Miss-Goldenweeks-A-Baroque-Reunion

Chapter → Volume map

Per-volume beat log

• Vol. 2 — “Newspaper, Please” (Ch. 360): Miss Goldenweek on a tropical shore points up at a Karoo-like duck-billed bird perched in a tree; she wants a newspaper. The serial’s information-gathering premise (track the survivors via the press) is set.
• Vol. 3 — “Baroque Works Collapses; I See My Comrades for the First Time” (Ch. 361): A Baroque Works officer-roster newspaper spread above Goldenweek, Crocodile, and Bon Clay (Bentham) — the thesis page: the org has fallen and Goldenweek now looks to find her former comrades.
• Vol. 4 — “Let’s Go to the Prison” (Ch. 362): Mr. 5, Miss Valentine, and Goldenweek gather supplies while a wanted-looking Bon Clay hangs upside-down in the background — the plan turns toward springing jailed comrades.
• Vol. 5 — “The Yellow-Green of Friendship Colors Trap — Give Us a Ride” (Ch. 363): Mr. 3 joins on-page; Goldenweek deploys her “Friendship” yellow-green Color Trap to bum a ride. (Her Color Trap power, an Alabasta-arc combat ability, repurposed as travel-comedy.)
• (continuity inset) (Ch. 364): A minimal rough-sketch panel (p. 3) of three figures walking, one in a beret — the group is on the move; no full installment.
• Vol. 6 — “Great Escape from the Island of Giants” (Ch. 365): Mr. 5 rides a pteranodon carrying Miss Valentine, fleeing a horned giant below — an explicit Little Garden callback (Dorry & Brogy’s island of giants, the pair’s old battlefield).
• Side Story — “Giant Island, Afterwards” (Ch. 366): A coda to the giant-island escape; Goldenweek, Mr. 3, Mr. 5, and Miss Valentine regroup.
• Vol. 7 — “Ink Washes Off in the Rain” (Ch. 367): A disguise/ink gag — the painted-color theme (Goldenweek paints, the rain undoes it). Setback en route.
• Vol. 8 — “The Fall to Vacation Island” (Ch. 368): The survivors’ hot-air balloon crashes onto a resort island (“KABOOM!”). They wash up on a vacation spot.
• Vol. 9 — “The Navy Was on Vacation Island” (Ch. 370): Bad luck — Goldenweek (with suitcase) and Mr. 5 land amid a Marine-uniformed crowd: the resort is Navy-occupied. The Hina-pursuit pressure mounts.
• Vol. 10 — “Today: Fun Hunting Down the Survivors!” (Ch. 371): Goldenweek lounges beachside reading a “JUSTICE” newspaper whose caption flags the Marines are actively hunting the Baroque Works survivors — the antagonist of the serial named.
• Vol. 11 — “Mr. 2: An Expert at Breaking Out of Prison” (Ch. 372): Goldenweek (backpack, beret), Miss Valentine (parasol, polka-dot dress, bowler), and a tall spiky-haired dark-coated figure (Mr. 1 / Daz Bones) study a WANTED poster: “MR.2·BON·CLAY — 32,000,000.” Sets up springing the jailed Bon Clay.
• Vol. 12 — “We Tried Disguises” (Ch. 374): Goldenweek, Mr. 5, Miss Valentine, and Mr. 3 all in disguise to slip past the Marine dragnet.
• Vol. 13 — “Hina’s Discovery” (Ch. 375): Marine Captain Hina holds three info/wanted cards on the Baroque Works members while the captured agents look on — the hunter is closing in.
• Vol. 14 — “Hina Strikes” (Ch. 376): Hina captures Baroque Works members in her cage-frame (her Cage-Cage / Awa Awa-style restraint Devil Fruit) — agents pass straight through her body and lock into iron rings.
• (continuity inset) (Ch. 377): A crowd of suited riflemen with a panda-masked figure raising a fist (p. 3) — escalation panel; no full installment.
• Vol. 15 — “Escape” (Ch. 378): Two suited men (one with a large afro) sprint through smoke — a breakout / getaway from Hina’s net.
• Vol. 16 — “Ms. Valentine is Captured” (Ch. 380): Miss Valentine is shown bound to a pillar; Ms. Doublefinger joins the cast — the jailbreak side-story turns into a rescue (a comrade is now the hostage).
• Vol. 17 — “Show Yourself!!” (Ch. 381): A Navy notice demands the three remaining Baroque Works fugitives surrender, or Miss Valentine will hang — Hina uses the captured comrade as bait.
• Vol. 18 — “Escapee From Kyuka Island” (Ch. 382): A hooded, skull-faced figure (Mr. 3 in costume) aboard a striped-sail ship — Mr. 3 has slipped the “Vacation Island” (Kyuka-jima) net and is running.
