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Drawing Crazy Patterns – CLAREMONTISM: “No Quarter Asked, None Given”


In this feature, I spotlight five scenes/moments from within comic book stories that fit under a specific theme (basically, stuff that happens frequently in comics). Here is an archive of all the patterns we’ve spotlighted so far.

This is a special CLAREMONTISM edition of Drawing Crazy Patterns, honoring one of the bits that Chris Claremont frequently features in his work (especially his X-Men work).

Today, we take a look at “No Quarter Asked, None Given.”


Oddly enough, I am relatively sure that Claremont debuted the phrase in 1977’s Ms. Marvel #13 (art by Jim Mooney and Joe Sinnott)…


Heck, I think that there’s a decent enough chance that the SECOND use of the term by Claremont was ALSO in a non-X-Men title, Marvel Team-Up #100, as Spider-Man fights a possessed FF (art by Frank Miller and Bob Wiacek)…


However, I could be wrong there – I wouldn’t be surprised if it had appeared in an issue of X-Men by then.

He used it to dramatic effect in the climactic battle in Wolverine #4 (art by Frank Miller and Joe Rubinstein)…





In Uncanny X-Men #182 (art by John Romita Jr. and Dan Green), Rogue is recounting her troubled history with Ms. Marvel, and explains how she stole Ms. Marvel’s powers AND her personality…


In Uncanny X-Men #191 (art by John Romita Jr. and Dan Green), the X-Men must fight the Avengers in a twisted version of New York created by the evil Kulan Gath…


Finally, in Uncanny X-Men #213 (art by Alan Davis and Paul Neary), the phrase gets a slightly different spin…


Feel free to name some other examples of the phrase being used! It’s been used plenty!

And if you have a future idea for Drawing Crazy Patterns, let me know by e-mailing me at bcronin@comicbookresources.com!


Travis Pelkie

May 20, 2014 at 1:49 am

So I’ll be the one to sound dumb — what does this phrase actually mean? I’ve heard it before, certainly, but it doesn’t really make sense. There’s probably some explanation that is relatively simple and I’m just dumb.

“Quarter” is what I see most.

Travis Pelkie

May 20, 2014 at 1:55 am

Can I have a quarter?

Quarter meaning “mercy” here, Travis. An archaic turn of phrase, don’t think anyone uses quarter in this sense anymore outside of this expression.

Body and Soul, BODY AND SOUL

When I was younger – probably up into my early 20s – I really enjoyed Claremont’s writing. Now it just seems overly verbose, stilted, and cliche-ridden. I can’t deny that he put out some really great stories in the 70s and 80s, but I can’t help but wonder if he started believing his own hype too much. This is probably just one of a dozen lines of prose that Claremont is in love with that pops up with distressing regularity in anything he writes. You could probably do a whole series of Claremontisms without running out of material for a long, long time.

One funny thing about Claremontisms is that their overuse in X-Men wound up deceiving later writers into thinking they were common phrases. Rereading Kurt Busiek and Fabien Nicieza’s Thunderbolts these past weeks, I feel like I come across the phrase “body and soul” every other issue.

“…no less deadly” from the last panel in the last example was pretty common too right?

how about a series on Furmanisms?


He’s a great writer but I always hated his dialogue.

Another of Claremont’s phrases that just turned up in Nightcrawler is the “you were dead” “for us X-Men that trick never works” line. I’m sure I’ve read variations on that a dozen times in Claremont books.

I know it’s a different Dan Green, but could someone get the VA of the same name to read the “No quarter asked… and none given!” line at a convention in the Yami Yugi voice?

Fury brought up Furmanisms, which Simon Furman is definitely aware of. My personal favorite is “Like a vast, predatory bird…”, which shows up constantly on the TFWiki.

Let me see if I understand. They’re both going for broke, pulling out all the stops, giving 110%, no turning back, no surrender, this is it, the whole shebang, the whole enchilada, leaving nothing on the table, leaving no stone unturned, for all the marbles, for the brass ring, do or die, winner take all, etc., etc.

Does that about sum it up?

Is this the most common Claremontism?
I don’t know.

I wonder what would happen if somebody did ask for quarter.

Note to self: if I ever meet Chris Claremont, ask for change and see what he does…

I think the definitive Claremont response to “You were dead” was “I got better”, wasn’t it?

