of genocide. Without giving away too many spoilers, it’s basically about the current American-dominated geopolitical order.

On the animation side, the stars of the show would be Bahi JD, the Austrian from the earliest wave of sakuga fandom who became one of the first international ‘webgen’ animators to find a career in Japan... and Shūkō Murase himself, who animated several cuts as well as directing the film. As such, even a quick look at sakugabooru shows a lot of subtle, well-observed movement; I’m looking forward to seeing it fit together.

Harmony - the post-cancer dystopian one - went to Michael Arias at studio 4°C, of Tekkonkinkreet fame (see Animation Night 52 for Tekkonkinkreet, and Animation Night 74 for a more detailed history of 4°C), alongside veteran animator and director Takashi Nakamura who you may remember from the Chicken Man and Red Neck sequence of Robot Carnival. It comes at a point where 4°C had found a lot of comfort with their use of CG, two years before Mutafukaz (Animation Night 105), and even if the incredible background artists of Tekkonkinkreet may not be on this one, I imagine it will look pretty lavish as 4C stuff always does.

Then comes The Empire of Corpses. This one goes to Wit Studio (Animation Night 101), directed by Ryōtarō Makihara - also no stranger to scifi, with his main previous work being Hal, the story about a robot designed to play the role of a deceased partner. Unlike Itō’s other works, which are near-future science fiction, this one is more of a steampunk piece, taking place in an alternate 19th century in which mass produced Frankenstein’s monsters have become the industrial base of society; its characters bounce around the globe unearthing a conspiracy. It sounds kind of wild, honestly, with not just Frankenstein and Babbage but even frigging Sherlock Homes running around; Japanese spins on British characters like this are always kind of fascinating. (Also... there is some tragic irony about a story revolving around reanimated corpses being completed by Itō’s friend after his death.)

So, that’s the plan for tonight: we’re going to be watching all three Project Itoh movies, in the order that Itoh wrote them! I think there’s gonna be some great stuff in here, and I hope I’ve given you reasons to be excited too~

so, if you’d like to check these out, please make your way down to  twitch.tv/canmom  - we’ll be starting the program in about 20-30 minutes once people are in there!

[goryhorroor]

horror sub-genres/techniques: anime horror

[goldberry-edition]

Blue is the color of the most magical girls 🌊

by Naman_Doodles

[thespectrehauntingfodlan]

I feel like a lot of people, and this is really more for Usamericans than those from other countries who don't have any exposure to the internal affairs of this particular nightmare country, truly do not grasp the scale and significance of the problems and horrors here?

Literacy will be mentioned and downplayed, but a full 20% of people living here are illiterate to a degree where they cannot interact with even basic writing. That's one in five people, or almost the population of the entirety of the United Kingdom. And that's only the population that either cannot read any words at all or cannot parse sentences, an equally large amount of people can only read at a very basic level, and can't interpret and extrapolate information from text that's not direct. This is not some cry about media literacy, this is about basic functioning in society and how many are left behind from a society that increasingly isolates and diminishes them.

Manufacturing will be mentioned, and the thought most will have is that American production has been gutted and outsourced (usually leading to hostility to places like China or Vietnam), which has some truth but much of American industry has been transfered from "free" workers to prison slave labor, with some states not paying prisoners forced to work at all and the most ""generous"" states paying them a seventh of the already laughable federal minimum wage, and with the government actually subsidizing this by giving corporations a $2400 tax credit per prisoner they "employ"

Prison will be mentioned but the sheer inhumanity and brutality will never be grasped even when people recognize elements of it (usually for what passes as comedy) the totality of it will never register. One out of five of all people incarcerated on Earth are in prison in America, subjected to conditions which regularly and frequently kill them or break them, and there's not even a consistent reporting measure for people who die in prison or jail, to say nothing of the police killings which dwarf the amount of people executed by the state, which has even less of a standard for reporting. One county was simply burying the people they killed in unmarked graves nearby and never reporting it or recording it, only being discovered after years almost on accident.

Homelessness is rampant but the numbers and methods for assessing the size of the unhomed population are pitiful at best and laughable at worst, regularly undercounting and diminishing the severity because those who are homeless are barely considered people to not just the government but in the perception imposed by society.

And none of that is touching on the scale of the imperial war machine which ravages the rest of the world, how there's no way to even know how many bases the US even has, how many people it kills, how many wars it fights, who it even supports. None of us touching on the non-military methods of support and control the US provides to its proxies and cronies who prop up its hegemony.

