Mario, Millicent Kent, and the tripod (pp. 123–124)
The U.S.S. Millicent revealed that she’d accepted a scholarship to E.T.A. at age nine for the sole reason of getting away from her father. She referred to her father as her Old Man, which you can just tell she capitalizes.
Context
The theme's father-daughter panel, harrowing and played for grotesque comedy at once. Millicent Kent fled to E.T.A. at nine to escape her "Old Man" — a morbidly obese cross-dresser she once came home to find capering in her own leotard before the double-width mirror, and whose compulsion, she learns, always required a female relative's clothes. It's the predatory/damaged pole on the daughter's side: a father whose private grotesquerie makes his own home uninhabitable, so the child buys her way out with a talent she doesn't even love. Kept below the male-line spine, but a clean instance of a kid escaping a father rather than reaching for one.