Also, lots of compound neologisms like “catchweb” and “shocknet”, or just using “psi-” as a prefix.

While it is easy to poke fun at a lot of his tropes (I remember giggling maniacally years ago over the “canonical list of dangling X-Men plot threads” on USENET), for me it is affectionate teasing, because the man basically made a comcis fan out of me.

I don’t know if it was Claremont who established the response to “I love you,” as “And I love you—WITH ALL MY HEART.” Geez, you can’t just say “Me too”?

MARVEL TEAM UP 100: Man, that was a solid book. The fight between Spider-Man and the mind-controlled FF was a thing of beauty. Miller really conveyed Spidey’s inhuman grace of movement.

Mike Loughlin

May 20, 2014 at 6:47 am

If you ask Claremont for a quarter…

he has to focus the totality of his ability to look for change with his body and soul. He hopes- he prays- that he finds one, especially when he accidentally scratches his hand on his keys and declares “THE PAIN! THE PAIN IS TOO GREAT!!” He usually finds one, though, because he got better and he’s the best there is at what he does but…

… it will not be given.

I think this is why I slowly fell out of love with the X-Men book, more or less by around the Mutant Massacre.

It just seemed that all the characters were speaking with the exact same voice, with the only variations being a particular accent, or a foreign turn of phrase, or the odd “flamin'” such-and-such.

But it was probably around the first Wolverine miniseries, when more X-Men characters started narrating their own stories, that these overused “Claremontisms” really started making everyone sound the same, which got a bit dull and ridiculous.

(even two of the above examples are Wolverine narrating and Psylocke narrating…what are the odds both of them would be thinking such a weird turn-of-phrase like “no quarter asked…”)?

@matt: That’s just the Claremont school of writing. Never use two words when ten will do.

@Mike Loughlin: A+

Travis – my take on it is…quarters also means accomodations. In old days, to give quarter meant to accomodate. So you can read the sentence as “no accomodation asked, no accomodation given”

On a side note, I was binge reading my way through the Marvel Silver Age last week and saw the phrase in a Stan Lee Marvel comic from the 60s. I know Claremont didn’t invent the phrase, but I was still surprised to see someone other than Claremont using it in a Marvel comic.

When I say quarters also means accomodations, think “living quarters” and “living accomodations.” Just in case that sentence wasn’t clear enough.

Whatever. Y’all are a bunch of philistines. Claremont was the Shakespeare of comics.

Claremont came up with this one because he was sick of hobos asking him for change on the streets of NYC. One day he had enough and brutally beat a man who asked him for twenty-five cents. Thereafter, no quarter was asked..and none was given!

It’s a good phrase and it works. Don’t really care if he reused it alot. He wasn’t writing for the trade. He was putting out the best stories he could month by month. And he managed to craft many excellent, tense, action packed stories that stand among the very best in the action/thriller genre in the past 30 years. I wonder if Grant Morrison’s stories will prove to be as cross-platform influential or as character-defining?

good ole pal chakal

May 20, 2014 at 8:05 am

It reminds me of Led Zeppelin song – “No Quarter”

*bows and scrapes before Mike Loughlin*

@ Mike Loughlin, that is too good. I got a good solid chuckle out of that one.

Captain Haddock

May 20, 2014 at 8:46 am

Another Claremont-ism…if a major character, like a villain, is introduced, it will involve the protagonist turning around to face them, and the said villain will spend 2 word balloons responding to what is happening in front of them, or to the question, before announcing their name dramatically (perhaps with their name bolded or in fancy font). They will conclude with one last word balloon that is meant to intimidate.

I think it’s funny how Claremont gets criticized for too many narration boxes, and also gets criticized for dialogue that states the obvious (like a character’s name). You have to introduce the new character somehow; either in a narration box or in dialogue.

His penchant for having characters announce themselves got really exaggerated later in his career, at a time when comics had been moving away from narration boxes. I suggest he was overcompensating for editorial pushing him to stop narrating his comics, and do it all in dialogue. He didn’t do it well, I concede. But that’s what I think was happening.

@Mike Loughlin:

You forgot the part where he offers:

“an I.O.U….with all my heart.”

They choose the path where no-one goes.

They hold no quarter. They ask no quarter.
The pain, the pain without quarter.
They ask no quarter.
The dogs of doom are howling more!

