#Mazm crossover

[mazm-imagines]

Hyde and Erik, I want to know who's more dangerous to mess with or dangerous in general.. you both are scary to deal with if someone gets in your nerves

"Isn't the answer obvious? Look at that bloody twig and tell me I can't beat his arse!" Hyde cackled in confidence, causing Erik to tighten his grip around his noose.

"Tch. I would say there is nothing in that minuscule mind of yours. It seems your wit mirrors your height, imbecile." The last part was muttered under his breath. Hyde growled in contempt, he couldn't handle getting what he gave.

"Why you-! That's it! No need for flighty words, fight me like a man and that shall determine who is the most dangerous!" Hyde brandished his cane like a sword, ready to duel.

"Tch. I refuse to dirty my hands with such filth... but I will be sure to finish this quickly."

[vrmarie]

collab with @innocentdevilmaster 🤍 crossover : POTO & A Monster In Paris🥰

[dwsilver72]

Pony Jekyll and Pony Hyde

[thelaboratorysguilt]

who sent these bastards to cookie run, who did it

[roxie-the-slug]

-Who are you?

-I have no idea anymore.

[takoluka-magurofever]

mazm!j&h and r1999 crossover?!?? no fucking way!!!

how fast do i have to walk lil bro 🗣️🗣️🗣️🔥🔥🔥‼️‼️‼️ they're both villains as well as deranged and menaces to society 😭

[strangestcase]

Not sure if you've ever made a post like this/someone has already asked this and you've answered but I was wondering if you had a list of J&H adaptions (of any kind and as well as other fans making things that are just online stuff rather than big professional things) that you really like and think people should get into if they haven't really explored or even know of just yet? I'm curious because I've only branched out a little bit and got some stuff that was fairly. Meh.

I have made a few posts about the matter but! I’ll gladly repeat myself.

the trick with finding good J&H adaptations is to forget about 1:1 plot accuracy and instead focus on theme accuracy. You’ll be pleasantly surprised to discover a lot of adaptations (including crossovers and pastiches) understand the book and what it’s getting at.

Here’s my personal list of recommendations:

-MazM Jekyll and Hyde: a Korean visual novel that adapts the book to a T. The main timeline (chapters 1-8) are free to play, but chapters 9-10 and a few other tidbits are very cheap. Since it’s styled like an RPG, you can talk to NPCs that will give you some insight in the historical and cultural context of the novella. It has a spin-off game called Hyde and Seek in which Hyde is one of the antagonists, if you’re interested.

-Le Testament du Docteur Cordelier aka The Doctor’s Horrible Experiment: originally released as a TV movie in 1959 but later released in cinemas, this Jean Renoir production tightly follows the book plot with very small changes. The biggest change is that the story is set in 1950s Paris rather than 1880s England, with all the characters having different names. It has a budget of five dollars and a shoestring but it’s very well written and well acted, with a professional mime playing Jekyll and Hyde. My friend @nemeyuko has a copy with English subtitles. WARNING: there is a rape scene near the end.

-I, Monster: a 1971 Amicus production (basically a knockoff Hammer movie) with Christopher Lee and Peter Cushing as the leads. Some character’s names and events are changed, but the plot is very much recognizable as a Jekyll and Hyde adaptation. The setting is also changed to the Edwardian period. This adaptation focuses on the psychological element of the story, including overt references to Freud and modern psychoanalysis, and putting the spotlight on Jekyll’s addiction to the serum.

-The League of Extraordinary Gentlemen: 2003 Norrington movie that has almost nothing to do with the comics it was adapting from, but it’s considered more enjoyable by most people since it isn’t as dark and gritty. I specially recommend the movie for its take on Jekyll/Hyde, since it doesn’t shy away from the addiction angle. Hyde is entirely done with practical effects. The movie novelization is available in the Internet Archive, and it has a bit more focus on Hyde.

