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kkoct-ik · 1 month ago

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milgram analysis: the orekoto (オレ) of Neoplasm is not the orekoto (俺) of John Doe

analysing both orekotos and then some, how mikoto's dissociation misdirects us, and how mikoto's DID operates to help him function, to express what he needs but cannot tolerate, and to cope with shame.

will be referring both to milgram-en's (John Doe, Neoplasm) and Maristelina's (timeline) translations. thank you for your work!

note on names: for the purposes of this post:

mikoto refers to the person/system, all parts included

'mikoto' refers to any normative mikoto, ie. not either ore. i'm not going to assume the normative mikoto from John Doe is the same alter as the normative mikoto in Neoplasm, because i don't think they are, but that's for another time. for now, I am grouping them together, because, functionally, mikoto's normal parts serve the same purpose and role for this discussion.

ore (俺) and mikoto (俺) refer to the mikoto that appears in the John Doe (Trial 1) voice drama and attacks es.

ore (オレ) and mikoto (オレ) refer to the mikoto that appears in the Neoplasm (Trial 2) voice drama and claims to be the alter who commit murder.

if you can't read japanese, just remember that any name with one japanese character (俺) refers to the ore of trial 1, and any name with two characters (オレ) refers to the ore of trial 2. these are how both ores' personal pronouns are spelled according to the official scriptbooks, respectively.

i also use the word 'unacceptable' 'intolerable' etc. a lot in this analysis. please note i don't use this word in a judgemental way. i will always mean it in the sense that whatever i am referring to 'cannot be accepted/tolerated by mikoto/the world he comes from'.

i'm working with translations and mikoto is a complicated character, so please forgive any slip ups!

thank you for reading.

introduction: there's two orekotos?

mikoto's case, as i've criticised in my last major essay, is often reduced to a conflict between how one votes a system of one 'innocent' personality and one 'guilty'.

as part of the reducing of his character to a split personality trope, it is popular and easy to assume that mikoto only has two major alters: 'mikoto' (who appears normative, uses the boku personal pronoun, and has a confused, sociable demeanour) and 'the other one' (who appears more aggressive, uses the ore personal pronoun, and noticeably switches in at some point during both VDs).

i'm also guilty of this assumption. despite having a sense that things were not that simple, i have assumed, for convenience, that both ores were the same alter, mostly because the ore (オレ) of Neoplasm expresses familiarity with ore's (俺) actions in John Doe (in that he references the event immediately after switching in, amongst other things), and i had no major reason to question that continuity.

at the end of the day, mikoto is mikoto, and since i had (and still have) no interest in attributing guilt to any specific alter, i didn't have a major reason to deduce which alter 'did what'.

(it's also more important to me to dissect what alters think they did and identify with than literally did, because its in how alters psychologically divide up their life and actions once they've happened that their purposes for existing and dissociative functions shine. my last essay was also almost entirely focused on Neoplasm in isolation, so i stand by most of what i said — just replace any assumptions that ore (オレ) is ore (俺) with their new relationship that i'm about to identify.)

all this said, despite surface-level similarities (seeming to use the same personal pronoun, both speaking roughly, existing as a protective force, and identifying as/presenting themselves as the archetypal 'monster'), the way these two alters — ore (俺) and ore (オレ) — function and think are also very distinct from one another. despite the intentional misdirection that would have you assume they are the same part, both ores display very different approaches to responding to and coping with mikoto's life and traumas, and we have seen them emerge respectively based on mikoto's different, changing circumstances within Milgram and the triggers he encounters.

after the extent of this fully dawned on me the other day, it also occured to me that distinguishing them could be very clarifying for how mikoto has grown to function and cope with his life and actions, and also, maybe, finally shatter the illusory binary that surface-level fanon is so attached to.

so. enjoy.

main body 1: psychoanalysing the ore (俺) of John Doe

the ore (俺) that appears in John Doe switches in after mikoto begins to have a panic attack at es' ceaseless prodding.

we can analyse what seems to have triggered mikoto (俺) forward as a starting point for deducing this part's purpose and understanding where mikoto's headspace was at to contextualise his behaviour, so let's assess the situation.

normative 'mikoto', who is present for the majority of John Doe, presumably exists as an alter to allow mikoto to function and engage with people. he seems to do this by having no awareness (or at least, identification) with anything shameful and intolerable, including his murders, and identity as a killer.

therefore, es' insistence to 'mikoto' that he has killed pushes mikoto into a situation that this normative alter is fundamentally unable to handle. es' suggestion of dissociative amnesia also directly attacks the plausible deniability and dissociation normative 'mikoto' clings to to cope. in order to protect himself and preserve his dissociative defense mechanisms, mikoto finds himself required to switch into an alter more suited to this situation, and disengage normative 'mikoto' from this psychological attack.

it is also worth pointing out that es is an authority, and an abusive one at that; considering that mikoto has suffered workplace abuse (as seen in the relentless texts from his chief outside of work hours in Double) it is almost certain that mikoto has been belittled, scapegoated, and pushed to his limits by higher-ups at work before. this situation that es is subjecting mikoto to is not only psychologically overwhelming to his normative alter, but also emulates a source of trauma for mikoto, and thus will absolutely trigger his fight/flight/etc.

lingo: fight/flight/freeze/fawn are words used for different areas of common stress and trauma responses. the principle is, when faced with an overwhelming threat, you may become aggressive and combative (fight), may become restless and want to escape (flight), may shut down (freeze), or may try to appease the threat (fawn).

mikoto is currently in an interrogation room, within Milgram: he cannot run. simply shutting down will not stop es from provoking him. and he has tried to appease es, to be friendly, and seem pathetic, and es has not wavered. the only real option left for mikoto's completely fried nervous system is to remove normative mikoto from the scene, and then force/intimidate/beat the threat into submission.

whew, what an adrenaline rush.

mikoto's (俺) initial demeanour is mostly an expression of his fight response that has been triggered and rage at this situation that 'mikoto' could not handle. mikoto (俺) lashes out at es, yells, curses, and loudly expresses that es' prodding has been far too much for him. he's pissed, and honestly, i don't think he's overreacting. he's far from the first prisoner to attempt to attack es, and he only does it when pushed to his absolute emotional limit, on multiple accounts.

as the scene progresses, mikoto's (俺) rhetoric becomes reminiscent of abusive people of power. a friend i have has pointed out that these lines in particular sound a lot like what a shitty, ageist boss would yell at a young new recruit to verbally abuse them into submission and impose their authority. it's likely ore (俺) is emulating the kinds of things people have said to mikoto, that have forced him into submission, to protect himself, in the hopes that he can turn the tables on es and reap the benefits of becoming the abuser, so to speak. he refuses to engage with whatever es is saying, and focuses on establishing his power through force and verbal abuse.

this bit is speculation, but i do think the fact that es is on the smaller side definitely helps mikoto, triggered into fight response, feel like he should be able to hold power over him. mikoto may see himself in es and feel incredibly angry that es, while small, is in a position of power that he himself never had, with mikoto therefore wanting to put them in their place.

ore (俺) also projects a demeanour of being somewhat sadistic, likely because of just how fucking angry he is at this moment, and especially because es is not easily slipping into the fawning role that mikoto would in his position. he also may be enjoying the high of not being the victim for once, and now that he's in this position, wants to make the most of it, and really prove his point.

essentially, mikoto's (俺) demeanour communicates, don't mess with me, i'm bigger than you. i won't lie down and take this shit, and you have no business hurting or challenging me.

i know this is from neoplasm and is ore (オレ) speaking. i'm using it to illustrate what 'mikoto' does not not do (ie. not cry himself to sleep, not suffer in silence, fight back).

when applying ore (俺)'s demeanour back to how mikoto typically presents and conceptualises himself, it becomes very obvious that everything about mikoto (俺) is intolerable and unacceptable to mikoto as a whole.

being angry, to mikoto, is not acceptable. expressing anger and fighting back against injustice is not acceptable. challenging your place in the social hierarchy and acting outside of socially acceptable behaviour is not acceptable, because all of these are expressions that would lead to dire consequences in his life and within his culture, despite being natural human emotions and expressions.