• (continuity inset) (Ch. 383): “The winner takes it all” — a figure rides a giant hawk through the clouds (p. 2) — transit panel; no full installment.
• Vol. 19 — “Wait a Second” (Ch. 384): Mr. 3 silhouetted atop a wax/clay craft marked “3” — his Doru Doru (Wax-Wax) powers put to use as a vehicle; he hesitates / has second thoughts.
• Vol. 20 — “You Must Not Fail in Life” (Ch. 385): Goldenweek and Mr. 3 — a wry “don’t blow it” beat as the rescue plan comes to a head.
• Vol. 21 — “Help!” (Ch. 386): A beached / wrecked ship with figures crying for help — the rescue runs into trouble.
• (No Baroque cover panel @ Ch. 387 — its p. 1 is the GEAR SECOND color title spread; the Vol. 22 caption “Mr. 3 Surrenders?!” prints on the next chapter’s title page and belongs to Ch. 388.)
• Vol. 22 — “Mr. 3 Surrenders?!” (Ch. 388): Confirmed on the Ch. 388 title-page header (p. 1, alongside the “GEAR TWO” splash): Mr. 3 is shown bound on a cart as if captured/surrendering, with other Baroque Works figures present — the “Help!” wreck (Vol. 21) pays off into Mr. 3’s apparent capture. The ”?!” caption flags it as a likely fake-out/cliffhanger rather than a true defeat.
• Vol. 23 — “Explosion!! The Fake Mr. 3’s Oh, Come My Way Karate” (Ch. 389): Confirmed on the Ch. 389 title page (p. 1). Ms. Goldenweek and the disguised Baroque Works officers feature; a “Surrender” flag and the round-bottom Mr. 3-”3” silhouette figure being launched by a karate blow — paying off the “Mr. 3 Surrenders?!” (Vol. 22) cliffhanger as a fake-out: the “Mr. 3” who appeared to surrender is revealed as an impostor (“The Fake Mr. 3”), dispatched with comedic “Oh, Come My Way Karate.” The captured-Mr.-3 cliffhanger resolves into a gag, the real cast slipping the net again.
• Vol. 24 — “The Destined Showdown!! Mr. 2 vs. Black Cage Hina” (Ch. 390): Confirmed on the Ch. 390 title page (p. 1), image-verified. The serial’s two poles finally collide: Bon Clay (Mr. 2 / Bentham) strikes his okama-ballet pose facing off against Marine Captain Hina (“Black Cage Hina,” her epithet) on a rocky shore. Ms. Goldenweek and Mr. 3 watch from the rise behind; a downed figure and other Baroque Works agents are strewn in the foreground. The “destined showdown” caption frames Bon Clay — the serial’s recurring jailbreak target (“Mr. 2: An Expert at Breaking Out of Prison,” Vol. 11) — directly confronting the hunter who has caged the survivors all serial. The Mr.-2-vs-Hina duel is the serial’s climactic confrontation beat.
• (No Baroque cover panel @ Ch. 391 — its pp. 1–2 are the decorative Chopper “THE GIRL” winter title splash; the serial skips a chapter and resumes at Ch. 392.)
• Vol. 25 — “The Captain’s True Power” (Ch. 392): Confirmed on the Ch. 392 title page (p. 1), image-verified. A dynamic full-power action splash of Bon Clay (Mr. 2 / Bentham) mid-leap in his okama-ballet swan-pose — one leg kicked high, arms swept, “GAKI-N!” impact lettering crashing behind him. This directly pays off the Vol. 24 “Destined Showdown!! Mr. 2 vs. Black Cage Hina” cliffhanger: the “captain” (Mr. 2, the survivors’ de-facto leader/jailbreak expert) unleashes his true power against Hina — the okama-kenpo combat the showdown promised. The serial’s climax escalates from face-off (Vol. 24) into the duel proper (Vol. 25).
• Vol. 26 — “Wait For An Opening And Rescue” (Ch. 393): Confirmed on the Ch. 393 title page (p. 1), image-verified. A dynamic full-page action splash of the freed Baroque Works agents leaping/scattering through a cloud of smoke — Bon Clay (Mr. 2 / Bentham, the horizontal-striped legs, mid-leap), Mr. 5 and Miss Valentine flung clear, with Ms. Goldenweek the small beret-wearing figure at the bottom centre. The caption — “Wait For An Opening And Rescue” — reframes the climactic Mr.-2-vs-Hina duel (Vols. 24–25) into a rescue beat: the survivors bide their time and break their captured comrade(s) loose in the confusion of Bon Clay’s fight. The serial returns to its founding premise — springing jailed/cornered Baroque Works officers — now under live combat.