-Jekyll and Hyde at the Old Vic: a dance adaptation that reimagines Jekyll as a dorky botanist in 1950s England. It doesn’t have any dialogue and it’s mostly about an angsty love story but I really liked it (basically imagine Jekyll and Hyde meets Little Shop Of Horrors, and I’m not exaggerating!). It was available for free on YouTube a while ago but it’s been taken down- if anybody has any recordings let me know!

I have a rather lengthy list of adaptations I’m watching on YouTube, a lot of which I haven’t even started yet (and a lot of which aren’t particularly worthwhile) but here’s a little documentary and a couple of funny sketches.

[lincolnlogger]

Lincoln Logger's MazM Phantom Review

(Because apparently this game makes everyone who plays it want to say something...)

I finished this game at 3AM this morning after several weeks of free-play and grinding through with ad-watching. This will be short because I don't write reviews, and most of what I feel about the game has probably already been said by someone else. That being said, I want to address some popular points of contention.

Spoilers beyond this point! And trigger warning in advance for talks of character suicide, as there were a couple instances in this game.

1. Melek

Oh, Melek. For those who don't know or who have forgotten, Melek is Erik's blind servant from Turkey and also his first (failed) attempt at a wife. She serves basically zero plot function... except that she does. I noticed very early on that her character seemed to only exist to give Christine a reason to return to Erik over and over, since the story had changed to make Christine far less... enchanted, shall we say, by Erik. This is explicitly not a Christine/Erik story, unlike Leroux's book, and so this Christine does not feel the same complex emotions towards Erik that Leroux Christine felt towards Lerik. This Christine will never love Erik.... whereas Leroux Christine spells it out pretty unambiguously to Raoul that she's kind of got the hots for her music teacher even though she knows she shouldn't (because he's a murderer who repeatedly kidnaps her, etc, etc, etc).

In this way, Melek was a character contrived to smooth over that issue. Now we have Christine returning to Erik not out of obligation and pity for him, but out of obligation and pity for Melek. It became pretty distracting, especially in the final lair sequence, where Erik and Christine are having these intense intimate conversations and Melek's just kind of.... right there. This isn't the first time I've seen something like this before, though. I've read a fair amount of Sherlock Holmes crossovers with Phantom, and almost all of them place Sherlock in the final lair with everyone else. Suddenly Erik's house seems really crowded, especially because the new character keeps trying to butt into the conversation to make themself seem relevant. It's just a natural consequence, I think, of an adaptation trying to insert a new character into a story that's pretty complete on its own.

Melek serves a second purpose beyond being just a person for Christine to save from Erik. Melek acts as a person for Christine to visually interact with in Erik's house. This is a visual/interactive novel, and so probably the game developers decided they needed to make Christine's time in Erik's house a little more engaging. Without Melek, it'd probably be pretty boring, seeing as the only thing for Christine to do would have been walk around looking at portraits on the walls. An internal dialogue would have been boring to read for twenty minutes; with Melek, Christine's ideas were challenged and the player got a sense of her internal struggle. I read a lot of their conversations in this way, with Melek acting as an extension of Christine's own mind for the purpose of showing her internal conflict. But all in all, there were better ways to show this.

Why is it so terrible that Melek exists? Everyone who's played the game already knows this, but the problem is that it makes Erik just that much less pitiable. He's kept a woman in his house for ten years... I don't even want to know the logistics of that. And so when he kidnaps Christine, it doesn't read as "he's just that desperate for love, this is his last-ditch effort for happiness" it reads as "oh he's back on his kidnapping bullshit again." There is no pretense here; if Erik has his way, Christine will eventually hurt him enough that she will be discarded just as Melek was, and the cycle will start again with perhaps another woman. MazM Erik doesn't seem to want to be happy; in fact, he says repeatedly that he would actually rather have Christine be unhappy instead of him being happy. Leroux Erik on the other hand just wanted some shred of happiness, irregardless of Christine's state of being; his love for Christine was not some twisted form of revenge on humanity and so he didn't desire her to be miserable in the way MazM Erik did. Lerik just wanted to be loved for himself, which is exactly what made so many readers love him in the end.