if these rudimentary and necessary human emotions and rights are unacceptable to mikoto, it can help, psychologically, for the part that handles/contains/expresses them to present themselves as a different sort of person. by wholly dissociating himself from this side of himself — such as this episode, or any other instances of standing up for himself or feeling unacceptable feelings — mikoto can protect himself, and have these unacceptable parts, without compromising his self image; 'mikoto' remains unchanged, unrelated, untainted, because it was absolutely 'not mikoto' that did or felt those things.

what a lovely dissociative contradiction.

the further mikoto (俺) is from how mikoto typically presents, the easier it may be for mikoto to reassure himself that anything they do was 'not him' or 'not real' and entirely cut himself off from identifying with or processing that memory or act. therefore, appearing sadistic when expressing his anger at injustice is not only practical for successfully intimidating es, but may also be part of ore's (俺) (and many of mikoto's parts') presentation as the archetypal 'monster', and clearly 'not mikoto', that helps to reassure mikoto of their estrangement.

this estrangement also helps ore (俺) to protect himself from everything 'mikoto' is associated with (namely, having to be friendly and conscious of his social position, and being a person who tolerates abuse). while the change in accent, personal pronoun, sense of status, the abusive rhetoric he regurgitates, and overall departure from mikoto's typical presenting personality all add to the prior point and to 'mikoto's benefit, it also helps ore (俺) feel like a different person, who is not constrained by having to tolerate things and acting according to his social position. this helps ore (俺) emotionally remove himself from the fact 'mikoto' was trapped and overwhelmed, and allows him to express the intolerable things he does.

unfortunately, emulating the tactics of his abusers and portraying himself as a rough-speaking tough guy who is sadistic and cruel did not go over well with the audience. you might say that this mask was a little too convincing.

we can be almost certain ore (俺) did not fully grasp the position he was in, and the extent of the scrutiny that would go into his behaviour. we can also be certain ore (俺) had no idea he would be unique in being able to attack es, and the ramifications of such.

despite not being uniquely violent as a prisoner, because mikoto was successful in the attack due to the alters loophole, mikoto seems more violent than the others. it also doesn't help mikoto was put under severe psychological pressure, by es being incredibly careless with his dissociative barriers, leading to a sudden and extreme trauma-triggered switch.

it also doesn't help that there is a lot of social stigma in the real world around the mentally ill being unpredictable, violent, and senselessly volatile, and mikoto seemed to align with that, and thus the audience came to conclusions about what this outburst 'meant' about mikoto and the circumstances of his crime.

the audience at large did not like his vibe, and mikoto was deemed unforgiven.

in summary, John Doe ore (俺):

emerges when mikoto is overwhelmed and has his fight response triggered, exhausted of all other options to combatting an overwhelming psychological attack.

presents himself as the archetypal 'monster' (using rough speak, threats, and becoming violent) to intimidate es, stop their prodding at his dissociative barriers that keep him functional and stable, and hopefully prevent further abuse.

main body 2: defining the ore (オレ) of Neoplasm (quick section)

before i dig into Neoplasm, ore (オレ), and ore's (オレ) relationship to ore (俺), i have actually already written an essay and a half analysing ore's (オレ) presentation and motivations in Neoplasm here.

i'm not going to repeat all of my analysis, but i'll summarise the relevant bits, so we are on the same page going forward:

essentially, in Neoplasm, ore (オレ):

emerges coming into trial 2 to be interrogated by es, makes a point to identify 'himself' and only 'himself' as the killer, and spends almost all of his time negotiating mikoto's innocence accordingly.

claims his purpose is to "take it all - bear it all (...) [and] be rid of it."

presents himself as the archetypal 'monster' (using rough speak, threats, dehumanising himself, and making no effort to provide motive or explanation for his murders) to make himself appear unsympathetic and mikoto, in contrast, purely a victim.

you'll see already that the way the two ores function are pretty distinct. despite both having rough demeanours, functioning to protect himself, and evoking the archetypal 'monster', the circumstances in which they come forward and their specific goals in the moment and with their presentations are very different.

despite this distinction, ore (オレ) does intentionally seem to imply that he and ore (俺) are the same, and definitely does not correct this assumption on es' part. so what gives?

main body 3: psychoanalysing the ore (オレ) of Neoplasm

well, let's analyse the circumstances of ore's (オレ) appearance and callbacks, consider ore's (オレ) self-proclaimed purpose and role, and deduce the practical advantages of misleading es and the audience in this specific way.

very importantly, coming into trial 2 and the opening of Neoplasm, the situation for mikoto has changed, a lot.

firstly, mikoto has been voted guilty once. that is to say, whatever mikoto did in John Doe, did not work in his favour. he's also familiarised himself with Milgram by now, and is more aware of his position. so, he's not going to try what he did in John Doe again.

secondly, despite his 'odd case' meaning he has been free to roam the prison, he is chained and restrained for the events of Neoplasm. this also essentially eliminates the chance of any fight or flight response should he be triggered again, doubly.

differently to what brings ore (俺) out, the ore (オレ) of Neoplasm switches in with little fanfare, after a short period of a very dissociated mikoto expressing that he doesn't understand what's going on.

the specific note that he switches in on is on the note of being accused of things — mid sentence, he goes from passively laughing about his hopeless situation, to expressing irritation at it. before the switch, this 'mikoto' expresses that laughing things off comes naturally to him; it's likely this 'mikoto' is unable to feel or identify with frustration as 'himself', hence, the switch.

i also think, due to ore's (オレ) role (as the scapegoat alter who identifies with acts, takes blame and singular responsibility, and may already be planing to lean into his disconnect from 'mikoto' to absolve him), it was very necessary for him to come forward and negotiate with es at some point. hence, the situation of being interrogated by es (and specifically, the topic of blame) brings ore (オレ) forward.

after es immediately verbally takes note of the switch, ore (オレ) makes himself known; he does not pretend nothing has happened or continue with his train of thought. he immediately calls back to ore's (俺) actions in John Doe, implying that this is the same alter that perpetrated them, and generally associates himself with these parts of mikoto that are typically intolerable to him.

(note that while in the original text no specific personal pronoun is used, the obvious implication of bringing up the attack on es immediately after switching in is to create a connection between 'that' ore and 'this' ore. also, assuming the audience has a rudimentary understanding of DID, this alter not having amnesia for the event would also imply that it must be the same alter that perpetrated it.)

in my opinion, and the reason i was typically reluctant to interrogate which of mikoto's alters 'did what', the only reason for calling back to an alter's continuity like this is to establish blame. this goes double when the continuity involves associating yourself with typically intolerable (and socially unacceptable) acts, and triple when, as we have seen as Neoplasm progresses, this alter is generally entirely concerned with taking blame for 'mikoto' to relieve him of culpability and negotiate his physical and psychological freedom.

assuming ore (オレ) is associating and aligning himself with ore's (俺) actions as a way to take the blame for them, there are a few ways we can make sense of this decision.

1: in light of what we know about ore (オレ) as a scapegoat alter who clearly hates himself, who has taken responsibility for their murders to protect 'mikoto's self-image, one likely answer as to why he takes responsibility for ore's (俺) outburst is because he is an alter that handles shame.

even towards the beginning of Neoplasm, ore (オレ) expresses a desire to be dehumanised, and implies that typically, he is not considered human, likely because that would make matters of shame simpler: he is irredeemable, he is a monster, he is everything wrong, this is simply who he is.

this makes it likely to me that whenever mikoto expresses intolerable things or feels shame/is shamed for acting inappropriately, it would be the job of this alter to internalise the emotional fallout, reinforcing this self-image, all slightly away from normative 'mikoto', to protect 'mikoto's self esteem and ability to function. this existence would require ore (オレ) to be aware of any shameful things mikoto has done, including any standing up for himself as mikoto (俺).

mikoto essentially disowns and vilifies anything he does or expresses he considers socially unacceptable through having mikoto (オレ), who sees himself as a 'monster', take responsibility for all his shameful acts. ore (オレ) also handles and makes sense of the overwhelming shame mikoto feels for these acts, expressions, and abuse he has suffered through this way of seeing himself.

this implied long-term vilification of and 'inherent badness' to ore (オレ) could also tie in to a possibility of ore (オレ) existing before the events of milgram, as a part of mikoto that handled shame in his daily life and due to his everyday traumas.

it is also very common for other alters to reinforce introjected abusive rhetoric and lash out at parts that contain and handle shame.

when the person, as a whole, has been made shameful, but most alters cannot handle that level of shame, a typical response is for most alters to dissociate from it, and instead emulate the abuse they have suffered and inner critic they have developed onto only a part of them. this dissociative scapegoating protects the majority of the system from the feeling and experience of being shamed and belittled by themselves, and contains the overwhelming shame in one extreme, but often repressed part.

the fact the majority of mikoto's alters' seem psychologically unable to handle being or acting shamefully, instead blaming and verbally abusing a part who takes responsibility and is scapegoated for everything, and feels shame for everything, is textbook.

i find it likely that to protect himself from abuse at work, mikoto subconsciously separated himself from the 'him' that felt shame, and this alter grew to develop the belief that he must be, and may deserve to be made, responsible for everything.