• (No Baroque cover panel @ Ch. 394 — its p. 1 is the B&W “THE DEMONS OF OHARA” title page [adult Robin + a carved Poneglyph-like stone] and p. 2 the “demons of the forest” Luffy-and-tiger splash; the serial skips a chapter and resumes at Ch. 395.)
• Vol. 27 — “Taking Over the Ship with ‘Betrayal Black’” (Ch. 395): Confirmed on the Ch. 395 title page (p. 1), image-verified. The Baroque Works survivors have seized Hina’s striped Marine warship — the vessel still flies its “HINA / MARINE” sail banner, but the figures crewing its tiger-striped, smiling-figurehead hull are the escaped officers (a small parasol-shaded figure lounges at the stern). The caption’s “Betrayal Black” names the gambit — turning Hina’s own ship against her — paying off the Vol. 26 “Wait For An Opening And Rescue” rescue beat: having broken their comrade(s) loose in the confusion of the Mr.-2-vs-Hina duel (Vols. 24–26), the survivors now commandeer the hunter’s ship for their getaway. The tables turn on Black Cage Hina with her own warship.
• Vol. 28 — “Onward to the Navy Prison” (Ch. 396): Confirmed on the Ch. 396 title page (p. 1), image-verified. An establishing landscape splash of a Marine fortress-island prison — a walled castle-keep of towers with diagonal-striped conical roofs and pennant flags, set on a small island ringed by a low seawall stamped with the “MARINE” gate emblem, palm trees flanking the gate. A striped-sail ship approaches from the right (the commandeered Hina warship from Vol. 27, now crewed by the escaped officers). The caption — “Onward to the Navy Prison” — pays off the Vol. 27 “Taking Over the Ship with ‘Betrayal Black’” beat: having seized Hina’s own vessel (Vol. 27), the Baroque Works survivors now sail it toward a Navy prison-island — returning the serial to its founding “Let’s Go to the Prison” (Vol. 4) premise of springing jailed comrades, now with the hunter’s own warship as the means of infiltration.
• Vol. 29 — “Pretending to be Captured to Infiltrate the Prison” (Ch. 397): Confirmed on the Ch. 397 title page (p. 1), image-verified. The Baroque Works officers file up a flight of stone steps toward the palm-flanked Navy fortress-prison (the destination of Vol. 28), roped together in single file to feign being captured prisoners — a masked/hooded figure (Mr. 3 in his Kyuka skull-costume from Vol. 18), the afro’d Ms. Goldenweek in beret tied mid-line, Miss Valentine with parasol, and the tall coated Bon Clay (Mr. 2 / Bentham) at the rear holding the rope. The caption — “Pretending to be Captured to Infiltrate the Prison” — pays off the Vol. 28 “Onward to the Navy Prison” approach: having sailed Hina’s commandeered warship to the prison-island, the survivors now execute the infiltration gambit — walking in disguised as a prisoner transport. This directly leverages Bon Clay’s serial-long “expert at breaking out of prison” rep (Vol. 11) and consummates the founding “Let’s Go to the Prison” (Vol. 4) plan: they reach the prison gates and fake a capture to get inside.
• Vol. 30 — “The Strongest Suspects” (Ch. 398): Confirmed on the Ch. 398 title page (p. 1, above the “DECLARATION OF WAR” chapter header), image-verified. The Baroque Works officers are now shown bound inside the prison in striped convict uniforms, seated behind a barred-grid window — the fake-capture infiltration (Vol. 29) has landed them inside: a bespectacled tall figure (Mr. 1 / Daz Bones), Mr. 5 and Miss Valentine among the striped-prisoner cluster, and the small slumped figures in front. The caption — “The Strongest Suspects” — wryly reframes the disguised survivors as the most dangerous “suspects” in the cells, paying off the Vol. 29 “Pretending to be Captured to Infiltrate the Prison” gambit: the prisoner-transport ruse has succeeded and the officers are now in the Navy prison they sailed Hina’s commandeered warship (Vols. 27–28) to reach.