2. Hatim

This is the other character a lot of people had issues with. Hatim is debatably a bad person. I personally don't see him that way. I think he did a fair amount to hurt Erik, but ultimately he thought he was helping him. I do think this game reads mainly as Pharoga more than any other pairing, just in a really, really unhealthy way - on the part of Hatim.

Hatim does a lot of questionable things to Erik. He literally purchases Erik from the traveling fair, and brings him to Persia where he gets him situated as a weapons manufacturer. Then he saves Erik's life by securing him a position as court jester/assassin, and basically isolates Erik so he only experiences humanity when he is around Hatim. Then Hatim frames Erik for treason and is ordered to execute him, but Hatim is just such a good guy that he decides to just send Erik off into the wild by himself (after which he wanders to Turkey and is accused of treason once again because Hatim's lie followed him to Turkey as well). Then, once Hatim reunites with Erik in Paris, Hatim repeatedly uses Erik's PTSD against him to trigger panic attacks "for his own good". He attempts to stop Erik from hurting Christine and Raoul, but he also doesn't do much to help them against Erik, either.

I usually get upset when adaptations villainize the Persian, because they don't do it well. Here I think it was sort of executed in an okay way. We all love Nadir Khan of Kay fame, but the problem with him in a Leroux-style book is that he's too nice to Kerik. The Persian needs to be a friendlier type of acquaintance with Erik, but cannot be counted as an individual who loved Erik or otherwise was a good influence on him, since Erik's entire point is that he had nothing of that sort for his whole life. Many adaptations/fics go the route of making the Persian an old begrudging coworker of Erik's that doesn't particularly hate or like him, but just knows enough about him to know he's not a true monster. That's a far cry from the old pals that Nadir and Kerik were to each other. This adaptation went more the route of Kay's novel, I guess, but spun the situation around so Hatim's pal relationship with Erik was ultimately harmful and negative when looked at in retrospect.

Raoul calls Hatim out on all of his shitty behavior when they're in the torture chamber together. And like, yes, it's a wonderful moment where it seems like Raoul's IQ has increased tenfold, but we need to stop and think about it a bit. Raoul has not been a logical dude for the entirety of this story. Now, in the midst of being tortured, he is irate and cantankerous. He accuses Hatim as being the reason why Erik is the way he is, but how much weight does that accusation hold? Erik is his own person and was pretty old by the time Hatim came into his life (not a full adult, but certainly old enough to learn the concept of right and wrong). Hatim led him down a bad path, but I think it's supremely unfair for Raoul to say that everything is Hatim's fault and for the reader to just blindly agree with Raoul on this.

Hatim worked for the Shah. The Shah ordered Hatim to purchase Erik, so he did, and once Erik arrived in Persia, he was put to work doing horrible things. Hatim, though, saw Erik as the human he was, and attempted to breathe some humanity into him. But there was only so much he could do - if he rebelled against the Shah, they would both be killed. Hatim's plan, therefore, was to try to protect Erik from himself, by keeping him safely in denial from the horrors he was engaging in. Erik, we later find, did not agree with Hatim's decision to do this, as it hurt him terribly when the guilt and weight of his actions finally caught up to him when he realized what exactly he was doing. Thus, we can see Hatim did some pretty terrible things, but it was mostly with good intentions... and that is probably the saddest part of their relationship.

Hatim and Erik have a very complex relationship. Hatim is only about six years older than Erik, but seems to see himself as a sort of father to Erik (there is also the interpretation that they had a more romantic relationship, and so I forget who but someone has already made the joke about how Erik must have called Hatim 'Daddy' at some point). Hatim cares about Erik, to the point of still wanting to protect him from the people of the Opera house even when everything starts going to shit - but his idea of protection is honestly abuse (re: triggering panic attacks for Erik's 'own good'). It is Hatim who ultimately hurts Erik irreparably, not Christine, and so it is Hatim who Erik pens his suicide note to.