@Captain Haddock: You seem to have discovered a common tactic of last-page reveals! The reader gazes in awe that matches the character as the artist renders this hopefully visually-interesting villain on the page! By describing the situation that’s happening, it shows that they are in command and the X-Men are totally outclassed!

Beware of my verbose ferocity! Tremble in fear you weak-minded fool, for your lives are now in the hands of…

*giant awesome Tom Orz letters*SUPER-COOL-BAD-GUY!

Yeah, it’s “no quarter” as in “no room” or margin, meaning you’re not giving your opponent any chances or opportunities. The idiom hundreds of years old.

My pet peeve ever-present Claremontism is the grammatically correct but unnatural sounding response to “I love/care about you” as being “And I, you.”

I hate the use of the word “whilst.” Does anyone actually use “whilst” in speech? If you do, are you American or British or from somewhere else?

The CineManiac

May 20, 2014 at 11:45 am

I never ask for a quarter because I need a dollar, dollar. A dollar is all I need.

Wikipedia lists three possible sources for “no quarter”, all apparently from the Oxford English Dictionary.

1) “quarter” meaning “housing or accommodations”, with “no quarter” meaning that you wouldn’t house captured enemies (and thus were killing them)

2) “quarter” meaning “relations with another” (from Shakespeare?), with “no quarter” meaning not entering relations with someone trying to surrender.

3) “quarter” being a reference to the Dutch and Spaniards setting ransoms at a quarter of a soldier’s pay. While the OED includes this possible source for the meaning, it also points out that this possible source doesn’t fit some usage.


Claremont was paid by the word…don’t it was uncommon at the time for him to pad out his scripts with repeating phrases and it certainly made him verbose. No doubting the quality of his stories/writing though…but Chris Claremont has got to get paid!!!

No quarter is a military term meaning no mercy or take no prisoners…

Wolverine ordered a tall frapachino. It cost $4.75 and he gave the barista a $5 bill. His quarter was neither asked for, nor given.

Comics writers are paid by the page, not the word.

George St. Louis

May 20, 2014 at 12:17 pm

Next up: What does “beggars description” actually mean? CC used that one a lot, and so did Scott Lobdell..in fact I remember a couple of X-Men comics (back in the 300s) where SL used the exact same line of narration to describe Storm’s powers maybe three issues apart.
Another nitpicky-People lose accents eventually, don’t they? Why does Rogue still have hers after 30 years?


LOL, so true! I actually said that to someone. Even though she understood it, she looked at me as if to say, “who says that?” It either won me “unique” points or nerd points, not sure whch…

That X-Men story with a crucified Spiderman is one of my favorites of the era – bizarrely its a direct sequel to the Team Up story where Mary Jane was possessed by the spirit of Red Sonja and Spiderman and Sonja’s defeat of Kulan Gath in that story is why Spiderman is the only person in New York in the X Men sequel who isn’t altered to think he lives in Hyborean times but instead tortured in revenge for the slight.

With the original Sonja story it would make a great TPB – its another one of those ‘Spider man is much tougher than anyone realizes’ stories as he deliberately yanks his appendages out of the skewers crucifying them and crawls to victory leaving a trail of blood.

But since Red Sonja is currently licensed to another publisher that lead in story probably couldn’t be collected by Marvel now.

How about “cripes” as a swear word? I think I’ve seen it used once in a comic book not written by Claremont. Only times I’ve heard it used in real life were by comic book geeks.

@Steve: The “You were dead”/”I got better” exchange is actually from a Monty Python exchange, IIRC.

Another common Claremontism that I’m shocked no one has noted yet:

“No X. Less Y.”

For example, a single usage might be, “No guts. Less glory.”

I say this with love–that classic Claremont Uncanny era was a HUGE foundation stone for me, and was the gold standard for my generation of superhero fan. Those books read great at the time, and are still the roots of just about every X-Men story since. It’s all post-Claremont. Just because the guy reused some phrases doesn’t take away from that.

Michael P…posted today…and meant. They’re paid by the page today for sure…but it wasn’t uncommon for a “by the word” contract from what I’ve read. Which, admittedly not a lot…and I’m always happy to be proved wrong :-D


PS @George St. Louis–in this context, “beggars” basically means “defies” or “challenges”


May 20, 2014 at 12:54 pm

ones I remember a lot are usually from either Wolverine or Sabertooth calling a female either a “frail” or a “chippy (ie?)”