2: in light of what we know about ore (オレ) as a scapegoat alter who intends to sacrifice himself while bearing all mikoto's sins, one likely answer as to why he takes responsibility for ore's (俺) outburst is also because mikoto's (俺) acts have put him into deep trouble.

towards the beginning of Neoplasm, ore (オレ) comments that one reason he feels he has been out a lot, as opposed to normative 'mikoto', is because of their guilty verdict. i find this makes sense. because 'mikoto' was labelled as culpable for his actions and the audience did not buy the alter excuse, mikoto has been forced from normalcy and forced to reside in a shame part more suited to this reality, where 'mikoto' is unforgiven, socially unacceptable, and labelled as 'dangerous' and otherwise ostracised.

mikoto, in general, does not seem very happy about this. after all, it's in his best interest to remain normative and functional and socially accepted. therefore, mikoto needs to work out how to be forgiven, and overcome the social predicament he has found himself in (both in terms of being a murderer, and being considered a 'volatile' mentally ill man due to his outburst).

the strategy mikoto lands on in Neoplasm comes in the form of ore (オレ) scapegoating himself for the murders, claiming to es that he perpetrated them without mikoto's consent or control, yada yada, as explored in my last essay.

considering the predicament mikoto is in is not only about being a murderer however, and ore (オレ) considers his role to "take it all - bear it all (…) [and] be rid of it," it would also make sense that for his attempted crucifixion, ore (オレ) would take on the responsibility of everything that has rubbed the audience the wrong way, before promising to vanish.

this includes his murders, but it also includes mikoto's (俺) intolerable and socially unacceptable outburst in John Doe, and mikoto's general being considered 'a man with alters, that make him dangerous'.

ore (オレ) wants the audience (and also, probably, himself) to think that after he has 'disappeared', everything unacceptable about mikoto will be gone; the 'alter that murdered', is ore (オレ), and will be gone, the 'alter that lashed out in John Doe', is ore (オレ), and will be gone, and perhaps even 'mikoto's alters in their entirety, that frighten people', are only ore (オレ), and will be gone.

hence, ore (オレ) takes responsibility for everything, before promising to vanquish it, accumulating every symbol and act and demeanour that may have made mikoto unforgiven, and promising to be rid of it, in the desperate attempt to return normalcy and forgiveness to themselves.

(in fact, he even may have implied he and ore (俺) are one and the same, and thus leaned into the presumption that there are only two alters, to make his (オレ) decision to vanish seem like a 'cure' for mikoto's DID (in leaving only the 'normative alter' in existence), and therefore free mikoto from the socially unacceptable status of being an 'othered' mentally ill man with alters, a status that has become apparent as Milgram has progressed and mikoto has been scrutinised. i hope i don't have to explain that you don't 'cure' DID by lobotomising yourself, and mikoto is currently learning this the hard way, based on his T3 lines, but as long as the audience is swayed to this way of thinking, and it is possible ore (オレ) genuinely believed removing all trace of mikoto's mental illness in 'vanishing' 'his alter, who is responsible for everything unacceptable' could help, is all that matters.)

this, actually, brings me into the third element, that i'm going to make a nice little title for, despite being a continuation of the ore (オレ) psychoanalysis, and another possible reason for why he gives us the impression he and ore (俺) are the same.

main body 4: mikoto's convenient false binary

as i said when i opened this essay, mikoto's case is often reduced to a conflict between how one votes a system of one 'innocent' personality and one 'guilty'.

when it comes to approaching and attempting to understand mikoto's crime, many people abstract him, and reduce him to a stock, hollywood, split-personality stereotype. this model, while simplistic and reductive, is easy for a lot of people to understand.

compared to real DID, in which a person is so conflicted on themselves and their actions that it sometimes feels as if they are possessed, and may not understand what they do or who they are, with a lot of muddy middle ground between self-states, identity and memory discontinuation, and blurring, split personality trope provides clearly defined boundaries.

clearly defined boundaries are an illusion in DID. they are also something a person with DID may attempt to reinforce when something a part of them handles or represents is intolerable to them. drawing a firm boundary in their mind helps them feel that they are separate from this part of themselves, and may help to explain the feeling of separatedness: 'if i feel it, it must be true'.

often, it is easiest for a person with DID to make sense of themselves to see themselves as multiple distinct entities, reflecting the different parts of self they have and the barriers between them. and yet, even so, most people with DID struggle with blurriness and existing beyond the confines they've drawn in the sand to make sense of themselves. at the end of the day, a model for understanding one's self is only a model.

that is to say, DID is messy, contradictory, and muddy.

mikoto, with no real coping mechanisms to overcome his symptoms, at the end of his psychological rope, and on the chopping block in Milgram, with already one guilty verdict under his belt, is not in a position to be messy, contradictory, and muddy.

he needs to be easy to understand. he needs to have clearly defined boundaries.

not only is it personally important for ore (オレ) to take the blame alone for all of his shameful actions, and then disappear, but if ore (オレ) can sell to the audience that there are only two alters, clearly defined, one innocent and one guilty, and play along with how the audience stereotypes and abstracts him into a conventional split-personality trope, ore (オレ) can sway the vote to his favour, and attain a forgiven vote, providing (relative) normalcy and social acceptance within Milgram for 'mikoto'.

by leaning into the false binary, creating false continuation between different normative mikotos and between different scapegoated and unacceptable mikotos, and make it seem as if there is no middle ground between them, mikoto creates a 'good' and an 'evil', a 'guilty' and an 'innocent'. he can compartmentalise everything in him that he feels has caused him abuse, blame all his outbursts and crimes on it, and then promise to vanquish it.

and if, 'without' his unacceptable, parts (who are clearly 'monsters', killers, and act out without reason) he is only his normative selves, who have 'done nothing wrong' and were 'helpless to their other side', and will never cause any issues again, the question of what Milgram's audience should do with mikoto becomes simple.

you vote to forgive mikoto.

and wow, it really worked. well done, mikoto. well done, ore (オレ). well done leaning into your own complex dissociation, the illusion of defined boundaries, and the audience's own pop-culture understanding of DID.

conclusion / tl;dr:

the ore (俺) that appears in John Doe and ore (オレ) that appears in Neoplasm are two separate alters. despite appearing on a surface level to have similar demeanours, and both portraying themselves as 'different kinds of people' to mikoto to help mikoto reassure himself they are 'not him, their triggers, actions, reasons, and motivations are distinct.

while ore's (俺) demeanour, aggression, and rhetoric serves to intimidate and challenge an overwhelming threat and escape from the confines of 'mikoto's identity to allow him to protect himself, ore (オ��) emulates a similar demeanour to portray himself as a shameful 'monster' who does not conform to socially acceptable behaviour and represents everything unacceptable about mikoto, to serve as a scapegoat.

despite the fact they are different, ore (オレ) intentionally leads the audience to believe that he is responsible for mikoto's outburst in John Doe, likely due to his role as an alter who handles mikoto's shame and takes the blame for everything mikoto deems unacceptable about himself, as well this claim being convenient for his ultimate plan to be crucified while bearing every unacceptable part of mikoto, in the pursuit of mikoto's forgiveness.

ore (オレ)'s misdirection also ties into the illusion of alter separatedness and mikoto's false binary, that he both utilises to cope, and to navigate the Milgram audience's expectations, as a strategy for securing his forgiveness, as well.

epilogue / reflection

i accidentally strayed into another essay i'm working on towards the end there. i am fascinated by how mikoto responds to the label of DID and conforms to the audience's stigmas and models they apply to him. a full essay on that train of thought is in the works. hang in there. that end bit was just a taste, i guess.

as always, please let me know if any of this is incomprehensible. i can be wordy, and i may accidentally use inaccessible DID jargon. if i have, please let me know and i will correct it. it is very important to me that my analysis can be understood and discussed (and even challenged!) by a wide audience.

anyway, pat yourself on the back, because, even not including text in images, you've officially read 5k words of nonstop mikoto analysis. this is longer than my 'john didn't do it' essay. holy fuck.

i hope you enjoyed. & thank you for sticking with me

no funny meme this time. go mikoto dance.