The scale of it all is just mind breaking and I have seen excellent writing and interrogation of parts but I don't feel like the overall picture is ever even glimpsed.

[hewmitcwaft]

HEY! HEY!!!!!!!!!!!!! TELL ME ABOUT PIXANDRIA!! DO U HAVE ANY BRAIN THOUGHTS ABOUT THE ANTHILL?!

OH BOY DO I !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[shonakk]

John watson from the empire of corpses

[sixteenth-days]

If you want a prompt maybe eldritch!XB? :0

At the bottom of the ocean, something which had been sleeping woke up.

Every now and then, when XB's shoulders started clicking and he developed a cough and a persistent pain where the base of his spine would be, he knew he'd been too small for too long. It was inconvenient, but not catastrophic.

Whenever that started happening, he'd put all his gear away, let the hermits know he'd be away for a few days or weeks, and find a secluded cove to crawl out of his skin and into the blessed embrace of the saltwater. It always felt like a balm against his real self, dried and desiccated from so long spent in the air and sun. He'd slip into the ocean and spread out like an oil slick, all black and blue and eyes, invisible beneath the play of sunlight on the water, slide down to miles and miles of seafloor, and rest.

But now he was awake, and it felt too soon. Something must have woken him. Scales blinked open up and down his spine, searching for any disturbance in the water immediately surrounding the greatest concentration of his mass, but found nothing that might have roused him.

Ugh. He didn't want to get up. But something was wrong, a sense of unease creeping in through all the estuaries and rivers where he lay, rubbing wrong against the rubber and scale and sand of him.

He heaved a sigh that shoved waves against distant beaches, gathered up a pair of forelimbs from where they dangled in an underwater magma cavern, and pushed himself upwards.

Something about the water around him felt strange, as he ascended through the oceanic zones. A slight shift in the salinity, maybe. Up, and up, from the midnight to the twilight, as the water began to slowly lighten around him. Black water turned blue, and bluer, and bluer, until he was drifting the final few meters to the surface, feeling unaccountably hesitant.

Something was wrong.

He broke the surface, blinked a constellation of eyes against the sudden air, reared up and dug claws into a birch-plank bridge that creaked warningly under his weight. It was immediately obvious that he had not come up where he'd gone down, and that was going to be really inconvenient, if he couldn't get back into his skin, but- one problem at a time.

Starting with: if he's not where he entered the water, where was he?

The air against his scales was stagnant, dusty, untouched by breath or word. This world was clearly abandoned. He caught a glimpse of a sign, affixed to a nearby fencepost: By JoeHills and IamSp00n.

Ah. He'd come up in the wrong ocean.

(Send me Hermit fanon switcheroo asks!)

[snow-dragon-rider]

Don’t mind me while I just gaslight myself into continuing to believe that Thrawn is doing all this for the Ascendancy

[ash-and-starlight]

.

[jarotopal]

This is how the scrapped Kenobi script can still win.

Cody is alive (we didn’t see him desert/leave but I know it in my bones he did). He needs somewhere to hide, outer rim is a good place to do so. He can easily disappear into the dune sea on Tatooine and only come into town when need to. If so happens he runs into a sad ginger man he believed he killed.. then it’s a win.

[posalis]

“What I wanted was, a 21-gram soul and your words.”

[koolthing13]

My favorite girls!

[lupizora]

DCMK Empire of Corpses AU

This will be based on the 2015 anime movie Shisha no Teikoku or The Empire of Corpses. (I can't believe it's been almost ten years since it came out. The grip this movie has on me *sighs*). If you haven't watched it, I'll be dropping MAJOR SPOILERS from it for the overall development of this AU. Kind of like a speed-run of the important plot points. Also, lots of Character Death mentioned left and right. So, please consider yourselves warned 😅

The basic premise of it is that in an Alternative History Victorian era with a lot of steampunk influences, people have found the method of reanimation. Reanimated corpses don't have fully human sentience. They're more akin to zombies and can lose control just as fast, if the reanimation code is damaged in some way. Therefore, they're usually used for manual labor or in wars since they are still considered Undead.