What really stands out to me of 80’s Claremont penned comics is action coreography. ´Battle can be 1vs1, 1vs many or team vs team and still easy to follow, logical and at times even innovative. Does anybody know how much of this can be attributed to CC or was it all due to his awesome artists?

I miss these blow-by-blow fights. When I read f.ex. Secret Invasion’s finale, writer’s instructions for artist felt to me like: ‘Double page splash, big fight with everybody present in park. Have fun!’

Stan Lee used to use that phrase a lot, long before Claremont.

@R_M: I’ve always been impressed at how Claremont kept finding new ways to utilize the X-Men powers. He wrote them for so long, hundreds of issues really, but he had a great grasp on creative action sequences that are intuned with the specific characters’ powersets in mind.

My favorite overused “fancy-sounding” phrase is “all but …”.

“After the fight between Terrax and the FF, the shopping mall was all but destroyed!” Sure looks like it was destroyed to me!

Maybe it was only trashed, wrecked, decimated, damaged, obliterated, knocked over, smashed, had the paint scratched, warranty voided, crunched, crumbled and ruined — but NOT destroyed!

I can understand it being used in SOME cases, as in “the doctors gave her such lousy care that they all but murdered her,” but the phrase is never used that way in comics. Cripes!!

I have a really hard time believing any comic book writer was ever paid by the word.

” Another nitpicky-People lose accents eventually, don’t they? Why does Rogue still have hers after 30 years?”
Some people do. Some people don’t. I’m still very English-sounding and it’s been forty years since I lived there. And the MU time isn’t ours–she hasn’t been gone that long.

As theatrical, archaic, and florid as Chris Claremont’s prose can be, I will gladly take it any day of the week over Brian Bendis’ clunky, tone-deaf attempts at “natural” dialogue. When I was a kid (and even still sometimes as an adult) Claremont’s scripting quite often had me reaching for a dictionary. If you followed Uncanny X-Men in the 1980s, odds are good thay it expanded your vocabulary at least a little bit. In contrast, Bendis’ scripting often gives me an urge to hurl the comic book I’m reading across the room.


May 20, 2014 at 1:48 pm

@George St. Louis

An accent may soften over time, but it doesn’t necessarily go away completely.
My Mother-In-Law has lived in the deep South for over 30 years and she still has a strong New England accent.

I wish Rouge would lose her’s, it’s such a horribly clichéd Southern accent.

My girlfriend’s mother was born in Liverpool, England in the 1940s. She moved to New York City in the late-1960s, when she was in her 20s. After four and a half decades of living in the Big Apple she still has a slight English accent.

I read somewhere that basically after 8 years old or so your accent will never go away, but that might have been in relation to speaking a different language. Like Ah-nold, for example. He’s been in the U.S. for decades and his accent isn’t going anywhere.

It took me a long time of reading Claremont’s X-Men comics before I consciously noticed his little pet-phrases that he used so much. A lot of it was probably because as a pre-teen and teenager it all just seemed pretty badass and dramatic to me. I still have a bit of that reaction to the “No quarter asked” line, even if I realize now it was sometimes laughably overused. As someone mentioned these comics weren’t designed for the trade, they were meant to be read month to month, and reading in that fashion a lot of these tics didn’t seem so bad.

I always hated “You want I should….”. It seems it means “Do you want me to….” but it felt like some kind of broken English.

I was just perusing an old issue of Tales To Astonish (#77, 1966), written by Stan the Man, and the Executioner says of Hulk, “I’ll attack him AGAIN… I’ll show him now quarter… No MERCY!!!” So yeah, it goes back a ways!

As for “You want I should,” that’s old Bowery talk, as seen in countless old gangster and film noir movies. It’s supposed to tell you that the speaker is low class, ‘from the wrong side of the tracks”.

I was just perusing an old issue of Tales To Astonish (#77, 1966), written by Stan the Man, and the Executioner says of Hulk, “I’ll attack him AGAIN… I’ll show him now quarter… No MERCY!!!” So yeah, it goes back a ways!

Ah yes! That’s the one I was thinking of. I just read it last week.

The line actually comes from Edgar Rice Burroughs. He used it quite often in the John Carter series.

That said, I LOVE Claremont’s work. Especially his material from the 70s and 80s.