(The next two paragraphs describe Erik's suicide, so trigger warning for that...)

Erik's suicide was very hard for me to play through. It was an ending I foresaw very early on, when I realized how self destructive this version of Erik was, but there was a shred of hope in me that was hoping somehow he wouldn't go through with it. I thought perhaps he would still be alive at the end, and they wouldn't find the body, and the game would end with Erik's sinister laughter or something... but no. They went there. It was sad. I didn't enjoy it. I'm just glad they didn't say it outright, and I could pretend that the Punjab lasso just happened to be next to his body when he collapsed or something.

But anyway. In his suicide note, Erik requests Hatim to 'please come,' and then kills himself by the time Christine and Raoul arrive. I didn't quite catch the exact amount of time that elapsed between all these events, but there is a very tragic implication in this sequence. Christine has to wait until Raoul arrives from Perros-Guirec in order to venture down; this takes at least a couple days. A body begins to decompose very soon after death. They made no comment about Erik's corpse being decayed much, just that he was cold and dead. Well... Erik's body was naturally cold. And we know he asked Hatim to please come. Personally I read this as Erik having waited for Hatim to just come and talk him out of suicide, but upon Christine and Raoul's arrival he realized Hatim really wouldn't be coming at all. So Hatim let him down that one last time, and Erik just couldn't take it anymore. He hid himself away as Christine and Raoul searched for his body, and killed himself before they could find him.

(That is all just an interpretation of how it went down, I guess, but I don't think anything else really makes sense.)

Anyway. As for just general comments about the game? It was fine. I thought it was engaging. I wasn't expecting a direct copy of the book, though it would've been nice if it was. I appreciated the attempt to expand some of the characters' personalities, but some of them fell flat with me (Sorelli being one of them... the only thing she did was slash her dagger around and pine after Philippe). I thought the workers' strike sequence was boring but I know other people liked it; I guess I just don't like history and so I thought it was an unnecessary addition.

There were some minor grammatical/spelling/etc typos, probably from translation and localization. They didn't make the game unplayable, but I will be that asshole and say I noticed each and every one of them. There also seemed to be some lazy coding, where certain elements would be revealed before a certain point of the game was reached. This happened most frequently with random people I talked to saying things that would only be relevant after I completed whatever task I was supposed to be doing, but the most annoying example was that Erik's face was revealed in the popup character bio screen before Christine took his mask off, which absolutely ruined the reveal. As someone who dropped out of the computer programming track in college - I completely understand how difficult it is to make a game and how hard it is to playtest for every little thing, and kudos to anyone whoever does game development because the amount of patience that takes is mind-numbing. I'm just stating these things because I noticed them, and I think an update could probably fix them... and ultimately, they didn't make the game unplayable. Although it was a real bummer to have Erik's face revealed like that :(

The music, I will say, was phenomenal. I've never played an interactive novel like this, and was tempted to play with the sound off because I don't like sound in my games... but oh boy. The music was amazing! Every track gave just the right atmosphere for the situation at hand. The "Lonesome Road" track was my favorite, especially when it played in the torture chamber during Nadir's account of his history with Erik. It gave the same dismal feeling that hearing the "Jailor's Elegy" track in Ace Attorney's Turnabout Goodbyes gave. On second thought... perhaps it might have been "Way Back" that played then, but both tracks are very nice regardless! "Clear Day" was also a nice track, since it was so light and cute that it perfectly distracted me from the horrors of the game when it played... just in the same way that in the ALW musical, All I Ask Of You serves to distract Christine from the sinister presence of the Phantom who we all know is lurking right around the corner. "Somewhere in Dream" did the same, though it was tinged with the sadness of needing to leave something behind, or perhaps the fear of not being able to leave something behind. "Worktime" I appreciated for its unabashed silliness.

I'm sure I'll have other thoughts later but I'll just leave this here. Feel free to tell me your thoughts on it and if you agree/disagree with any of the things I've said!