The movie follows John Watson who reanimated his recently deceased close friend "Friday". Doing that outside of the government's control is considered illegal, so to avoid going to jail and other more personal reasons, he's roped into a mission from the government to find the notes of Victor Frankenstein, who was rumored to have produced the first Corpse that retains a soul. It has several philosophical debates about the nature of the soul which I personally found fascinating. Plus, it's gorgeously animated with how it combines the zombies/steampunk aesthetic (even if the ending leaves a lot to be desired imo. I mean we can't know if that was the author's original intent since he apparently passed away before he could finish the novel the movie was based on and someone else stepped up to finish it in his stead. But I digress since I will incorporate the movie's ending into the AU anyway lol).

Okay. Back to the AU.

Given that the characters were more or less contemporary historical figures or fictional heroes of the era, case in point John Watson, and even a cameo of dear Mr.Sherlock Holmes in the post-credits scene, my brain jumped at the opportunity of making it about DetCo.

DetCo has so many characters that could be used for this, but my first thought was focused on the Gosho Boys quartet. You can literally go for every ship variation between them, especially if you don't want to follow the movie's plot to the letter.

However, my BFF and I both agreed that the one who encompasses the headstrong, laser-focused determination Watson exhibits was Hattori Heiji. Because of course, Heiji will throw caution to the wind and go to great lengths for a friend (and/or potential lover).

If anything, this AU is so HeiShin-coded that you could more or less reenact the whole movie and not change much; even with the allusions in the credits scene that Friday turns out to maybe(?) be Moriarty when he gets his soul back. Like in my humble opinion, Shinichi and Saguru (the true Sherlockians) seem to personify different sides of Sherlock Holmes, with Shinichi being closer to (and I'm paraphrasing): "If he didn't give his brilliant mind to solving the crimes, he would be a criminal mastermind instead".

But! I never make things easier for myself that way so this turned into a HeiSagu/SaguHei AU 😂

Frankly, going for this ship angle was more compelling for me. Because Heiji's motivation behind his actions will come from a place of necessity instead of true compassion at first. Like he and Saguru were barely on civil interaction terms, maybe even academic rivals to a degree, at the point of Saguru's death. On the other hand, he couldn't let one of their generation's brilliant minds disappear like that. If Heiji got to prove his "rival's" theory wrong too in the process, no one would be any wiser.

This fictional British Government does not take lightly illegal reanimation, more so from a foreign citizen on their soil. So to avoid forced deportation and/or jail, Heiji and his "servant" (I'm not sure what sort of different name Saguru could have as a reanimated corpse. I was thinking some kind of bird of prey because of his falconry hobby) are tasked with finding the Karasuma notes. Said notes are currently rumored to be in the hands of some researchers Heiji and Saguru were having regular correspondence with. Special Agent Sera Mary and her daughter Masumi tag along as insurance so they won't run off.

The researchers are holed up at some secluded place in Siberia though, so the team ends up finding guides in the form of Kaito and Aoko. Despite Kaito's antics, the one Heiji finds odd is Aoko instead. She rarely eats, rarely sleeps, and she keeps talking in third person about herself. Heiji wonders if she's some kind of advanced corpse but Kaito dodges the question.

Before they reach their destination, they get attacked by corpses with higher mobility that usual. Then it's revealed that Aoko is a high-specs automaton Kaito had built himself when her arms change into weapons mid-fight. They are saved when another automaton, Conan, appears and fries the system running in those advanced corpses with a pulse attack. Conan explains that they were made with designs someone stole from his creators, who were trying a different approach than what the Karasuma notes were describing.

After the final stretch, they find the secluded town they were trying to reach filled with the original design of those advanced corpses and the only alive people there are Shinichi and Agasa. Nothing else seems amiss at first, even if it's creepy how life-like and not at the same time the citizens appear. The team stays there for a couple of days. Heiji is delighted to learn that Shinichi had been the one exchanging letters with him, instead of some stiff researcher like his teachers back in London. But Shinichi keeps diverting the conversation when inquired about the Karasuma notes.

It all comes to end the moment Shinichi realizes that the corpse following Heiji around is Saguru. Because all the time in the world can't prevent him from dying due to an accident or sudden illness before finishing his research. The reason the town's corpses look kind of alive is because they were created when the person was near-death. This time, in his fit of desperation, Shinichi does the procedure to a very much alive Kaito, hoping to preserve both of them for if/when proper reanimation succeeds, and follows suit in front of an appalled Heiji (this part in the movie was so unsettling, to put it mildly. I still shiver whenever I remember it. Here's even more terrifying to imagine because their appearance is so similar 😰). Shinichi does manage to tell them before he loses awareness that the previous researchers took the Karasuma notes with them to Japan.