After a friend’s question about X-Men #158, I hauled that out of the longboxes for a reread. By page 2, we already had a character that “(moves) with speed that belies his massive bulk,” which I’ll always association with Claremont.

I think a lot of the appeal of Claremont’s Noveau-Shakespearean dialogue and prose back in the day is that there wasn’t anything in mainstream superhero comics quite like it. It was larger than life wording that complimented the larger than life storytelling that he, along with, in turn, the likes of Cockrum, Byrne, Smith, Romita Jr, etc. were going for. We can look back on it as odd or quaint today, but I think It hit a particular chord with the fanbase of the time that no one else did.

Just once I want there to be a fight where Gambit runs out of playing cards and asks one of the other X-Men if they have anything he can throw and they say all they have is pocket change and then … you see where this is going.

I really hope that if you walk up to Chris Claremont at a convention and ask if you can borrow 25 cents he just squints at you and says “sorry bub, no quarter given,” but the only interview I’ve ever heard with him makes me think that that would not be the case.

If nobody has explained “quarter”, it comes from the French quatre a quatre in fencing. Quatre refers to the four arms used in fencing. A defeated or weary opponent could hold up 1 arm and ask to retire from the match.

Other sources refer to the practice of nobles negotiating terms before a battle. Nobles could agree beforehand to have the nobles from the losing side be ransomed. To ask for this was said the be asking for quarter. It was considered less than honorable at times to ask for such treatment. And many times it was not granted.

The one Claremont-ism that always felt like George Lucas-level dialogue made it’s return in Nightcrawler recently; the ever-clunky “And I, you.” response to ‘I love you’

It was one thing between Jean and Scott in New Mexico, there was gravitas to that scene when she held back his optic blasts so she could see his face. But…. every. single. time.?!? No matter who it is that’s returning the sentiment?

The Angry Internet

May 20, 2014 at 10:54 pm

On the etymology of “give quarter”: “Give quarter” and “give no quarter” have rather precise equivalents in French, faire quartier and ne pas faire de quartier (only the negative form is really in use today). The phrase is also as opaque in modern French as it is in modern English, since quartier today usually means an area of a city, like Paris with its famous Quartier latin. But there’s an old French phrase quartier de sauveté that goes back to at least the 15th century and refers to a place where pursued people like fugitives or withdrawing military forces could go without fear of capture, being effectively extraterritorial areas under the Church’s protection. (The areas themselves go back to the 10th-11th centuries.) French sources uniformly cite this as the origin of faire quartier/ne pas faire de quartier, and recent editions of the Oxford English Dictionary accept it as the most probable source of the English equivalents, which were likely borrowed directly from French.

Moving with a massive speed that belies his weight or variations of the same (he moved with a speed that defied his crippled leg!) go back long before Claremont.
I did enjoy Crossbones’ sneering at the Kingpin once that he’s “someone whose massive speed doesn’t bely his tremendous weight.”

A lot of the examples in given in the comments aren’t Claremontisms. Some of them are fairly common phrases, the rest are just single words that the commentator apparently doesn’t use themselves.

Andy E. Nystrom

May 21, 2014 at 11:25 am

There was a great scene in an issue of What The–?!? where a blank Wolverine appears over Wolverine and starts growing as he faces ((RC) Ninjas. He finally pops it with his claws and a bunch of Claremontisms spill out and overwhelm the Ninjas.

Claremont’s dialog can get a bit ridiculous from time to time, but his wonderful character interactions and slow burn intricate plotting more than make up for it for me. He’s also one of those writers who has a talent for writing for the strength of his artist. It keeps his body of work diverse and fresh. He’s also managed to tone down the ridiculous dialog in recent years.

Claremont’s dialogue is great if you’re 14, and while I still enjoy his X-Men now, teenagers were really the intended audience of X-Men anyway.

Yeah, Claremont was my favorite thing when I was 14 in the 1980s, and now i can’t get through even his most renowned work at all when I try to reread it. And that’s fine; it’s a niche.

Travis Pelkie

May 21, 2014 at 4:55 pm

Thanks for all the conflicting versions of the origin of the phrase ;)

Poor Tom Orz, though. All those Claremontisms that he had to hand letter over the years. And then he was hired by Toddy Mac to letter Spawn, and THAT was verbose. Poor guy’s sight must be gone and his lettering hand totally numb!