#kostik speaks #milgram #milgram analysis #milgram theory #mikoto kayano #john milgram #if youre wondering why i changed the names i used #i was writing a different mikoto essay and it just dawned on me that calling him 09 was kind of dehumanising #so i probably wont do that going forward #instead i will be using scare quotes to mark the difference between mikoto (normative alter) and mikoto (whole)#i hope all the different names arent to confusing lol..... theres a reason i give a guide at the start.... its intuitive to me at least....#btw please feel free to agree or disagree or pick apart where ive fallen flat. please dont see 5k and be too scared to argue lol #im just fucking verbose. ive 100% missed things. and im 100% not a perfect unbiased analyser. so feel free to chip in #(please talk to me about mikoto please please please please)#anyway. go my true

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boarloved-art · 5 months ago

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ig ooomfie said i should draw xuanli and i kinda went crazy abt them whoopsydoodle

#xuanli #jin zixuan #jiang yanli #TALL! CHUBBY! YANLI! AGENDA!#mo dao zu shi #mdzs #jiang yanli most beautiful on the planet the yunmeng bros were right abt this idc if they were speaking out of loyalty to their cool sister #they were CORRECT! and i will draw her as such!#anyway whos ready for me to ramble abt yanli in the tags bc i have a lot of thoughts abt her #specifically abt how in my heart of hearts she does have SOME level of cultivational YMJ/MSY training - i know for a fact madame yu isn't #gonna let her just fuck around all day! i just think eventually they realised it wasnt doing much and stopped making her #i do like the hc - or i guess theory bc ive seen some p good analyses for it :)- that the reason yanli doesnt really participate is bc she #has a disability or smth that prevents her from being able to do everyhting the other jiangs do #but i also think that shes fine with that she doesn't really wanna do all this anyway! her disability has aligned in her favour really!#i ALSO love when ppl take yanlis lack of martial/magical skill and make her good at the administrative and political stuff!#someone in this house has to be!#jc scowls his way through every meeting WWX's negotiation skills start and stop at flirting #fengmians a helpless lil yesman and mdame yu terrifies everyone in her path - someone has to be the politician of the house!#lets be real shes an eldest sister its absolutely gonna be her. eldest sisters know more about conflict resolution than hostage negotiators #i like when she gets to actually show this in canon like. shes polite all the time but shes FIRM when she needs to be and she will get what #shes aiming for TRUST AND BELIEVE!#anwyay in the order of yunmeng sibling heights its wwx -> JYL -> jc but theyre all a lil insanely tall and thats the real reason theyre all #high on the attractiveness rankings. every1s a lil bisexual for them #jzx whos 5'10 and telling everyone hes 6'0 when he meets jyl: h..............heh...h.ey.y.y...

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goldflowerfield · 9 months ago

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something something about how if you choose to go by the narrator chara theory it'd heavily imply that chara idolizes undyne and even without that undyne embodies several of chara's traits. the association with the number 9 as undying throughout her stats, taking things to their most extreme during her hangout which lead to her house burning down, her hatred of humanity, her closeness with asgore, etcetera. meanwhile flowey's favorite character is papyrus who also shares several traits with asriel. namely their unwillingness to kill and their desire to impress their best friend to the point they'd set aside their own feelings, for example: the grillby's phone call with both undyne and papyrus.

something something about how undyne and chara are both devoted to the freedom of monsterkind via the extermination of humanity but whereas chara's plan to free monsterkind heavily centered around asriel yet still failed to take the idea that asriel just didn't have it in him to kill into consideration, undyne tries her best to distance papyrus from her plans regardless of both his insistence and his power due to knowing he wouldn't be able to bring himself to kill someone even in a kill-or-be-killed situation. something something about how undyne is a grown adult whereas chara was an extremely young and troubled child. something something about how things could've turned out better if only chara were more mature and in the right state of mind.

(i really have to wonder what chara themself would think when hearing all that from undyne, especially as it only happens in a pacifist run and they'd likely already have had several of their outlooks challenged at that point via frisk. i wonder how it would feel to hear a situation so incredibly similar from someone who is so similar to you, yet made such a different decision and seeing how much better things could've turned out if you were just more thoughtful of your closest friend. if you were just a little more mature.)

#chara #undyne #asriel dreemurr #papyrus #utdr analysis #undertale #🌼 - ramblings #i usually avoid basing my analyses solely upon theories but i feel this works even without narrachara #since the similaries are there regardless of if chara idolizes her

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vethale · 1 year ago

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Incoming Marble Sky theory about the Marmors' origin planet and more! Spoilers ahead!

I think if we ever get to see their original planet, it might be a dark place (literally and metaphorically), with hives or cities built within ant-like cave systems. Their society also seems to work like those of ants with a queen (Moon), workers and drones.

I think the fact that the Marmors use a form of ecolocation rather than our traditional eyesight might imply that on their original planet, sight as we know it is not a viable option. Their planet might either have little to no light, making eyes redundant, or too much, which would also cause the same problem. I think their fur coloring might also be proof of this, as they seem to display bright colors with no patterns. (Patterns usually help animals, especially predators, blend into their environment, because a blotch of a single color is usually easy to spot). However, there is also a possibility that their coloring might be a result of them becoming the dominant species: We see this with domesticated animals- think cows or cats, with white patches of fur, that make them easier to spot. When colors no longer affect their survival, new color variations tend to pop up.

I also think the fact that they are bipedal (with tails) also tells us that like humans, they might have started walking on all fours and then went up. This allows the brain to become larger, because the neck can hold up more weight, boosting their intelligence. Animals that walk on all fours are usually limited in this aspect because the neck muscles do all the work, so their heads can't get heavier.

The existence of tails might imply that those are still required for balancing purposes. Humans used to have tails but we kinda didn't need them and they went away, but the tail bone still exists. The fact that Marmors still needed them might imply that they still had to climb a lot in their original planet - maybe they live on trees (there's some ants that build their hives hanging from them! Super cool tbh) or they build their homes on cliffs/mountains.

I personally think them living in mountains or cave systems is the more likely option. In the comic we have already gotten the comparison with ants, who tend to build their little hives with tunnel systems going in all directions. This would make their tails useful for climbing, as well as their special eyesight and connections useful for navigating the hive. I mean, a connection like the one we have seen in the latest update is not only useful for hunting but also for their hives, as they can quickly figure out where more "manpower" is needed vs where there's already enough of them in one place.

Also, they have both sharp claws and teeth. Obviously those teeth are stylized in the comic, but they seem very very sharp. Definitely made for ripping and shredding. So it's very likely that the Marmors are obligate carnivores, meaning that, unlike dogs or bears, they can ONLY eat meat. I mention this because those claws would also be useful for hunting and disabling prey BUT connecting this to the cave system theory: Those claws are big and sharp, whoch might also be useful for digging. The giant anteater, for example, has some seriously sharp claws. This thing does NOT hunt other animals, besides ants and termines lmao, but uses those sharp claws to dig into the really hard ground. And those claws are SHARP, boy. They use them regularly to wars off and ERASE jaguargs. Yes, jaguars. So maybe these sharp claws might be tools AND weapons for the Marmors, useful for deleting your prey and digging into the ground!

Going back to the ant comparison: ants society usually has a queen, her simps, and the worker ants. The queen lays the eggs. If those are fertilised by the male drones, they become female workers but if not, they become male drones (the simps lmao). Ecliptica mentions that she is tall because she is a female AND the center of their network. Obviously these are aliens, but I think we can draw parallels: she might be their queen, the only one that reproduces -which would also explain their "children belong to everyone and noone" attitude"- while the rest might simply be the workers. I say workers, even if they are male, because I think the drones might actually be something else. We have seen smaller Marmors like Shepherd's assistants. Now, they might just be small or younger, BUT they could also be the lower ranking drones.

