So, finally, everything is back on track. Leaving the hypothetical parallel world in which things that didn’t happen actually happened, we’re back to our original world where the non-happening of those things actually happened, leaving those things utterly unhappened.
Let’s not forget, though: that real world is a world in chaos. So much chaos, in fact, that the Professorian was able to sense it even three parallel worlds over. And he felt he had something to do about it, so he got into the closest equivalent of a virtual-reality-cubicle which his current world has to offer – which is, essentially, and old beer barrel with a rather complex hex placed on it. There might have been multiple iterations of thinking twice about that decision before he actually went through with it, but that’s not proven at this point.
This enabled him to appear behind Mopey at a crucial moment, appearing for all the world like her expected nemesis, but really just her mentor and friend – but, fortunately, backing up my earlier statement that an actual and serious confrontation between the Professor and Mopey remains in the realm of the possible for some future point in time. Given how extremely vast the realm of the possible is in the BMC, and how fuzzy its already generous borders are, it would actually pretty hard for something like this to stay out of it entirely, even if it tried very hard. >_>
And while the Barbessor stated, quite correctly, that he would now finally be able to offer an explanation…I see he’s successfully stalled for long enough to push that forward into the next strip. How typical of him. >_>
Thus, more on Thursday.
Methinks that Bobby doesn’t have that kind of vocabulary just yet (being “almost ten” in canon), thus this is some diabolical trick.
Actually I wouldn’t be surprised if the Professor was so gifted that he actually already had that kind of vocabulary when he was almost ten for the first time, let alone the second. XD
There are 3 limiters to a B-Movie’s creativity: The writer’s access to better-written plots, their budget, and their shame.
That’s why B-movies written by shameless writers tend to be a bit better – they have only two of those limiters. (Partly offset by the fact that the productions that hire shameless writers tend to have even lower budgets…)