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Phantom
Phantom
Phantom

VIZ Media name

Phantom[1]

Variant

Espejismo[2] (es-es), illusion[3] (fr), mirragio[4] (it), Фантом[5] Fantom (ru)

Original name

幻影[6] Gen'ei Speaker (Phantom)

Class

Offensive:[7] 瞬発速撃[8] Madokahatsu soku geki Speaker (Instant Speed Attack)

Description

Attacking target while dodging counterattack, using hyper-speed and mirage

Status

Extant

User

Miria

Associated technique

New Phantom

Quote

For a brief moment, you can move at a frightening speed. For that instant, you're faster than any other warrior.[9]

First appearance

Scene 28, Anime Scene 10

EtymologyEdit

幻影 translates as "phantom" or "illusion." Alludes to afterimage created from hyper-fast movement.

Miria's datasheet names and describes the technique.[10] In the VIZ Media translation, the Paburo awakened mentions Miria's nickname, "Phantom," in Scene 28.[11] But only in Scene 58 does Clare actually name the technique,[12] as she does in other translations.

DescriptionEdit

Instant Attack Speed enables this technique: releasing bursts of Yoma power enables hyper-fast movement, leaving afterimage in opponent's vision, creating confusion.[13]

Hyper-fast stop-and-go movement creates multiple images. Also, hyper-fast movement dodges counterattack.[14] At time of Organization evaluation, Miria's Yoma power baseline (B+) limits Phantom to 20-30 moves. [15]

Yoma power usage 60–high-70%,[16] Yoma power control 75%,[17] attack speed 75%.[18] Technique third fastest.[19] See Yoma power chart and Sword chart.

The Phantom resembles the technique used in Norihiro Yagi's earlier series, Angel Densetsu.[20]

Proto-Phantom
"Phantom" in Angel Densetsu

HistoryEdit

Phantom MiriaEdit

In flashback, Ermita notes new Miria's technique. He tells Ophelia that Miria will be promoted to single-digit status.[21]

Paburo MountainsEdit

During the Paburo hunt, Miria's companions are lying wounded. She recovers everyone.[22]

Claymore Phantom01:04

Claymore Phantom


Phantom in action

The Paburo awakened cannot score a hit with his tentacles. He can only strike mirages.[23]

But he suspects that Miria has limits. After 30 Phantom moves, Miria fatigues her Yoma energy and he finally pins her down.[24]

Battle of the NorthEdit

Engagement IEdit

During the first engagement with the three scouts, Team Miria fights the Dreadlock awakened. Eventually, Miria kills Dreadlock.[25]

Engagement IIEdit

Manga and anime diverge here.

MangaEdit

The Northern Army invades Pieta. After loss of three awakened, Rigaldo decides to decapitate the battle group leadership. He kills Veronica and Undine, then wounds Jean. Clare awakens and attacks. But Rigaldo repels Clare and kills Flora.[26]

He wounds Deneve. Clare further awakens. Rigaldo finally captures Miria, despite the Phantom.[27]

AnimeEdit

The Northern Army invades Pieta, but inexplicably retreats. The Rigaldo sequence is similar to the manga.[28]

Raki gallops to Pieta, followed by Priscilla. In an alleyway, she awakens and Clare gives chase. Miria leads Deneve and Helen to volcano, where Clare and Priscilla fight.[29]

After Clare's defeat, Priscilla fights Miria, Deneve and Helen. Phantom easily defeated.[30]

7-year timeskipEdit

During the 7-year timeskip Miria develops a Yoma powerless replacement, the New Phantom, to avoid Yoma power release that would reveal her presence to Organization.[31]

AlfonsEdit

In deserted village, Clare finds evidence that Raki may be alive. Back at cavern hideout, she announces her intent to go south. Miria tests Clare's fighting ability with New Phantom. Satisfied, Miria says she will accompany Clare. But everyone decides to go en masse.[32]

ToulouseEdit

In Rabona, Ghosts defeat Agatha. Agatha cannot detect Miria's, nor any other warrior's, attack moves.[33]

Later, Tabitha senses Alicia and Beth speeding westward. Miria suspects their target is Riful. Dietrich confirms her suspicions.[34] With Alicia-Beth preoccupied, Organization's main defense is gone.[35]

Miria sees her opportunity to attack the Organization—alone. To prevent Tabitha from following, Miria paralyzes Tabitha. Then puts on her old uniform and sets out for Sutafu.[36]