So, to sum up: I think Marmors come from a planet with little light, where they build their hives/societies in ant-like cave systems, digging into the ground. They might also have an ant-like society, that revolves around their queen, the workers and the lower ranking drones, where everyone but the queen is a male.

#marble sky #marble sky theory #but that's just a theory... a game theory!! hahaha #not sure how much of this will be true but theorizing and analysing things like this is super fun #man i absolutely adore this comic hhhh

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ariays · 5 months ago

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The Significance of Kitty & Minho Bookending Both Season 1 and Season 2 in XO Kitty

Yes, I'm here again with another analysis because why not?

So previously, I mentioned the term bookending. & I just thought that it would be nice to elaborate on that.

So firstly, what is bookending?

It is a storytelling technique where a narrative begins and ends with the same event, character interaction, setting, or theme. It is a method that is often used to create symmetry, reinforce themes, highlight character growth, or foreshadow key relationships.

Storytelling is rarely accidental—especially in romance-driven narratives like XO Kitty. One of the most deliberate yet overlooked narrative choices in both Season 1 and Season 2 is how Kitty and Minho’s relationship is bookended—they are the first and last people she interacts with in both seasons. This framing technique is often used to subtly highlight a relationship’s significance, and in this case, it strongly suggests that Kitty and Minho’s story was always meant to be a slow-burn romance.

When two characters are both the first and last interaction in a season, it’s rarely coincidental. It is to:

Signify that the relationship is central to the protagonist’s journey.

Showcase how much their dynamic has evolved over time.

Foreshadow their long-term importance to each other.

For Kitty and Minho, the fact that this happens in both seasons is a strong indication that their connection is not just a subplot—it’s one of the core emotional arc of the story.

So let us break it down:

Season 1: The Beginning & End with Minho

First Interaction: The first person Kitty physically bumps into at the airport on her way to Korea (signifying the beginning of her journey) is Minho. This is their very first meeting, setting the tone for their playful, sometimes antagonistic, but always high-energy dynamic.

Last Interaction: The season ends with Minho’s confession—a moment that completely shifts their relationship. And instead of rejecting him outright, Kitty smiles. It’s a small but telling reaction—if she truly felt nothing, there would be no hesitation.

& before people come up to say that the smile was only shown in Season 2 when they re-shot the scene...

This is a screenshot from Season 1 where you can see her slight contemplating smile (with About Love by MARINA playing in the background, mind you).

Why It Matters: The fact that Kitty’s first and last interactions in Season 1 are with Minho shows that he was always meant to be a significant part of her story. The show could have ended the season with anyone—Dae, Yuri, or even a solo moment of self-reflection. But instead, they chose to end with Minho’s confession. That’s not an accident—it’s intentional storytelling, subtly planting the seeds for future development.

Season 2: The Pattern Repeats—Minho Comes First & Last Again

First Love Interest She Sees: In Season 2, the first love interest Kitty locks eyes with is Minho. While Dae is technically present (standing right beside Minho), the camera deliberately focuses on Kitty looking at Minho. This is a classic storytelling technique used to subtly emphasize a character’s importance to the protagonist.

Last Interaction: Once again, the season ends with Minho and Kitty. But this time, things are even more emotionally complicated.

Kitty realizes her feelings for Minho, but she’s too scared to confess. She convinces herself that he has moved on, and the fear of rejection holds her back. Meanwhile, Minho is actively repressing his feelings. After his failed relationship with Stella and seeing Kitty’s complicated emotions regarding Yuri, he convinces himself that moving on is the only option. He even goes so far as to swear off relationships entirely.

Why It Matters: The fact that, once again, the season ends with Minho and Kitty means their story is still unfinished. No matter what happens in the middle, the narrative keeps circling back to them.

The Parallel to K-Drama Romance Structure

In K-dramas, the first person the protagonist meets in a new place often represents fate or destiny—and Kitty’s first physical interaction in Korea was with Minho at the airport.

The “first and last” interaction trope is often used to signal who the true endgame is—the person the protagonist starts and ends their journey with is usually their true match.

By structuring both seasons the same way, the show is subtly preparing the audience for their eventual romance.

The Parallels Between Season 1 & Season 2 (Between Minho & Kitty)

While XO Kitty explores multiple love interests, Minho and Kitty have scenes that directly parallel each other from Season 1 to Season 2. These mirroring moments serve as a way to track their emotional development and reinforce their importance to the story.

Season 1: Minho watches Kitty and Dae at the party → Season 2: Kitty watches Minho and Stella dancing at the ball.

In Season 1, Minho was unknowingly affected by seeing Kitty with Dae. In Season 2, Kitty experiences the exact same thing—showing that now she’s the one realizing her feelings.

Season 1: Minho sees Kitty in slow motion, feels attracted to her, then panics when he realizes it's Kitty and screams "NO!" in denial. → Season 2: Kitty sees Minho in slow motion—not once, but twice.

Minho’s slow-motion moment in Season 1 was a comedic way to show his growing attraction, but in Season 2, Kitty has two slow-mo moments of her own—this time, with much more emotional weight, showing her realization.

Season 1: Minho saves Kitty from the fire on her skirt. → Season 2: Kitty saves Minho from his family's reputation being tarnished by Stella's plans.

In Season 1, Minho literally puts out a fire for Kitty, protecting her. In Season 2, Kitty does the same thing metaphorically—protecting Minho from a social firestorm that could have hurt his family. Can I also add that both scenarios happened in similar settings? One is on stage while the other is back stage.

Season 1: Minho confesses, "I think I fell in love with you… a little bit… or a lot." → Season 2: Kitty has an inner monologue, "I have fallen for Minho… a little bit… or a lot."

This is the most important parallel. Minho was the first to confess his feelings in Season 1, but by Season 2, Kitty finally acknowledges her own feelings—mirroring his words exactly. The fact that her confession was internal rather than spoken aloud adds tension for the upcoming Season 3, setting up a major moment where she will have to verbalize it.

The Emotional Progression Between Bookends

Season 1 starts with Minho being dismissive of Kitty → Ends with him realizing his feelings and confessing.

Season 2 starts with Kitty locking eyes with Minho first → Ends with her realizing her own feelings, but being too scared to confess.

Each season follows a clear pattern, showing that their relationship is evolving step by step. The reason it hasn’t happened yet is because both of them have been in denial, not because the connection isn’t there.

Foreshadowing for Season 3

If Season 1 was about Minho realizing his feelings, and Season 2 was about Kitty realizing hers, then Season 3 will likely be about them finally acknowledging their love for each other and acting on it. Their bookended interactions and season-long parallels have been leading toward something bigger, and Season 3 will be the moment they finally break past their fears and come together. I think we can expect a major confession scene from Kitty—one where she has to face her feelings out loud, just like Minho did in Season 1.

In Conclusion

The bookending of their interactions in both seasons, paired with their direct scene parallels, is not a coincidence—it’s a deliberate narrative choice that:

Establishes Minho as a consistent presence in Kitty’s life.

Marks their relationship as a key focus of the series.

Shows their emotional and relational growth.

Foreshadows their eventual romance.

By structuring both seasons the same way—starting and ending with Kitty and Minho—and including multiple mirrored moments between them, the show is subtly telling us that their story isn’t just important, it’s inevitable.

This isn’t a random ship gaining popularity—it was always part of the plan.

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coffin-ramblings · 8 months ago

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Ashley is "very not good" and "in fact very bad". That is what the promo card tells us.

The flippant attitude to cannibalism and murder, the abuse and manipulation of Andrew, and constant death threats to Julia prove that, so why do they need to say that? Isn't that enough to prove that she's a bad person? On the same promo, we are told Andrew "exists" and is a "doormat extraordinaire", which while true, is a lot more complicated than it looks. He does not just "exists", he was the one who raised Ashley thus one of her "creators", and he is not that much of (if he ever was) a doormat extraordinaire, he lets Ashley make the choices because it's what he wants, and has asserted power several times throughout the game for his and Ashley's benefit. So is what the promo says about Ashley completely true in light of that? Is the truth perhaps a lot more complicated, as it was with Andrew?