(And now, a picture of Erik and Hatim, because for all the horrible things Erik did in this game... this was the picture that broke my heart and made me see that even this Erik was not fully wicked. Yes, this Erik was a lot harder to feel bad for, but my heart did go out to him...)

[vanessa-hyde]

For TGSx MAZM crossover au- (idk what to call it ;-;)

Kate would make fun of Hyde whenever she can, and he is low-key kinda scared of her

[free-for-all-fics]

Musicals Masterlist

The Phantom of the Opera Gaston Leroux Novel, MazM Visual Novel, and Mystery Legends: Phantom of the Opera Hidden Objects Game:

The Phantom of the Opera and Beauty and the Beast Crossover AU Prompt

Death Upon an Austrian Sonata: A Dana Knightstone Novel AU Prompt

Phantom Manor AU Prompt

Gothic Horror AU Prompt (inspired by Disney’s Phantom Manor/Haunted Mansion and loosely Unforgiven: A Northern Hymn!)

Haunted Mansion AU Prompt

Spookies AU Prompt

Other Phantom of the Opera Adaptations:

Phantom of the Opera 1943 Prompts (Claude Rains as Erique Claudin)

The Phantom of the Opera 1962 Prompts (Herbert Lom as Professor Petrie) coming soon!

The Phantom of the Opera 1989 Prompts (Robert Englund as Erik Destler) coming soon!

The Phantom of the Opera 1990 Miniseries Prompts (Charles Dance as Erik Carriere)

Other Musicals:

Elisabeth Prompts

Hairspray Prompts (coming soon)

Romeo and Juliet Prompts

Tanz der Vampire Prompts (feat. Dracula Musical Crossovers)

[mazm-imagines]

Erik! Creature! How does it feel knowing there's someone like you? A fellow outcast?

"I never thought I'd find a being as monstrous as me... A being of death..." Erik's yellow eyes peered up, meeting the creature's own mismatched ones.

"I as well..." The creature met his gaze, akin to a lost dog finding it's home. Except perhaps this wasn't a home.

Would friendship finally be possible?

The creature reached out a gigantic hand towards Erik as an offer of companionship. Erik only looked at it and scoffed.

"I am sure... you would find a way to look down on my as well. In fact you already are!"

"No... I have no right to do such a thing. If you do not want to be friends... that is alright..." Creature pulled its hand back, dejected from the refusal. Erik would notice this however.

"I never said that- fine. We can discuss other matters, and I will determine from there if you are genuine."

[moonlight-shadxw]

Hello! A couple of things.

One I love ALL of the art you post it is amazing.

2. I was around when you were posting Ichabod Crane content and I wanted to say, your au reminded me of mine where I also had a modern ichabod but he had two sons.. they were the MaZM jekyll and hyde, my aus are kinda a crossover mess but I love them. Anyways wanted to say keep up the amazing art!! I love seeing you post.

Hiii ! Thank you so much, it really means a lot that you stuck around for such a while !! ❤️

OUUU that's a really interesting concept for a modern au 🤔 I'm genuinely curious what else you had in mind for that?

Thank you immensely once again, that's so kind of you❤️

[julia-bunncat]

Amashinsai and POTO crossover

Yeah, I came here for one reason — and that reason is post about my OTP within the "Phantom of the Opera" universe. Just... Sorry, I can't help myself ^^" I love making all kind of crossovers and I have so many headcanons... Maybe, if I get enough feedback, I will share a few more. But for now, here is a couple of !warnings! :

I don't know the original "Phantom of the Opera", I just played a visual novel by MazM.

The crossover uses only atmosphere and drama of the POTO. Three main DRV3 characters remain themselves = their character almost does not change; many facts from the biography (? I think I may well use this term xD) are preserved.

The time of action is the 20th century, closer to the modernity.

Location: Museum (you should have figured it out from the cover already). I was based on the Shinguji's aesthetic: in canon he's an Ultimate Anthropologist after all~

All characters are 25+ y.o.