• Vol. 31 — “Long Time No See!! (The old woman not seen in a long time) and the young lady I’m meeting for the first time” (Ch. 399): Confirmed on the Ch. 399 title page (p. 1, above the “JUMP TOWARD THE WATERFALL!!” chapter header), image-verified. The Baroque Works officers are shown inside a stone prison cell, in horizontal-striped convict uniforms, behind iron bars — a tall bowler-hatted striped figure standing at left (Miss Valentine), the afro’d beret-wearing Ms. Goldenweek seated centre, and a dark-haired seated woman at right, with further figures slumped/sprawled behind the bars. The caption’s framing — “the old woman not seen in a long time” (a reunited long-lost comrade) and “the young lady I’m meeting for the first time” (a new face among the cellmates) — keeps the serial’s founding reunion premise alive even now: having infiltrated the prison as fake captives (Vol. 29) and landed inside as “The Strongest Suspects” (Vol. 30), the survivors now meet up with more of the scattered Baroque Works diaspora behind bars. The strip continues to run as a B-plot in parallel with the main Enies Lobby Rocketman beat; it has not yet fused into the main narrative.
• Vol. 32 — “Let’s Reunite!” (Ch. 400): Confirmed on the Ch. 400 title page (p. 1, above the “THE KEY TO FREEDOM” chapter header), image-verified. The Baroque Works officers are shown inside a stone prison cell behind iron bars, in horizontal-striped convict uniforms — the afro’d, freckled Ms. Goldenweek seated centre-left, Mr. 5 and Miss Valentine among the striped cluster, a tall figure at far right (Mr. 1 / Daz Bones), and further figures slumped/standing behind the bars. The caption — “Let’s Reunite!” — restates the serial’s founding reunion premise verbatim now that the fake-capture infiltration has put the whole scattered group together inside the Navy prison: having sailed Hina’s commandeered warship to the prison-island (Vols. 27–28), walked in roped-up as fake captives (Vol. 29), landed in convict stripes as “The Strongest Suspects” (Vol. 30), and met the long-lost / new cellmates (Vol. 31), the survivors now consummate the reunion behind bars. The strip still runs as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is the Rocketman crash into the Tower of Law and the “key to freedom” sea-prism-cuff scavenger hunt); it has not yet fused into the main narrative.
• (installment art) (Ch. 401): The 0401 title page (p. 2, headed only “Chapter 401:”) carries a dramatic full-page prison break-out splash — image-verified: a huge tusked mammoth/elephant rears over a smoke-and-rubble blast while a muscular Baroque Works officer (Mr. 5, in Miss Valentine’s cow-spot motif trousers) bursts free mid-air, a wheeled cannon firing beside him and small fleeing figures scrambling toward a little boat amid the debris. This page bears no Vol. caption of its own (only the chapter header), per the serial’s caption-on-next-page habit (cf. Vol. 22 @ Ch. 388); the Vol. 33 caption and a separate escape splash land on the next chapter’s title page (Ch. 402).
• Vol. 33 — “Six Prisoners + Dog Make Their Escape” (Ch. 402): Confirmed on the Ch. 402 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 33: ‘SIX PRISONERS+DOG MAKE THEIR ESCAPE’” printed beneath the panel. The art is a prison-escape establishing splash: a tiered Marine fortress-keep (the diagonal-striped conical-roofed towers and the “MARINE” gate emblem of the Vol. 28 prison-island) with six small figures + a dog scrambling up and over the towers to flee, palm trees flanking the walled base, the sea below. The caption — “Six Prisoners + Dog Make Their Escape” — pays off the Vol. 30–32 “inside the prison” beats: having infiltrated as fake captives (Vol. 29), landed in convict stripes as “The Strongest Suspects” (Vol. 30), and consummated the reunion behind bars (Vols. 31–32), the six reunited Baroque Works survivors (plus an animal “Dog” companion) now break OUT of the Navy fortress-prison — the serial’s “Let’s Go to the Prison” (Vol. 4) plan completing its arc from infiltration to escape (the 0401 mammoth-blast splash above is the same break-out beat from a different angle). The strip still runs as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is the interior Tower-of-Law duels — Zoro & Sogeking vs. Kaku & Jabra, the sea-prism handcuff/ key puzzle, Luffy reaching the cut waterway); it has not yet fused into the main narrative.
• Vol. 34 — “Declining the Escape. Just Not in the Mood” (Ch. 403): Confirmed on the Ch. 403 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 34: ‘DECLINING THE ESCAPE. JUST NOT IN THE MOOD’” printed beneath the panel. The art is a prison-interior gag splash: the long-haired, grinning Mr. 3 (Galdino), seated cross-legged in horizontal-striped convict stripes against the cell’s stone wall, calmly lights the fuse of Mr. 5’s round nose-bomb (the curl-fused bomb between them, smoke wisping up) while Mr. 5 stands at right, also in convict stripes. The caption — “Declining the Escape. Just Not in the Mood” — pivots off the Vol. 33 “Six Prisoners + Dog Make Their Escape” break-out: even as the others bolt, Mr. 3 (and Mr. 5) opt out of the jailbreak — deadpan-content to stay put and idle the time away in the cell. A comic deflation of the escape beat: the serial’s recurring cast splinters, some leaving and some “not in the mood.” The strip still runs as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is Sanji’s chivalry loss to Kalifa and Luffy’s Gear Third debut smashing the World-Government door); it has not yet fused into the main narrative.