Furthermore, it's quite odd how Ashley is quick to accept being called a "tar soul" and how she implies she's a bad person too when she and Andy buried Nina's body.

And in Decay vision, if she kills Andrew, she goes on a rant about how she's glad he's dead, despite it clearly being the worst thing she has ever experienced.

While it's easy to think that she's having a mental breakdown and saying stuff out of madness, I have seen someone (can't find the post though) argue that this is Ashley's attempt to continue her self-narrative that she is a "bad person". She believes no one likes her because she's a bad person. She thinks not even Andrew likes her, and she "has to" drag him the "good person" to be her level of the "bad person" to keep him stuck with her. And when she kills her brother, her parent, her best friend, her soulmate, her everything, she immediately jumps to the justification that she is glad that he died instead of being devastated that he tried to kill her, because bad people can't feel remorse and heartbreak from having to kill someone they love, right?

And I'm inclined to agree with them. Ashley's thought process of pranking Nina is that she'll have her back as a friend after she learns her "lesson", even though she isn't happy being constantly left out or avoided by her.

She didn't hate Nina then, she was afraid of being even more lonely than before if Nina takes Andrew's attention away from her. And her initial reactions to Nina's death was to go "oops", try to justify why she died, cover it up by burying her, and after she's buried, Ashley says that she can just forget about her by not thinking about her for a long time.

That is not the reaction of someone "bad" reveling in their victory of an innocent person's death and trying to get away with it, that is the reaction of a kid who went through something traumatic, not want to get in trouble for it, and trying to rationalize it with something that sounds like an adult in their life (Renee?) would say. Then their brain triggers dissociative amnesia because remembering it would cause great stress and PTSD. Given how stressful Leyley's life was and still is, it makes sense that's her brain's main coping method, and Nina's death was just another instance of it shunting trauma away in an attempt to keep PTSD from happening. It is likely that amnesia made Ashley quite forgetful, as dissociative amnesia does not affect just one singular event, it also affects other memories as an overprotective measure. This also may be why she develops such a flippant attitude to their crimes: joking about them helps her not have to confront the weight of what they just did. Thus, even that attitude being a marker of her being a "bad person" is more questionable. Really, her actions that have the intent to directly harm people are what her make a bad person, but I digress.

The idea that her flippant attitude is perhaps not a good marker of her being a "bad person" is best shown in Episode 1 after they eat the neighbor. Ashley is made aware that her devil-may-care attitude is quite abnormal and worrying for Andrew, which worries her. If she talks before going to bed, she gets visibly confused and worried at Andrew saying she needs to see a professional.

When he later asks how she's so unbothered by the cannibalism, she replies she says she compartmentalizes nervously, which she then follows up afterwards with a joke to not have to dwell on it.

That specific coping method of compartmentalization is the same thing Andrew's brain does in his dream in Episode 2, where it ends with him having a flashback of burying Nina.

In fact, it's interesting how we never get to see adult Ashley's every day psyche. This is not the same as seeing her thoughts and perspectives in the waking world, nor is it the same as the Burial vision where it's Ashley's self-narrative of her life from childhood to adulthood and how she potentially changes it. We never get to see her dream without it being a vision, a glimpse of what her mind looks like in the present processing her experiences in the every day and the past.

This is particularly crucial because while Nina appears while Andrew's brain is doing its standard compartmentalizing of Andrew's current stresses, the only times Nina appears in Ashley's head (outside of Burial vision) were flashbacks of when she is doing this as a child. While it's framed as the moment when Andrew "proves" his devotion to her, flashbacks similar to PTSD ones can happen alongside dissociative amnesia, and they do occur in dreams. Even though Ashley has forgotten Nina's name and eyes, she is always there, haunting her dreams.

This all suggests that the plot twist of our perceptions of the characters in episode 3 is that when we finally get to play Ashley in her normal dreams or see her mental breakdown (maybe if she kills Andrew?), we find out that she feels some sort of guilt for Nina's death and perhaps their other crimes. Even though she insists to herself she doesn't feel guilt about that because she is a "bad person", it is all a lie that she manages to convince to herself and the audience. This would be very shocking as we're in her head a lot of the time, so we'd assume she can't lie to us. But she has all along, just like how Andrew has to us.

#the coffin of andy and leyley #tcoaal #ashley graves #andrew graves #tcoaal theories #tcoaal meta #tcoaal analysis #dissociative amnesia #amnesia #woohoo first ashley centric analysis post #i know i talk a lot about andrew #but i think ashley definitely has a lot of stuff worth analyzing #it's just i make these analyses based on my eureka moments #also betting episode 4's plot twist is also gonna relate to ashley #with how andrew's been the center of the twists

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shortbreadly · 1 year ago

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people have asked so i will deliver: a link for all the first seven saw scripts for you to overanalyse at your leisure

now you can read shit like this from the comfort of your own home:

#hoffman on his back in bed with a man above him??#alright alright #jokes aside if these scripts trigger any kind of theories and/or analyses for you all i’d love to be tagged #you all know my love for the saw scripts #they’re more canon than the films to me #saw #saw franchise #adam stanheight #lawrence gordon #amanda young #john kramer #lynn denlon #mark hoffman #peter strahm #coffinshipping #chainshipping #shotgunshipping #shortbreadly rambles

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balimaria · 3 months ago

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When it comes to the Chain of Memories novel, there is no shortage of odd lines that hint towards necklace theory and Riku is the light. But today I was looking it over and recalled these two passages which always struck me as VERY odd, even as a firm believer in both these theories. Mostly because... well, these are implying something strange. Something that I've never seen questioned, which is Kairi turning Sora back after he became a Heartless. I mean, why would anyone question it? It was clearly her, right? It's one of the only tangible things she does, which sucks to say. But lets look closer.

To clarify before we begin: I'm perfectly aware the novels are not primary canon. However, they are still canon supplements, so even if I take them with a grain of salt, I still take 'em. In fact, despite what I'll be talking about, I do think it was Kairi who saved Sora in KH1. However, even if it's not something I myself believe, there are just some weird things here I can't help but notice. So lets get into it.

I'd like to focus most on the final lines in each of these passages. Beginning with the first:

"Kairi was the one who told me that. So what is the light for me…? When I turned into a Heartless, the light I saw… That light was…"

This occurs near the start of Sora's journey when Axel first confronts him. You may recall that, in the game (ReCoM, at least) this is where Axel copies Riku's hand-reach gesture. While this gesture isn't described in the novel, it's still of note.

When Axel talks about "precious memories" and "someone important" he is, in his mind, just buttering Sora up to "remember" Namine. But those familiar with necklace theory (which I am assuming you are, so I'm not going into depth) will be able to see the implications of Sora having actually forgotten Riku, rather than Namine. But what's REALLY juicy is Axel saying "you've lost sight of the light within the darkness," which has obvious ties to Riku is the light (also assuming you are familiar, so not going into depth). It's even similar phrasing to what Chirithy uses later in KH3.

All of this leads Sora to think about what Kairi told him, as well as when he was turned into a Heartless. Curiously, Sora trails off when thinking about what the light really was. A purely surface-level reading would tell you this: Sora thinks of what Kairi told him, which leads him to think about what the light that brought him back was when he turned into a Heartless. He trails off, leaving the reader to fill in the blank with what seems to be the obvious answer: Kairi. Sora was just thinking of Kairi. Axel talked about a light in the darkness. Kairi talked about a light in the darkness. The most important person to Sora is Kairi. A plus B equals C.

Now lets look at it through a necklace theory/Riku is the light lens and assume these theories are the absolute intention here. It certainly fits the bill of what we know: what Sora actually forgot was Riku's promise, and the light within the darkness is actually Riku. Here is where we get to the weird part: why in the world is it being implied that Kairi is not the person who saved Sora from being a heartless? Well, the obvious answer is Namine. But that doesn't actually change the implication when viewing it through the lens of these theories. Half the idea of necklace theory is that Namine is replacing Riku rather than Kairi.