But Heiji does not want to hear about the notes anymore or anything else really. He goes out in the cold to grieve and mope. Despite not giving him any commands, Saguru joins him. This only serves to anger Heiji because it doesn't prove that this action was made from any remnants of Saguru's "soul", and not a byproduct from the reanimation code. So Heiji lashes out, tackling him to the snow-filled ground. His fist stops midway though because he realizes that there is no point venting his frustrations on someone that will not comprehend why or even fight back.

Mary comes to remind him that he can't stop the mission whenever he wants, so they have to head out. They take Aoko and Conan with them while Agasa stays behind to take care of everyone for as long as he has left.

In Japan, they track the notes all the way to Osaka. Heiji learns that after the news of his transgression reached his father, he was disowned. Fine by him. It does not stop him from roping Kazuha and Otaki into helping him bust into the lab of the shadowy organization that seems to have the notes. And they do actually which amidst the chaos Heiji feeds them into Saguru's reanimation code to analyze them. Right about then though, the rumored successful reanimation project of Karasuma himself—Vermouth (of course it was gonna be her lol) appears, kills Mary and Otaki before she steals the notes.

The place burns down, separating Heiji and Saguru from the rest as they end up in the sewers. Since the notes were analyzed halfway and jumbled Saguru's code, he acts like a feral zombie. Heiji tries to hold his ground, but there is only so much he can do against a corpse that doesn't hold back its strength at all. Pinned against the wall by Saguru trying to choke the life out of him, Heiji ponders why he got into this mess and if dead people should stay dead and dammit he might have cared about Saguru more than he originally thought but he sure as hell won't allow him to run amok any longer. So he headbutts him, causing Saguru to drop him. While Heiji is wheezing for breath on the floor, he notices Saguru isn't moving. If anything, it looks like he calmed down. And then, a soft sound starts coming from him until it's apparent that Saguru is laughing. Heiji flashbacks to the aftermath of a fencing duel they had during their first days in the academy. For a moment, the images overlap and Heiji could believe that Saguru is still alive right before he "shuts down".

Reconnecting with the girls and Conan, they escape Japan through Kazuha's connections (she stays behind to cover their tracks). Saguru is back to being feral the next time he "wakes up", but Heiji has seen hope that he's still there (even if inevitably this is confirming Saguru's theory) so he continues to struggle to fix the scrambled reanimation code. While on Vermouth's trail, they come across the Kudous along with Nakamori Ginzo and learn that Aoko was modeled after his daughter because her body had been cremated before Kaito could even consider the thought of reanimating her. Aoko isn't interested in playing make-believe with Ginzo, even with the implanted memories Kaito had given her. Since she's just an automaton, therefore lacking a soul by conventional means, she wants to find her place in the world by herself.

Around then, Vermouth kidnaps Aoko to use as a vessel to bring back her beloved "angel" (Ran, the only human who showed her kindness) and the recently fixed Saguru because he has the missing portion of Karasuma's notes inside of him. Heiji, Conan and Masumi follow her back to a London in flames. Vermouth intents to use the Archive of the Dead that holds every reanimation code ever issued which is akin to holding humanity's collective conscious along with the notes for her plan. Although they manage to intercept her in the control room and Masumi shoots her, Vermouth's "soul" had already entered Saguru's body.

Heiji asks Conan to overload the Archive while Masumi reluctantly helps him connect himself to it through Shinichi's reanimation method. In the sea of humanity's collective conscious, Heiji finds Vermouth clinging to Saguru like a parasite because otherwise her artificial "soul" would disperse and disappear. Heiji yells at her that there is nothing artificial about someone with such a strong will to live. It's just that humans were not made to last for centuries on end and there is not much left of her anymore. Right then, someone looking like Aoko (but not really) appears and after fusing with Vermouth's remnants, disperses into their surroundings.

Saguru opens his eyes, finding himself in Heiji's embrace. Heiji offers his congratulations to him for being right about this, but the latter does not accept it. Because Heiji's recklessness to be here will make him die when he returns to his body. Their little reunion is interrupted by Kaito and Shinichi showing up, since the Archive overloading connected every Undead around the world into the sea of humanity's collective conscious. They all brainstorm together if there is a way to prevent Heiji's death or actually resurrect Saguru. Kaito proposes that before the Archive completely collapses, they could connect Heiji's living body and Saguru's reanimated one and feed the system the leftover pieces of the Karasuma notes (it's similar with how they implant memories on automaton brains). But if it works, they'll lose every memory they have of each other. While the notes work like the glue keeping their souls tethered, a certain amount of energy still needs to be spend for all this.

