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everything-laito · 4 years

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could you analyze Q.E.D? owo

Anon, you do not even REALIZE how long I’ve wanted to do this. Song lyrics are always challenging for me though, which is why I’ve never gotten around doing it. But, since I have confidence in Laito’s character and his context, I think I can do it. I get most of my DL song lyrics from Silvermoon on live journal, so special thanks to them! If you wanna listen to Q.E.D, it’s on my Soundcloud!

Please note that this analysis is a lot more loose because it’s from a song. Stuff like this is typically up to interpretation even more than Laito’s regular game script. After writing this, I discovered that @/the-madame21 had her own interpretation that QED is Laito talking to Cordelia inside of Yui. So I’m just getting imposter syndrome thinking that this analysis isn’t good enough because it’s not as “confident” as my other ones, but oh well! I hope you enjoy my interpretation too!

Let’s dive in! (and if you have anything to add on, please do, I had a bit of trouble with figuring some stuff out; song lyrics are pretty much poetry which is my weakness haha) Full thing under the cut!

As time passes, the more it expires, fading away Love dies only when growth stops If everything was laid bare, no matter what, Would the heat of the feelings from that day lessen?

I do believe the first line has to do with Laito being a vampire, with his seemingly eternal life. I don’t know what he means by “that day,” either it has to do with Cordelia or Yui. I had trouble understanding what “if everything was laid bare” so I looked up an alternative translation that said “If everything were gone, and nobody could change what went wrong,” Both essentially say the same thing, so I know it’s just a translational choice. So, I believe this is Laito questioning his emotions and thoughts about how love works.

His statement of “Love dies only when growth stops” sounds more of a definite one; like he’s confident in it. It’s also an absolute statement, which we should all know that absolute statements should be avoided, because there are always exceptions. To me, this implies that he doesn’t have a lot of experience with love––aside from the feelings he’s experienced. Which we know is true (until Yui really, considering this his his more blood character song) and we know it’s not true love with him and Cordelia.

I think the “growth” part in that really made me think. What does he mean by growth? I’m not fairly experienced in romantic love, but I do know love of any kind (platonic, family) you both grow together or off of each other. It’s a constructive relationship, but the “when growth stops” stumped me, because people typically never stop growing. But, in Laito lingo I think “growth” might mean until he gets bored? It makes sense to his character but I can’t say for sure.

Even if my life was surely coming to and end, Entertaining the faint hope that this blood of mine will be passed on, The crystal of love it emitted in your body, “……―――It’s meaningless”

This... Kinda sounds like the hint of getting someone pregnant, but I really don’t think this is the case. The “crystal love” is also hard to say what that’s about, but I believe that has to do with biting/fangs. To Laito, pleasure = love, and in this case specifically, (whether we’re dealing with Cordelia or Yui) pain (typically from fangs) = pleasure = love. As for him mentioning his blood, I’m not sure if that’s a reference to turning Yui into a vampire in the first game (x to doubt kinda) or Yui and Laito “intertwining/becoming one” at the end of his More Blood’s route. But, I’m not sure! Because blood as a motif means many things within DL and in real life.

I do believe this is Laito going back and forth believing in love or not. He’s been through so much shit which is why he says “its meaningless” despite him “entertaining the faint hope.” He’s shutting down his optimistic thoughts in an attempt to be realistic.

Ah, as time passes, Even if it was somehow replaced, There’s no proof that I ever loved you or anything “………Because I didn’t want to say it”

THIS. THIS. GOD, it kills me. I do think by this point we know he’s talking about Yui. Sure he’s told Yui that he loves her but it was more of a meaningless thing. Yet again he says it genuinely in the scene where him and Yui do it consensually. So, I don’t know! This whole song is vague!!! But what else do we expect from him.

He’s basically saying that if he moved on to love someone else, there was no proof that he loved them, but like how he directly says, it’s because he didn’t want to say it. Hesitance like this probably links back to the previous lyrics of him going back and forth with whether love has meaning or not.

After all, it’s all over, isn’t it? In time, won’t everything disappear, no matter what? So without robbing us of our ‘now,’ stringing the memories together, As the continuous bloodsucking stretched out into ‘eternity,’ If you say you wish for ‘immortality,’ We’ll prove it now! Together with you, Q. E. D. ―――…………!!!!!

Queue “It’s Over, Isn’t It” from Steven Universe This is like... optimistic nihilism (which I so vibe with lol) and I think this is Laito saying he just wants to focus on the present and get rid of the thoughts he previously said in this song (whether it be through healthy ways or unhealthy ways... it’s probably the latter). This does insinuate Yui’s presence, and him turning her into a vampire. This I believe is just another distraction for him to attempt to avoid his circling, depressing thoughts.

Now we gotta talk about what QED means. QED is an acronym for the Latin phrase “quod erat demonstrandum,” which means “what was to be shown.” In math or a philosophical argument, it’s used at the end of an argument or problem to basically say “it’s been proven.” Wikipedia also adds on that it can mean “thus it has been demonstrated” when used in this light.