So why bring this moment in particular into question? If the author isn't actually implying these theories, then sure, it's pretty cut and dry. But Tomoko Kanemaki has never shied away from the Soriku side of things, and I truly believe she's in on the idea here. But still, Kairi and Sora are important to each other. Not everything Kairi does or is is actually Riku. Kairi can have saved Sora here, and Riku can still be the light/have given the meteor shower promise. But if we are taking the implications into account (and especially the much more overt question posed in the second quote, more on that soon) then that seems to be what's happening here.

There's even one additional point I'd propose: if Sora trailing off is not just a question posed to the reader about who the light is, but rather (or also) Sora starting to forget who his most important person is, then why is he able to perfectly recall Kairi's name and something she told him just a moment before? Unless he was actually forgetting something about Riku? I don't particularly think this holds much water, though - Sora can be seen remembering Kairi's name later on, even though he has forgotten things about her. Just another odd tidbit.

Okay, on to the second quote.

"But…he only believed that because when he got his body back, Kairi had been holding him. What if it had really been someone else who saved him?"

This quote is just 100% putting the question out there. Again, if we're taking this at surface level, this is Sora calling his memory into question now that Namine has invaded them. He's probably wondering if this mystery girl he can't quite remember was actually the one who saved him.

A little bit more context, this is when Sora is speaking to the Cheshire Cat. Again, we have all the double meanings the necklace theory implies. In fact, just a bit earlier was this quote:

"The Queen of Hearts certainly did seem stubborn. But how could they get someone else’s memory back? It was hard enough to remember things you forgot yourself… Like the things that happened when you were very young."

Which certainly ties into the meteor shower. Now we run the same course as last time: If these things about Namine/Kairi are actually about Riku, then why is one of the few things Kairi (seemingly) definitively did being called into question?

...Well, I don't really have an answer. Sorry! I did mention at the start that I do think Kairi saved Sora here, even though her Princess of Heart powers are very vague and it's not really clear how she did so. It is, of course, possible that this was not intended to be the implication at all and Riku is not involved in this case. However, even if that is the case, I don't think that's some kind of "gotcha" against necklace theory, Riku is the light, or Soriku in general. Even in game, not everything Namine replaces is Riku. In fact, it's really just that one essential memory of the promise. These are just a few sentences in a novel that's not even primary canon. What stuck out in my mind was simply the fact that these passages line up with necklace theory/Riku is the light perfectly, and then immediately afterwards Kairi saving Sora is called into question. Is it a mistake? An oversight? Does it even matter? Who knows! But it was something weird, so I wanted to talk about it. If you got this far, sorry if you were hoping for some grand theory, and thanks for reading!

#kh #kingdom hearts #sora #riku #kairi #soriku #my txt #kh meta #I don't really write theories/analyses so forgive me if I rambled

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shashapato · 1 month ago

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Nevermore Reread Theories :)

Since Ada’s spectre was hinted at when she was insulting Lenore, I think Lenore’s spectre has been foreshadowed as well (NO I HAVE NO CLUE IF ANYONE ELSE ALREADY DID THIS)

The Raven said “unless you have a pair of wings” and I think Ada was calling Lenore a “batty” woman (I know she means crazy but BAT) AND Berenice says she has a “few bats loose in the belfry”

So she probably has a spectre with wings and/or related to bats

But Berenice already has the strigoi which is a vampire, so idk if the bat part is right cuz that’ll overlap with Bee’s

BUT YEAH TAKE MY THEORY

#nevermore webtoon #webtoon #lenore nevermore #nevermore lenore #nevermore theory #reese analyses

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aristaspark · 3 months ago

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Chaos Theory Season 3: part 3

Yk when I said I was actually ok with dinostar in season 1, then season 2 made me hate them? I'm not throwing lies around, that was actually the case. And season 3? While it has not repared the damage done in season 2 in my eyes, I found all their interactions endearing (I mean, I was always the biggest dinostar besties stan).

So I'm gonna speak about that scene in episode 7 in what I think is good faith and I really wish to know dinostar shippers opinion on it.

Brooklynn! Good luck Superstar

You too Dinonerd

That scene? Adorable. That's the dinostar I love. Absolutely adorable. But am I tripping or is this not the most adorable friendzone confirmation for a potential ship to have ever hit the screen?

I am not going to pretend that all the angst has disappeared btw them, Brooklynn's reaction when Darius implied that she had betrayed them in the last episode shows that there are still unresolved issues between them. But am I the only one thinking that their story has been evolving too quickly in season 3 if it was to be a big focus in season 4?

Kenji and Brooklynn will be a big focus next season (whether they end up together or not), just as Yaz and Sammy will be, it's inevitable.

But Darius and Brooklynn? They're already pretty much on good terms. Darius has forgiven Brooklynn, and it looks like Brooklynn is already on her way to forgive Darius. The only shadow that's left is, as I said, the fact that he abandonned her that night and Darius' confession...

Which they are probably going to adress as soon as episode one hits. They're stuck in an helicopter together, and will spend the first episode together. The team won't regroup with Sammy and Kenji before AT LEAST episode 3. They will have to address the elephant in the room at the start of the season, before we even get a glimpse at the angsty shit show that Kenlynn is shaping out to be.

And so, going back to that scene. The way they call each other Superstar and Dinonerd, to me, seems like the confirmation that they'll remain friends, before we hear them actually say it at the start of the next season. I don't know if you see what I mean? Like, to me it felt like the both reaffirming their friendship. Because that's their besties nickname and it has always been. I feel like that scene was a direct answer to the one where Darius felt anxious about bringing up his confession to Brooklynn. All he had to do was show her that he was still willing to be her best friend by calling her the way he used to do back when they were kids. And by calling him dino-nerd, she showed that that was what she wanted too.

#gonna start giving numbers to my analyses so it's easier #really wanna know what other people think #camp cretaceous #jwcc #chaos theory #jwct #brooklynn #kenji kon #darius bowman #sammy gutierrez #yasmina fadoula #ben pincus #dinostar #jwct spoiler #chaos theory spoiler

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blueepink07 · 11 months ago

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Yuno: her struggling relationship with autonomy

(character analysis)

One aspect I have always loved about media characters is their attempt to be perceived as mature, despite their young age. Some succeed, others struggle to hide what they see as their childish side.

Yuno is no different in this context and I'm surprised that people don't talk about it enough.

Beginning with her age 18, it's truly a controversial age, if I may say. It's a confusing age, because you are technically considered an adult, but, at the same time, your mind is not fully developed to actually be one. In the end, you are still a child at heart and mind, despite the fact that you are legally an adult.

We don't know much of her home life and honestly I don't think it would do any good for me to make assumptions, since it's pointless in the long run and it would just lose credibility. However, one thing it's for sure based on Yuno's actions. She desires autonomy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

I'm the one who chose, let you and you and you all in ~🎵

She highlights quite a lot with these phrases… She chose for herself, she is an adult who willingly decided to partake in compensated dating. Being called naive or innocent, two words that usually are used to describe little children, surely infuriated her… and she shows it.

It's funny now that I think about it. Fuuta also has the same problem, but his reactions are more childish, in the end, not doing him any justice. However, Yuno is no different. Of course, she does it in a more subtle manner, but she really does get worked up quite a lot when it comes to her being perceived more as a teenager than an adult. Her whole song it's literally about this idea. Yuno being infuriated that she is infantilized by the audience, making a sad backstory for her so they can dismiss the idea that there wasn't necessarily a big factor that provoked her to partake in compensated dating, but it's only her own free will.

I might add that the compensated dating itself is a way for Yuno to feel that she has more autonomy and she no longer needs to be treated as a child.

"An adult is a human or other animal that has reached full growth.[1] The biological definition of the word means an animal reaching sexual maturity and thus capable of reproduction." ~ wikipedia

Moreover, even the media promotes the fact that sexual content should strictly be watched by adults. And Yuno does end up having sex during some of these dates…

And if this idea isn't convincing enough… I think that Yuno likes to partake in compensated dating, because she knows the clients don't consider her a child. They are interested in her, in a way that makes Yuno feel satisfied with herself (at least, for a short period of time, when she is in their presence) she feels grown up and mature. She also receives money for her services, providing her with enough financial resources for Yuno to consider that she finally managed to complete one of the first steps of adulthood, to be financially stable.

Doing something that is not really socially accepted, again, can be considered as autonomy, because you do not follow the same rules that the society obligs. Yuno knows how compensated dating is perceived, but she still does it, because she thinks this action provides her "warmth".