• Vol. 35 — “Color Trap: Rainbow-Colored Dreams! The Ideal Transformation!” (Ch. 404): Confirmed on the Ch. 404 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 35: ‘COLOR TRAP: RAINBOW-COLORED DREAMS! THE IDEAL TRANSFORMATION!’” printed beneath the panel. The art is a Color-Trap dream splash: the Baroque Works survivors — still in horizontal-striped convict uniforms — stand on a curved railed balcony/turret beneath a great arching rainbow in a fantastical sparkle-and-cloud sky (the afro’d, freckled Ms. Goldenweek seated at the rail centre-left, Mr. 5 and Miss Valentine flanking, a tall figure at right), small boats and a glittering harbor below. The caption names Ms. Goldenweek’s signature “Color Trap” power — here projecting “Rainbow-Colored Dreams” / “The Ideal Transformation”: her paint-based mood power (an Alabasta-arc combat ability) repurposed to conjure an idyllic shared fantasy for the imprisoned survivors. This pivots off the Vol. 34 “Declining the Escape. Just Not in the Mood” beat: rather than break out, the cast lingers in the cell while Goldenweek paints them a utopian dream of escape/freedom — the “ideal transformation” they’d rather imagine than execute. A wistful, color-theme deflation that keeps the serial’s Color-Trap motif central. The strip still runs as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is the Franky-vs-Fukuro pantry brawl, the cola-refuel fight, and child-shrunk Luffy racing back to reach Robin); it has not yet fused into the main narrative.
• Vol. 36 — “Transformation! A Princess, an Artist and Paula from the Pub” (Ch. 406): Confirmed on the Ch. 406 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 36: ‘TRANSFORMATION! A PRINCESS, AN ARTIST AND PAULA FROM THE PUB’” printed with the panel. The art is a costumed-transformation gag splash set in a domed hall: Ms. Goldenweek cast as “the artist” (her Color-Trap painter identity), a costumed Mr. 3 (Galdino) decked out as “a Princess,” and Ms. Doublefinger reframed as “Paula from the Pub” (a barmaid persona — a nod to Doublefinger’s Alabasta “Paula” bar-owner cover identity). The caption — “Transformation!” — pivots off the Vol. 35 “Color Trap: Rainbow-Colored Dreams! The Ideal Transformation!” dream-of-escape beat: having lingered in the cell while Goldenweek painted a utopian “ideal transformation” rather than breaking out (Vol. 35), the survivors now act it out — dressing up / transforming into new roles (princess, artist, barmaid). A costume-comedy beat that keeps the serial’s Color-Trap / disguise motif central and re-surfaces Ms. Doublefinger’s “Paula” alias. The strip still runs as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is Franky finishing Jabra with the max-power Cola Cannon and Kumadori’s Life Return introduction against the chained Zoro / Sogeking / Chopper trio); it has not yet fused into the main narrative.
• Vol. 37 — “A Chocolatier, a Fireman, a Pizza Delivery Man and a Tank” (Ch. 407): Confirmed on the Ch. 407 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 37: ‘A CHOCOLATIER, A FIREMAN, A PIZZA DELIVERY MAN AND A TANK’” printed beneath the panel. The art is a civilian-job costume gag splash set in a domed mall-like hall: Ms. Goldenweek cast as “a Chocolatier” (holding a cake/chocolate dessert aloft, a “CHOCO” placard on her striped dress), Mr. 5 decked out as “a Fireman” (full firefighter helmet and turnout coat), and the tall figure at right (Mr. 3, Galdino) as the “Pizza Delivery Man” balancing a stack of “Pizza 4” boxes under a “Pizza 4 — within 30 hours” sign, with the tank (and a small dog) parked below. The caption — “A Chocolatier, a Fireman, a Pizza Delivery Man and a Tank” — directly continues the Vol. 36 “Transformation! A Princess, an Artist and Paula from the Pub” costume beat: having play-acted Goldenweek’s Color-Trap escape-fantasy in princess/artist/barmaid roles (Vol. 36), the survivors now adopt a fresh set of mundane civilian-job personas (chocolatier, fireman, pizza courier) — the Color-Trap / disguise transformation motif rolling forward as straight role-play comedy. A whimsical occupational gag with no plot advance; the recurring cast stays in costume mode. The strip still runs as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is Chopper’s triple-Rumble-Ball monster transformation defeating Kumadori — the chapter title “Monster” — and the opening of Nami vs. Kalifa); it has not yet fused into the main narrative.