Laito’s “QED” is his desperate effort to prove if his feelings and thoughts are correct. Man it’s taken me years to actually figure out what he means by this, but this is my own interpretation.

As the time of death approaches, the nearer it draws, coming into view There is always light behind No matter who, everyone is praying to someone There is just little remaining of that day, isn’t there?

I’m still so confused what he means by “that day.” I know this is Laito we’re talking about, but come on LOL. From this I have a feeling it’s about Cordelia and maybe the first day she abused him? I’m not sure. Maybe it’s meaning that he’s moving beyond Cordelia. I do like these lyrics because it’s super poetic. As for the “everyone is praying to someone,” this doesn’t mean everyone believes in a god, this just means that everyone has that one person they either look up to or look to gain a moral compass. That’s what a religion (to my understanding) essentially is at its basis.

Even if we quietly tried to abandon hope, Your lips on mine again and again, as this bittersweet time passes by somewhere, The crystal of love it left within my heart, “……―――It’s worthless”

This is Laito admitting that he’s feeling love really. This is through Yui’s own love too. But him saying “it’s worthless” is another desperate attempt at him trying to be “realistic” and to not get his hopes up.

Hey―――………Shall we dream? That we fell ill, and there were days we couldn’t see If the proof that the two of us were alive is stained red, “………Forgive me”

The way he says “forgive me” in the song is SO desperate and sad. But I think this implies that he’s asking for forgiveness for his past actions? I do think that he knows he’s twisted but he just doesn’t know anything else aside from his normalcy. Sure his actions aren’t justified but they’re explainable.

I also think his “dream” he suggests is maybe he wants to feel alive? Maybe him feeling like his feelings “aren’t valid” because he feels that they’re “human” emotions. Because in the games he repeatedly states how he’s a vampire and not alive etc but it’s interesting how he says “if the proof that the two of us were alive” like woah buddy

The tone that depicted the future of tomorrow always shattered in your ear In your torn eardrum, it left behind a dangerous red wish As the continuous whispers stretched into ‘eternity,’ If you say you wish for ‘immortality,’ We’ll prove it now! Together with you, Q. E. D. ―――…………!!!!!

This might reference that really.... awful.... terrible.... scene in ecstasy 04 of HDB. (I think it’s 04 ((edit: its 03 LOL I should’ve checked)) but it’s the really really uh awful one) But again I’m not sure. He does still reference turning Yui into a vampire though which is interesting, because that’s the only thing I can think of an “eternal love” being.

“If there’s no such thing as ‘eternity,’ I want to destroy this time… That’s…what I’d wished……”

This man really just wants to grasp onto things for eternity, goddamn. I think that he still just wants to distract himself or something because I’m not sure what else he would mean by that.

Only this feeling, Forgetting the ‘warmth’ that lived, Somehow, it’s becoming vague That’s not the only thing―――……!

This seems that he’s slowly forgetting Cordelia’s “love”, which is nice. Because it’s been a long time and the whole “that’s not the only thing” might imply that he’s losing himself in other ways too aside from the feeling of Cordelia.

After all, it’s all over, isn’t it? In time, won’t everything disappear, no matter what? So without robbing us of our ‘now,’ Stringing the memories together, as the continuous bloodsucking Stretched out into ‘eternity,’ If you say you wish for ‘immortality,’ We’ll prove it now! Together with you, Q. E. D. ―――…………!!!!!

(I already analyzed these lines haha) but wow I love this song. I know this isn’t as confident as my other analyses but I hope this suffices, anon!

As always, thanks for reading, and the ask box is open for any business you may have with me!

Ciao! -Corn

#ask corn #kernels #Laito sakamaki #sakamaki laito #diabolic lovers #dialovers #dl #dialover #sakamaki raito #raito sakamaki #analysis

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writingguide003-blog · 5 years

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Top writers choose their perfect crime

New Post has been published on https://writingguideto.com/must-see/top-writers-choose-their-perfect-crime/

Top writers choose their perfect crime

Crime fiction is now the UKs bestselling genre. So which crime novels should everyone read? We asked the writers who know …

On Beulah Height by Reginald Hill Val McDermid

This is the perfect crime novel. Its beautifully written elegiac, emotionally intelligent, evocative of the landscape and history that holds its characters in thrall and its clever plotting delivers a genuine shock. Theres intellectual satisfaction in working out a plot involving disappearing children, whose counterpoint is Mahlers Kindertotenlieder. Theres darkness and light, fear and relief. And then theres the cross-grained pairing of Dalziel and Pascoe. Everything about this book is spot on.

Although Hills roots were firmly in the traditional English detective novel, he brought to it an ambivalence and ambiguity that allowed him to display the complexities of contemporary life. He created characters who changed and developed in response to their experiences. I urge you to read this with a glass of Andy Dalziels favourite Highland Park whisky.