The "warmth" that Yuno speaks about is a vague term to describe her desires. Based on her interactions, I would like to think that this term refers to genuineness and mutual understanding. Yuno, in the first VD, describes the society as being a place where "everyone eats each other". People need to point fingers at others who made a mistake, who did something that's not socially accepted to make themselves feel better.

Yuno: That’s right. You know those people who just wanna convince themselves, so they intrude in other people’s affairs even though it’s not their place—I despise them. That’s what I was saying. They only do that to make themselves feel better, don’t they? Those people don’t actually end up doing anything.

And you know what is interesting? The fact that Yuno finds more closure being in the company of some murderers. Why? Because they can also be considered some outcasts of the society that she pretty much dislikes.

Es: However, it also explains why you’ve given up. About yourself, human beings, even the whole of society, you’ve realised everything—that’s why your expression is so cold.

Teenagers usually have little power in our society. They can achieve great things, but have to go through more hardships due to the limited freedom. They need an adult to actually help them. That’s just how society is built.

Yuno's distaste for the society can explain why she has grown so fast, or, at least, thinks that she has matured enough. She was tired of the society inflicting on her rules that she, as a simple teenager, had to oblige. So, going into Milgram, starting to hear people crafting a sob backstory for Yuno, treating her like a child, despite the fact she has already done a few steps in order to sustain herself financially and emotionally as a young adult, it's truly insulting.

Es: This is just popular belief, but the law is also something the people have decided. There’s nothing, which can satisfy every single human being, now is there?

Yuno: That’s right.

However, even after all these, that doesn't mean she doesn't actually struggle with this new found autonomy that she craves.

I actually think that this autonomy is the cause of most of her suffering.

As I stated before, compensated dating is something that she decided to partake in, in order to prove her independence. She thinks that what she has chosen for herself is healing, helping her. But, if it's that the case, then why do we have these scenes?

It's difficult to admit that one of your decisions was actually… Quite wrong. Especially, when it's one of your first one's as an official adult, in the very first stage of your life when you finally have enough independence.

“Cognitive dissonance is what we feel when the self-concept — I’m smart, I’m kind, I’m convinced this belief is true — is threatened by evidence that we did something that wasn’t smart, that we did something that hurt another person, that the belief isn’t true,” said Carol Tavris, a co-author of the book “Mistakes Were Made (But Not by Me).”

She added that cognitive dissonance threatened our sense of self.

To reduce dissonance, we have to modify the self-concept or accept the evidence,” Ms. Tavris said. “Guess which route people prefer?”

So which one does Yuno prefer? To convince herself that what she is doing makes her happy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

Yuno: I’m not pitiable. My family gets along super well. And I’m not particularly struggling for money. I decided, of my own free will, to do it because I felt that it was necessary for me.

Sometimes, considering how many times she mentions it, for me it feels like Yuno tries to convince herself that what she is doing is good for her.

But you know what is funny to me?

She is good at making herself enjoyable for others as well as giving somewhat good advice:

Mahiru: My birthday…… the day I was born……But was there really any reason for me being born? Lately I’ve started to wonder that. Do you ever think about stuff like that, Yuno-chan?

Yuno: Eh? Not really. I mean, Mahiru-san, you’re really the romantic type, right? Not that I have anything against that. But isn’t it a bit much to think that everything in life has a meaning? If it makes you happy to think like that then go ahead, but if it doesn’t, then isn’t that in itself meaningless?

Mahiru: : ……you might be right. I’ve always just lived my life like this, so I don’t really know.

Yuno: We’ve all just gone through a bunch of things in life that happened to lead us here. It’s nothing more than a coincidence. Definitely not fate or anything. Probably. Even if there isn’t a meaning, you can still be happy that it’s your birthday. That sort of thing’s all you need in life really. So happy birthday, Mahiru-san.

Mahiru: ……no, I’m fine. As long as I don’t move too much I don’t even feel any pain. Sorry for making you worry.

Yuno: Oh, really? That’s good then. Mahiru-san, if there’s anything you want then just ask. It’s not like it’s a huge burden, I can just ask for it along with my own stuff.

Mahiru: Ok…… I’m fine for now. Sorry, for making you worry. Ah, Yuno-chan…… Today’s your birthday, right? Happy birthday.

Yuno: …Haha, thanks. Thank you, but y’know. Is it really ok for you to be saying that to me when you’re in that situation?... you really aren’t suited for Milgram, huh, Mahiru-san.

Amane: What is it… Kashiki Yuno. Don’t sit so close to me. Go away.

Yuno: Sorry for barging in when you’re getting into your worldview thing. But Mahiru-san’s finally managed to get to sleep. Humour me with some small talk while I take a break. By the way, Amane. Have you ever wished you were never born? I’ve thankfully lived a pretty fun life so far, so haven’t really. But you seem to be struggling with something. So I kinda wondered if you thought like that.

Amane: ……I don’t think that. Being born into this world is the first miracle any person experiences, and is something to celebrate. Even if after birth I was put through trial after trial, the value of that will never disappear.

Yuno: Hmm. Ok…happy birthday, then. It’s good that you were brought into the world, I guess.

But Yuno has a big, and I mean a BIG tendency to self-destruct, not intentionally.

Wanting to be independent comes with its own downfalls. At the beginning of the trial, Jackalope states that Yuno has distanced herself from social interactions. So much so, that we have never seen her actually confiding to someone else, in any of the portal timeline translations. She might have her reasons, either minimizing her problems, and using her energy to help the ones she deems to have worse than her, or, this is simply her nature to bottle up her own sadness. This again might also be the cause of her wanting autonomy and proving to herself and others that she is mature enough to manage her emotions.

Not confiding in someone else for a long time can cause depression. Something that Yuno might be struggling with during trial 3 or she is already struggling with it a bit.

Furthermore, it's interesting that Yuno admits disliking behaviors that she deems childish. For example, she doesn't like the way Haruka and Muu behave, because they are ignorant of the problems in prison and have a really childish way of thinking. Amane's hate towards Shidou, might be often wrongly interpreted as a simple child's tantrum. Kotoko's actions, responding with violence to violence, it's again, an aspect often deemed as childish and immature.

Yuno: Really? If you ask me, Kotoko is someone I would never want to make my friend, though. She’s the type who picks a conclusion from the very beginning and won’t actually talk with you.

Yuno: Well, I guess it’s arbitrary who one gets along with. But Mahiru-san in particular is something. I think both her body and mind are at their limits. Also, Mikoto-san was also attacked but apparently it ended up in something of a draw. That guy was strong, huh—how unexpected. Also Haruka and Muu-chan have become kind of bothersome. And additionally, Amane-chan and Shidou-san too, huh.

Lastly, her second MV also shows her desire of autonomy in Milgram, not only through lyrics, but through visuals too.

Beginning with her door, it looks a lot like a medieval castle door.

Her room, the way it is designed, especially the bed and the chair, also resemble a princess' room.

However:

Despite the important role that princesses played in courtly life, they had limited personal freedom. They were often kept under close guard and were rarely allowed to leave the palace or castle where they lived. This was done to protect them from danger and to prevent them from engaging in political activities that might undermine the authority of the king or prince.

Medieval princesses had little to no autonomy most of the time. Their life was dictated from the start, having the only purpose to be betrothed and give birth to children.

That’s why the design choice is intentional. Yuno feels like a princess trapped in her pretty room (the MV is quite claustrophobic, the only outside elements being a few memories), exposed to the world (the many windows imply this), the voices that keep demonizing her.

That’s why the scene where she starts breaking things in her room is so important. It serves as a sign of rebellion, to show that she is not the perfect, helpless princess that people like to portray her as. She is an adult who makes bad or good decisions, who thinks for herself. She is proud of her autonomy and is tired of constantly proving to others that she is not capable of taking care of herself.

#My birthday is on Tuesday so I've decided to write a character analysis of my favorite milgram character!#I actually wanted to post it tomorrow #but I'm sure I would have just ended up being unsatisfied with what I had written!! #I hope you enjoy this as much as I enjoyed making it!#Yuno is very fun to analyse as a character #milgram #thoughts #milgram theory #character analysis #milgram yuno #yuno kashiki #milgram mahiru

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