Heiji wakes up and tells the others of Kaito's proposal. Conan tells him that there is no guarantee that both of their objectives will become true. Heiji's final words are that he doesn't care if his soul takes all of the burden for Saguru to return to life.

***THE END?***

Quite a while later, Kazuha drops Heiji at a lodging in Tokyo.

After he returned from London still being disowned by his father, Heiji worked odd jobs here and there; relying on his employer to provide him with a place to stay. His latest job unfortunately doesn't, and even though the pay is alright, it's not enough for one person to live alone. So Kazuha had asked around and heard from Momiji that someone was looking for a roommate, before dragging him there.

Heiji is a bit hesitant about all this. The house looks kind of out of his budget, even with a roommate. His alarms go off when Kazuha vanishes while the housemaid (Keiko) had just let them in. But before he could make up an excuse to leave, the master of the house comes down the stairs.

He seems familiar; from his build to how he handles himself and the way he speaks. The only thing that strikes Heiji as odd are his eyes. For some weird reason, he was under the impression they were going to be blue and faded. They are a warm brown instead.

The man introduces himself as Hakuba Saguru.

Heiji had heard of him. Something about rebelling against his father wishes to join the military and leaving for London to pursue some kind of criminology field. Several different people had asked Heiji if he ever met him while he was still in England, and Heiji had denied it. But this familiarity, tugging him to close the distance between them, is unmistakable.

"Do I know ya?" Heiji asks.

Saguru smiles politely as if he's humoring him. "I would have certainly remembered someone rude enough not introduce themselves first."

Irritation, that comes off as borderline déjà vu, flares up in Heiji's chest as he gives back only his first name. That catches Saguru's attention as he inquires about it. Despite his reservations, Heiji admits that he isn't allowed to use his family name anymore.

"Why don't you take mine?" Saguru says.

At the shock of Keiko, more so to Heiji himself, he backtracks and goes on about housing laws and contracts being troublesome without full names from both participants. However, Heiji can somehow tell that Saguru is a bit flustered from that fumble.

"Sure," Heiji says with a chuckle. "As long as ya won't take yer word back."

Outside, in a cafe across the street, Kazuha joins the others to discuss the success of their little scheme. Conan wonders if this would be alright in the long run, because the chances of them remembering everything is close to none. Kazuha starts harping about fate and similar romantic notions, leaving him unimpressed.

Aoko stirs her teacup with a mysterious air about her. "We only helped them find each other faster. It's up to them whether they will cling to the past or set forth to make new memories."

Changing the subject, Masuki asks her if she has decided on her name yet. Aoko is conflicted since she has always been Aoko, but after what happened at the Archive, she isn't so sure about it anymore.

"Something starting with M sounds interesting though."

Around then Kazuha notices that Conan is gone. Masumi reassures her that he has been doing this kind of thing lately. Even after following him a couple of times, it didn't seem like something to worry about.

Conan enters the dilapidated warehouse he had been visiting and finds its sole occupier tinkering on his body again.

"I know I'm better at taking things apart than fixing them," he complains, "but you could have waited a bit!"

Turns out that before making Aoko, Kaito had made an unfinished automaton prototype based on himself that he hadn't told anyone about, more so Shinichi. While Conan was connected to the Archive, he saw it in his memories. Apparently, he had reactivated amidst the chaos of Vermouth's plan, fixing himself little by little and sending out some sort of signal. The first thing Conan told him when he found him was that only someone like Kaito would think to make trial runs on himself. Automaton!Kaito asked if he hadn't done the same since Conan is technically Shinichi (made from Agasa as a compromise for his parents, in case things went wrong with his research), not to mention his self-destruction in Siberia.

"Even in death, we still kept a lot of secrets from each other," Conan says with a bitter smile.

"Showing all your cards leaves you vulnerable. Isn't it in human nature to hold a part of ourselves hidden?" He pauses, thinking it over. "Although, I suppose we don't qualify as 'humans' at the moment."

Conan rolls his eyes. "It's a matter of perspective."

Kaito teases him about his optimistic outlook when they are merely shadows of the originals, stuck into artificial bodies.

"But we are still here, aren't we?"