SutafuEdit

New Phantom attackEdit

At Headquarters, Miria disables most warriors, as she did Tabitha. But ends up fighting the Twin Trainees with similar Controlled Awakening as Alicia and Beth.[37]

Rafutera entrains Miria's mind, enabling other warriors to cut down Miria.[38]

RebellionEdit

Later, as the Rebellion begins, Miria reappears to lead the rebels.[39]

The Men in Black stay indoors as Limt orders the Abyss Feeders to be released. The Abyss Feeders attack the rebels, who are unfamiliar with them. Miria orders the weaker warriors to retreat, while single-digits fight the Abyss Feeders.[40]

Dae releases reanimates Cassandra, Roxanne and Hysteria.[41]

ReversalEdit
HysteriaEdit

The reanimated warriors instantly cut down the rebels en masse.[42]

Miria ends up fighting "Elegant" Hysteria. Miria discovers that Hysteria uses a technique similar to the Phantom. But where Miria gains distance from attacks, leaving behind afterimages, Hysteria makes passing attacks, her afterimage flowing through target.[43]

"Old" PhantomEdit

Miria reverts back to old Phantom, plus partial awakening.[44]

Miria barely survives each strike from Hysteria. Finally, Miria increases her baseline Yoma power to the Phantom's burst level, then jumps it from there.[45]

"Inelegant" HysteriaEdit

Miria can now strike Hysteria, even though she also sustains wounds. Hysteria is appalled at this crude technique.[46]

ReferencesEdit

Tankōbon Claymore volumes cited are VIZ Media (en-us) editions, unless otherwise noted. Manga scenes (chapters) not yet translated cite Shueisha tankōbon (ja) editions. Manga scenes not yet published in tankōbon form cite Jump SQ (ja) editions. Fragments of Silver Omnibus (総集編 銀の断章 Gin no Danshou) 1–3, Shueisha, are only available in Japanese. Anime scenes (episodes) cited are FUNimation (en-us) editions, unless otherwise noted.

  1. Claymore 11, Scene 58, p. 17
  2. Claymore 11, Ediciones Glénat España , Scene 58, p. 17
  3. Claymore 11, Glénat Édition Française, Scene 58, p. 17
  4. Claymore 11, Star Comics, Scene 58, p. 13
  5. Claymore 11, Comix-ART, Scene 58, p. 17
  6. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 684
  7. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 684
  8. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 684
  9. Claymore 6, Scene 28, p. 17
  10. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 684
  11. Claymore 6, Scene 28, p. 18
  12. Claymore 11, Scene 58, p. 17
  13. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 684
  14. Claymore 12, Scene 67, p. 121
  15. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 684
  16. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 683
  17. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 683
  18. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 682
  19. Fragments of Silver Omnibus 2, "Yoma War Record II," p. 682
  20. Angel Densetsu 4, Act 20, p. 117
  21. Claymore 13, Extra Scene 2, p. 166
  22. Claymore 6, Scene 28, pp. 11–16; Claymore, Anime Scene 10
  23. Claymore 6, Scene 28, pp. 21–23; Claymore, Anime Scene 10
  24. Claymore 6, Scene 28, p. 25; Claymore, Anime Scene 10
  25. Claymore 10, Scene 54, pp. 85–87; Claymore, Anime Scene 19
  26. Claymore 10, Scene 57, pp. 168–184
  27. Claymore 11, Scene 58, pp. 17–30
  28. Claymore, Anime Scene 23
  29. Claymore, Anime Scene 24
  30. Claymore, Anime Scene 25
  31. Claymore 12, Scene 67, p. 117
  32. Claymore 12, Scene 67, pp. 109–133
  33. Claymore 15, Scene 78, pp. 9–27
  34. Claymore 17, Scene 90, pp. 16–17
  35. Claymore 17, Scene 90, p. 9
  36. Claymore 19, Scene 106, pp. 128–134
  37. Claymore 19, Scene 106, pp. 148–154
  38. Claymore 19, Scene 107, pp. 177–189
  39. Claymore 20, Scene 113, pp. 188–189
  40. Claymore 21, Scene 114, p. 34
  41. Claymore 21, Scene 115, pp. 68–69
  42. Claymore 21, Scene 116, pp. 71–79
  43. Claymore 21, Scene 116, p. 94
  44. Claymore 21, Scene 118, pp. 154–155
  45. Claymore 21, Scene 118, pp. 161–163
  46. Claymore 21, Scene 119, pp. 168–169

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