I started reading the X-Men with the JR Jr issues so I always remember the writing tics being there.

This past year I’ve been binge-reading X-Men from the beginning though and was suprised how sparingly he used them at first. They were around but only occasionally. I’m currently up to the Paul Smith issues, and it really seems like it;s around there he started going crazy with them IMO.

Yeah but Paul Smith’s run is also where Claremont finally learned to shut his yap and let the pictures tell the story. If you look at that scene from the Miller mini-series in the post, which was right around the same time, you see a wordless sequence which goes on for several pages. There’s no way Proteus era Claremont could have mustered anywhere near that level of restraint. I will take a few captions of weird tic-y phrases any day over the old text walls.

Re: Comments about Claremont’s strengths, Claremont’s appeal to teenage boys: Agree 100%. I read Claremont’s “classics” for the first time in my twenties (i.e. recently) and didn’t love them, but totally get why they became the sensation they did. Preteens and teenagers take themselves deadly seriously and want reading material that reflects their new “mature” point of view. On the other hand, most 14 year olds are too young and stupid to get much out of actual serious literature. So with things like Claremont and (imo) Gaiman, they can settle at least for literature that takes itself seriously.

As an adult with responsibilities (although evidently with enough time to comment the same thread on a half-dozen occasions), I just have no patience for portentous sturm und drang text walls. If it’s gonna take me 40+ minutes to read a 20 page comic, it had better be Watchmen or some reasonable substitute.

Claremont writes differently depending on his artist. The Paul Smith/Frank Miller/etc stuff is nowhere NEAR as verbose and wordy as the Byrne material was. The Alan Davis annuals don’t read like the Romita Jr era which don’t read like the Silvestri/Outback era, etc.

I think everyone who has ever fought the Hulk has given that “moves fast for his size” line. It just appeared in the Godzilla cuts too vs. the Champions – “Mayhap–if not for one thing: Godzilla is is far more agile than his ponderous appearance would indicate.”

And outside of comics, who has recently used “Mayhap?”

The sum totality of my psychic powers would make a body believe almost anything with an ease that bellies the massive size… What? Exactly.

Also, to quote from Cannonball’s profile:

“One of the popular courses at Xavier’s school is “power identification 101,” and Sam was excellent at this. You see, Charles Xavier theorized that people would be more at ease with you if you constantly tell them what your power is and how it works. So Sam would constantly tell people that “I’m nigh-invulnerable when I’m blastin’.””

Also, everybody loves Storm and wants to make her their “queen”. Specially evil overlords.

Yeah, that Kulan Gath crucifixion of Spider-Man shocked the heck out of me as a kid reading on the racks at 7-11. Made me pony up my only buck to get it. One of the first comics I bought.

Other than mind control, this must be the most over-used Claremontism

Since he was mentioned above, I’d point out that Kurt Busiek has one or two “Busiekisms” as well: power just “splashes off of” force fields and invulnerable targets, and characters who don’t believe something they’re hearing tend to say “pull the other one.”

I think everyone who has ever fought the Hulk has given that “moves fast for his size” line.

In one of the early issues of Nightwing, Chuck Dixon had the hero happily note that Blockbuster is finally an example of someone who *isn’t* faster than he looks.

Funny to read people complain about Clarmonts writing being too verbose when reading in America (and reading comprehension) is at an all time low for the country. Ironic how that seems to go hand in hand. Lazy writing and lazy readers.

Travis Pelkie

May 24, 2014 at 11:54 pm

Like lazy writers who misspell “Claremont”, or “Claremont’s” for the possessive, for example….

As mentioned earlier “quarter” is used as a term meaning mercy. It is actually a war crime according to the 1907 Hague Convention to refuse quarter to a defeated enemy.This was reaffirmed during the course of the Nuremburg Trials in 1946. An example of offering no quarter would be executing a defeated enemy without trial.

No one mentioned Spider-Woman and Viper not asking for/ giving quarters.

I know this is an old topic, but I found an earlier example of Claremont using the phrase than the example cited (1977’s Ms. Marvel #13). In Giant-Size Dracula #2 (September 1974), the psychic Kate Fraser has a flashback/vision of a battle from centuries past, and a caption reads: “All day the battle raged…no quarter asked, none given…as human battled demon…and the ground ran red with human blood.”

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