• Vol. 38 — “Pirate King and Hero” (Ch. 408): Confirmed on the Ch. 408 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 38: ‘PIRATE KING AND HERO’” printed beneath the panel. The art is a two-survivor seated tableau set against the cell’s diagonal-striped stone hall: Mr. 1 (Daz Bones, left) sits long-coated and spiky-haired, hands resting before a melted/dripping wax mass; Bon Clay (Mr. 2 / Bentham, right) sits beside him in his striped okama costume with the swan-crest collar and high boots. A small skull-and-crossbones banner hangs overhead, and a melted Mr. 3 wax candle-figure slumps at their feet (Galdino’s Doru Doru handiwork run down to a puddle). The caption — “Pirate King and Hero” — wryly casts the two seated ex-Baroque-Works heavies in grandiose archetype roles (the King-and-Hero pairing), the latest beat in the serial’s costume/role-play run (cf. Vols. 36–37’s princess/artist/barmaid and chocolatier/fireman/pizza-courier gags). The strip continues as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is the Nami vs. Kalifa soap-bubble fight and Luffy crashing into the underground passage to face Rob Lucci — “Welcome.”); it has not yet fused into the main narrative.
• Vol. 39 — “A Deserted House Found in a Certain Wasteland” (Ch. 409): Confirmed on the Ch. 409 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S PLAN, A BAROQUE REUNION, VOL. 39: ‘A DESERTED HOUSE FOUND IN A CERTAIN WASTELAND’” printed beneath the panel (B&W, not a color spread). The art is a desert-establishing splash: a ramshackle two-story cactus-shaped house standing alone in an arid wasteland, weathered signage reading “GACT…” / “SELL N…” across its front, a tall saguaro cactus at left and scrub dotting the sand, a vulture wheeling overhead, and several Baroque Works survivors in silhouette gathered at the building’s base. The caption — “A Deserted House Found in a Certain Wasteland” — pivots the serial out of the Navy-prison stretch (Vols. 28–38) into a new locale: having broken out of the fortress-prison (“six prisoners + dog,” Vol. 33) and run through the costume / role-play beats (Vols. 36–38), the survivors now turn up at an abandoned house in a desert wasteland — a fresh way-station for the diaspora, the wasteland setting evoking their old Alabasta desert-kingdom origins. The strip continues as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is Spandam accidentally triggering the Buster Call via the Golden Transponder Snail, Robin’s island-wide broadcast warning, and the Luffy vs. Rob Lucci collision at the Bridge of Hesitation); it has not yet fused into the main narrative.
• Vol. 40 — “Everyone’s Here to Open New Spiders Café” (Ch. 411): Confirmed on the Ch. 411 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S BIG PLAN, A BAROQUE REUNION, VOL. 40: ‘EVERYONE’S HERE TO OPEN NEW SPIDERS CAFÉ’” printed beneath the panel (B&W, beneath the “Chapter 411: Nami vs. Kalifa” header). The art is a café-grand-opening tableau set under a storefront awning reading “Café”: the Baroque Works survivors have reopened a new Spiders Café and are working it in waiter/cook costume — a frilly-dressed Mr. 3 (Galdino) serving a tiered cake at left, Mr. 5 and Miss Valentine among the staff carrying dishes, Ms. Doublefinger (the “Paula”-barmaid alias from Vol. 36) at right, a survivor seated reading at a café table, and a dog flopped in the foreground. The caption — “Everyone’s Here to Open New Spiders Café” — pays off the Vol. 39 “A Deserted House Found in a Certain Wasteland” beat: the deserted cactus-shaped house the diaspora turned up at in the wasteland (Vol. 39) is renovated into a “New Spiders Café,” explicitly reviving the Spiders Café name of Baroque Works’ old Alabasta operational HQ. This is a notable convergence point: the serial’s reunited survivors settle into a café callback to the org’s founding haunt — the same locale that anchors the sister Skypiea-era cover serial Robin-at-Spiders-Cafe-Baroque-Works-After-Tale (Robin at the original Spiders Café). The strip continues as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is Luffy vs. the door-guardian Rob Lucci at the “WORLD GOVT” door, the Buster Call triggered island-wide, and Nami vs. Kalifa’s named “Golden Bubbles”); it has not yet fused into the main narrative.