And REAL TRIGGERS: mention of death, psychological disorders, murders, abuse and, maybe for someone, a couple more dubious things.

Let's begin o/

🎭 Korekiyo Shinguji as ERIK (The Phantom of the Opera in person)

This was obvious at least because of the fact that both had masks :D But apart from that, they have quite a lot in common!

1} Korekiyo lives within the walls of the Museum. Like Erik, he manipulates his employees and managers. For example, Shinguji himself selects which exhibits will be included in the Museum and believes that the Museum, in principle, would not be so cultural if not for him. Selfish person, shortly speaking :'D 2} He also puts to sleep prying people with exotic incenses. 3} Kiyo it's a Trap Master. After all, remember his "seesaw effect" in DRV3 xD In a similar way, he rid himself of unwanted guests by first frightening and then severely punishing them if the invasions continue. 4} He also knows how to ventriloquist and a mask, that covers the lower half of the face, only helps with this. 5} Less often than intruders, but Korekiyo (as in canon) still kills random female visitors. I will explain the reasons a little later :^ 6} And the last item — Shinguji is NOT an Angel of Music... Because there are only three characters in this crossover. Kiyo can hum lullabies in a creepy voice, but he is not a musical genius!

🔎 Shuichi Saihara as Detective from the MazM and, for some reasons, Christine Daae.

He came to the Museum just to investigate one of the recent murders of Shinguji, which was faked as an accident.

Unlike canon Shuichi, not afraid of the truth. On the contrary — he is ready to seek it and go to the end. Passionate about his work.

And he plays the role of Christine Daae not because he sings in the choir behind the scenes (xD) — according to the plot, Shinguji will kidnap Saihara, since it is obvious that the Detective will ruin the whole order of things established by him. At first, he wants to kill Shuichi, but then, for certain reasons, he will simply leave him in his lair.

⚓ Rantaro Amami as Raoul de Chagny

From the viscount he gets the activity (also a serving sailor + traveler) and the upcoming expedition to the Arctic, which he is very happy with, because he loves risk.

Rantaro also has many sisters :'D He came home after a long trip. Most likely, he will visit the Museum with them.

He had never known Shuichi. No love since childhood. However, Rantaro will visit the museum just during the Saihara's investigation and will help him. He will find that crime interesting~

And now, when we have dealt with the characters, let's go back to Korekiyo o/

Some interesting questions that I haven't answered before:

❶➣ Why is Korekiyo wearing a mask? ❷➣ How did he get to the Museum? ❸➣ Why did he decide to spare Shuichi?

First things first...

The main reason Shinguji wears the mask — is because of his Big Sister, also known as Miyadera. Anyway, despite the overlap with canon, there are several major differences in my storyline.

Behind Korekiyo's mask is a very ordinary (with the exception of one deep scar), even a beautiful face — not lipstick on lips, "just to look more like Sister". This was not a deliberate decision by Kiyo, but only a compulsion from Miyadera, who forced her younger brother to hide behind a mask. She did this out of a sense of envy for the freer Kiyo and self-loathing. Kiyo's face, in her opinion, does not belong to him — it is her own, since they were very similar.

Moreover, since Miyadera was seriously ill and could not get out of bed, she also decided to lock her brother in four walls with her. "Since I cannot enjoy life, neither can you". "Since I cannot make friends for myself, then you also have no right to do so, you cannot use my face".

If you have a question: "How could their parents allow her to do this?" — I also have some headcanons.

They had only a mother who suffered from severe depression after her husband/their father leave the family (in fact, he abandoned them as soon as it turned out that Miyadera was terminally ill). For the most part, she didn't care about the kids. Only sometimes she bring food and pain relievers for Miyadera, so as "not to kill the children with her own hands" or so that "the neighbors do not whisper behind her back". There was not enough energy and money to take care of children.

Thus, all Kiyo could do was look out the window at people passing in the distance or hide in a closet with a bunch of old books about history, culture, archeology, architecture and more, when Miyadera had especially severe pain attacks.