• Vol. 41 — “Misters 0, 1, 2 and 3” (Ch. 412): Confirmed on the Ch. 412 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S BIG PLAN, A BAROQUE REUNION, VOL. 41: ‘MISTERS 0, 1, 2 AND 3’” printed beneath the panel (B&W, beneath the “Chapter 412: You Missed Your Chance” header). The art is a prison-cell tableau against a stone wall with a small barred window above: Crocodile (Mr. 0) seated upright at left, his signature hook prosthetic resting on his knee; Mr. 1 (Daz Bones) seated long-coated and spiky-haired at right; and in the smoke-wreathed foreground a striped-legged Bon Clay (Mr. 2 / Bentham) and a round-bottomed Mr. 3 “3”-marked figure sprawled / slumped on the floor. The caption — “Misters 0, 1, 2 and 3” — names the four officer-agent ranks gathered in the cell, and is a notable escalation: this is the first installment to put Crocodile (Mr. 0) — the org’s founder/boss — bodily on-page in the cell alongside his top numbered officers (Mr. 1, Mr. 2, Mr. 3). Crocodile had previously appeared in the serial only as a picture in the roster-newspaper thesis page (Vol. 3); here the reunion pulls the boss himself into frame. This pivots off the Vol. 40 “Everyone’s Here to Open New Spiders Café” beat — the café-reopening having gathered the diaspora — and now lines up the top of the Baroque Works hierarchy (Misters 0–3) together behind bars/in the cell, directly pre-loading the Impel Down line-up (Crocodile, Daz Bones, Mr. 3, Bon Clay all become Impel Down / Marineford main-plot figures). The strip continues as a B-plot in parallel with the main Enies Lobby beat (this chapter’s main story is Nami finishing Kalifa with Thunder Lance Tempo, the Franky/Nami reunion, and Tony Tony Chopper’s Rumble-Ball-overdose monster rampage); it has not yet fused into the main narrative.
• FINALE — “Sentenced to Incarceration in the Great Prison Impel Down” (Ch. 413): Confirmed on the Ch. 413 title page (p. 1), image-verified — full art and caption together: “MS. GOLDEN WEEK’S BIG PLAN, A BAROQUE REUNION, THE FINALE: ‘SENTENCED TO INCARCERATION IN THE GREAT PRISON IMPEL DOWN’” printed beneath the panel (B&W, beneath the “Chapter 413: Hunter” header). The art is a mugshot-style four-panel grid of the Baroque Works officer agents — grinning, scarred, and sweating faces (Mr. 1 / Daz Bones, Mr. 2 / Bon Clay, et al.) — overstamped diagonally with a red “Desperate Criminal” (凶悪犯) booking seal. The caption — “Sentenced to Incarceration in the Great Prison Impel Down” — is the serial’s terminal beat and its explicit hand-off into main canon: the reunited Baroque Works survivors the strip has tracked all through Water Seven / Enies Lobby (the prison infiltration/escape run of Vols. 28–33, the costume gags of Vols. 34–41, and the Misters-0-1-2-3 cell line-up of Vol. 41) are now sentenced to Impel Down, the Great Prison — the exact main-plot location where Bon Clay (Mr. 2), Mr. 3 (Galdino), Crocodile (Mr. 0) and Mr. 1 (Daz Bones) all resurface in the Impel Down → Marineford arc. With this caption the cover serial stops being a parallel B-plot and merges into the main narrative — its cast’s on-page status (jailed, sentenced, bound for Impel Down) is now the premise the main plot will cash in. This is the merged-into-main-plot payoff the file was holding the payoff_chapter open for; see the Foreshadowing entry Goldenweek Baroque Reunion Cover Serial Sentences Cast To Impel Down (technique/cover-story-payoff). (The serial’s main story this chapter is the interior Tower-of-Law duels — Zoro vs. the transformed Kaku, Sogeking vs. Jabra, and Sanji arriving as “The Hunter.”)

Recurring cast

Plot-payoff potential — FLAGGED

Cross-references

• Predecessor serial: Miss-Goldenweeks-Operation-Meet-Baroque-Works — the ch. 121–126 Mr.-3 + Goldenweek strip whose premise was meeting Baroque Works. This note is its successor (the reunion after the collapse); they share Goldenweek
  • Mr. 3 but are distinct serials. Do not merge.
• Sister cover serials of the same Baroque-Works diaspora: Robin-at-Spiders-Cafe-Baroque-Works-After-Tale (Robin’s Skypiea-era Spiders-Café vignette) and Wapols Omnivorous Rampage (a different Alabasta-villain after-tale).
• Baroque Works — the collapsed organization whose survivors this serial tracks.
• Little Garden — the “Island of Giants” of Vols. 6 / Side Story.
• Alabasta — the org’s defeat that scattered these agents.
• Main-plot rejoin targets: Impel Down and Marineford (Bon Clay, Daz Bones, Crocodile, Mr. 3) — see the seed-payoff callout above.

Notes

• Status: merged-into-main-plot as of the FINALE Ch. 413 — its caption “Sentenced to Incarceration in the Great Prison Impel Down” (image-verified, 0413 title page p. 1; a mugshot-style four-panel grid of the Baroque Works officer agents under a red “Desperate Criminal” 凶悪犯 booking seal) delivers the tracked cast to Impel Down, ending the serial and handing its officers (Bon Clay, Mr. 3, Crocodile, Daz Bones) to the Impel Down → Marineford main plot. The immediately prior installment was Vol. 41 “Misters 0, 1, 2 and 3” at the Ch. 412 frontier (confirmed via the full art + caption together on the 0412 title page, p. 1, image-verified — a prison-cell tableau against a barred-window stone wall: Crocodile (Mr. 0) seated upright at left with his signature hook, Mr. 1 (Daz Bones) seated at right, and a striped Bon Clay (Mr. 2) and a round-bottomed “3”-marked Mr. 3 sprawled in the smoke-wreathed foreground — the first installment to put the org’s founder Crocodile bodily on-page in the cell (previously only a roster-newspaper picture, Vol. 3), gathering the top of the Baroque Works hierarchy “Misters 0, 1, 2 and 3” together and near-explicitly pre-loading the Impel Down line-up. The immediately prior installment was Vol. 40 “Everyone’s Here to Open New Spiders Café” — a café-grand-opening tableau under a “Café” awning: the reunited Baroque Works survivors reopen a “New Spiders Café” and work it in waiter/cook costume, a frilly-dressed Mr. 3 serving a tiered cake, Mr. 5 / Miss Valentine among the staff, Ms. Doublefinger (her “Paula” barmaid alias) at right, a survivor reading at a café table, a dog flopped in front; the Vol. 39 desert-house way-station renovated into a café reviving the name of Baroque Works’ old Alabasta Spiders- Café HQ — the same locale anchoring the sister serial Robin-at-Spiders-Cafe-Baroque-Works-After-Tale. The immediately prior installment was Vol. 39 “A Deserted House Found in a Certain Wasteland” — a desert-establishing splash of a ramshackle cactus-shaped two-story house alone in an arid wasteland, weathered “GACT…” / “SELL N…” signage, a saguaro cactus and a wheeling vulture, the Baroque Works survivors gathered in silhouette at its base; the diaspora’s new desert way-station, echoing their old Alabasta origins — the costume/role-play run [Vols. 36–38] giving way to a fresh locale, now reopened as the New Spiders Café in Vol. 40. The Vol. 38 installment was “Pirate King and Hero” — a two-survivor seated tableau: Mr. 1 (Daz Bones, long-coated, spiky-haired) and Bon Clay (Mr. 2 / Bentham, striped okama costume, swan-crest collar) seated side-by-side in the striped stone hall, a small skull-and-crossbones banner overhead and a melted Mr. 3 wax candle-figure at their feet, the caption wryly casting the pair as “Pirate King and Hero” — the costume/role-play run rolling forward from Vol. 37’s chocolatier/fireman/pizza-courier gag; the survivors having sailed the commandeered Hina warship [Vol. 27] to a Marine fortress-island prison [Vol. 28], walked in roped-up as a fake prisoner transport [Vol. 29], landed in convict stripes inside as “The Strongest Suspects” [Vol. 30], met the long-lost / new cellmates [Vol. 31], consummated the reunion with the whole scattered Baroque Works diaspora behind bars [Vol. 32], broke back OUT of the Navy prison as “six prisoners + dog” [Vol. 33], splintered as some declined the escape [Vol. 34], lingered to dream a utopian “ideal transformation” via Color Trap [Vol. 35], play-acted that transformation in costume [Vol. 36], donned new civilian-job costumes [Vol. 37], and now sit as a “Pirate King and Hero” tableau [Vol. 38], completing the serial’s “Let’s Go to the Prison” [Vol. 4] founding premise from infiltration through escape). A long, beat-rich Baroque-Works diaspora B-plot that runs the whole Enies Lobby raid.
• Caption-on-next-page: the Ch. 401 mammoth break-out splash (p. 2) bears no Vol. caption of its own; the Vol. 33 caption — and a separate fortress-escape splash — print together on the Ch. 402 title page (p. 1) — same caption-on-next-page habit as Vol. 22 @ Ch. 388.
• Caption drift: title-page English alternates “Big Plan” / “Plan” and “A Baroque Reunion” / “A Baroque Works Reunion” — treated as one serial throughout.
• Backfill outstanding: Vol. 1 host chapter (pre-0360, likely ~0356–0359) is unconfirmed — see the Vol. 1 backfill flag above.