Kiyo has never loved Miyadera as in canon. No incest. All that he felt for her was fear and awe, as in front of a person that in children's eyes was always higher, older and worthy of respect.

Sister often gave him "suggestion sessions." For example, she argued that no girl in this world is worthy of life, except for her (despite her self-loathing). That is why, when Korekiyo himself has seizures, he can kill an innocent young girl-visitor, if there is one at that time in the Museum. If not — auto-suggestion is used. By ventriloquism, Korekiyo convinces himself that somewhere behind him is the ghost of his Sister who is manipulating him. A similar thing happened in the presence of the kidnapped Sayhara.

The scar that is behind Korekiyo's mask (on the right side of the face it stretches from the eye to the jaw) was also left to him by Miyadera before her death. That day, for the first time, she asked him to take off his mask in front of her... and began to swing a knife in order to "take Kiyo with her." But she didn't have time.

As another proof that Korekiyo did not love his sister and wanted freedom — after her death, he immediately ran away from home.

Headcanon with how he got to the Museum may seem a little unfinished... :D At first I thought that he was consciously looking for places similar to those than was being in the illustrations in his favorite book.

However, one abuse would not "teach" him to kill or be violent. I guess, it would be a good option to leave what happened to him in the canon when he visited one of the settlements, don't you think that? And only then he would find The Very Museum; and due to inattention of the builders, would have settled outside its walls. Like Erik (from the MazM), he took with him a couple of things that belonged to Miyadera. He would have decided to settle behind the walls only because he perforce felt comfortable in a confined space (like inside the closet in which he hid in childhood).

By the way, the love for humanity remained from the canon Korekiyo! He doesn't realize this and continues to hide from people because of the distorted attachment to sister, but quite often sees off visitors with a curious look~ If not fear (and not the sad experience with the inhabitants of the settlement, probably), he would have long been not just an observer... He has to remain a Phantom, since his Sister wanted so badly to no one would know about him and his face.

And the last answer to the question...

"You’re like a Sister, but not a Sister".

Yep, I think that Shuichi looks like Korekiyo (yellow eyes and black hair), therefore like sister — and that’s the reason why Shinguji decided to spare him! xD

In other words, Kiyo will have a little dissonance. The external signs are similar, but Sayhara is a man, and by character doesn't resemble Miyadera at all. Moreover, as long as Shuichi is in the lair, he poses no danger. Korekiyo observed him — Sayhara works alone. He is also unlikely to be sought by anyone close to him, as he is no longer a teenager. Maybe, Kiyo can convince Sister..?

Sayhara, as a good detective, will also take the kidnapping as an advantage. This is the answer to the mystery of the Museum’s Phantom! He’s right in front of him! Shuichi can take advantage of Shinguji’s favorable mood and find out what led him to commit the crime. By gaining his trust, he can even get Kiyo to come out of the lair... Then he can be dealt with legally.

I mean, you know..~ This is where Shinsai begins 😉

Korekiyo will be a hospitable host, will try to provide Shuichi with leisure, to tell everything he has learned... And Shuichi will make him so much happier with his interest!

That goes on until Rantaro starts worrying about the missing detective and starts looking for ways to get into Shinguji’s lair... However, unlike the POTO canon, I assume a good ending! Rantaro will not be as obsessed as Raoul, will listen to Shuichi and will likely begin to deal with Kiyo’s problems with him!

And that's it!

I just want to say that despite the length of the text, I don’t think the crossover is over. There’s definitely a couple more plot spots. It would be interesting to have more characters in the story (but in a way that doesn’t destroy the main pairings)! I welcome support, additions and even corrections!

And thanks for the reading, of course! Let's develop that crossover together! 💜

[katesol]

[kiravia28]

Crossover time! 

[takoluka-magurofever]

another jnh x r1999 crossover 🤯

spoilers for 'the prisoner in the cave' (r1999) and 'stakeout' (mazm!jnh) ofc