Insidious Intent by Val McDermid is published by Sphere.

The Damned and the Destroyed by Kenneth Orvis Lee Child

My formative reading was before the internet, before fanzines, before also-boughts, so for me the best ever is inevitably influenced by the gloriously chanced-upon lucky finds, the greatest of which was a 60 cent Belmont US paperback, bought in an import record shop on a back street in Birmingham in 1969. It had a lurid purple cover, and an irresistible strapline: She was beautiful, young, blonde, and a junkie I had to help her! It turned out to be Canadian, set in Montreal. The hero was a solid stiff named Maxwell Dent. The villain was a dealer named The Back Man. The blonde had an older sister. Dents sidekicks were jazz pianists. The story was patient, suspenseful, educational and utterly superb. In many ways its the target I still aim at.

The Midnight Line by Lee Child is published by Bantam.

Bleak House by Charles Dickens Ian Rankin

Does this count as a crime novel? I think so. Dickens presents us with a mazey mystery, a shocking murder, a charismatic police detective, a slippery lawyer and a plethora of other memorable characters many of whom are suspects. The story has pace and humour, is bitingly satirical about the English legal process, and also touches on large moral and political themes. As in all great crime novels, the central mystery is a driver for a broad and deep investigation of society and culture. And theres a vibrant sense of place, too in this case, London, a city built on secret connections, a location Dickens knows right down to its dark, beating heart.

Rather Be the Devil by Ian Rankin is published by Orion. Siege Mentality by Chris Brookmyre is published by Little, Brown.

The Hollow by Agatha Christie Sophie Hannah

This is my current favourite, in its own way just as good as Murder on the Orient Express. As well as being a perfectly constructed mystery, its a gripping, acutely observed story about a group of people, their ambitions, loves and regrets. The characters are vividly alive, even the more minor ones, and the pace is expertly handled. The outdoor swimming pool scene in which Poirot discovers the murder is, I think, the most memorable discovery-of-the-body scene in all of crime fiction. Interestingly, Christie is said to have believed that the novel would have been better without Poirot. His presence here is handled differently he feels at one remove from the action for much of the time but it works brilliantly, since he is the stranger who must decipher the baffling goings on in the Angkatell family. The murderers reaction to being confronted by Poirot is pure genius. It would have been so easy to give that character, once exposed, the most obvious motivation, but the contents of this killers mind turn out to be much more interesting

Did You See Melody by Sophie Hannah is published by Hodder.

Rebecca by Daphne du Maurier SJ Watson

SJ Watsno

I first came to Rebecca, published in 1938, with one of the most recognisable first lines in literature, not knowing exactly what to expect. That it was a classic I was in no doubt, but a classic what? I suspected a drama, possibly a romance, a book heavy on character but light on plot and one Id read and then forget. How wrong I was.

It is a dark, brooding psychological thriller, hauntingly beautiful, literature yes, but with a killer plot. I loved everything about it. The way Du Maurier slowly twists the screw until we have no idea who to trust, the fact that the title character never appears and exists only as an absence at the heart of the book, the fact that the narrator herself is unnamed throughout. But, more importantly, this thriller is an exploration of power, of the men who have it and the women who dont, and the secrets told to preserve it.

Second Life by SJ Watson is published by Black Swan.

Mystic River by Dennis Lehane James Lee Burke

To my mind this is the best crime novel written in the English language. Lehane describes horrible events with poetic lines that somehow heal the injury that his subject matter involves, not unlike Shakespeare or the creators of the King James Old Testament. Thats not a hyper-bolic statement. His use of metaphysical imagery is obviously influenced by Gerard Manley Hopkins. Mystic River is one for the ages.

Robicheaux by James Lee Burke is published by Orion.

The Expendable Man by Dorothy B Hughes Sara Paretsky

Author Sara Paretsky for Arts. Photo by Linda Nylind. 15/7/2015.

Today, Hughes is remembered for In a Lonely Place (1947) Bogart starred in the 1950 film version. My personal favourite is The Expendable Man (1963). Hughes lived in New Mexico and her love of its bleak landscape comes through in carefully painted details. She knows how to use the land sparingly, so it creates mood. The narrative shifts from the sandscape to the doctor, who reluctantly picks up a teen hitchhiker. When shes found dead a day later, hes the chief suspect, and the secrets we know hes harbouring from the first page are slowly revealed.

Hughess novels crackle with menace. Like a Bauhaus devotee, she understood that in creating suspense, less is more. Insinuation, not graphic detail, gives her books an edge of true terror. Shes the master we all could learn from.

Fallout by Sara Paretsky is published by Hodder.

Killing Floor by Lee Child Dreda Say Mitchell

What is it about any particular novel that means youre so engrossed that you miss your bus stop or stay up way past your bedtime? A spare, concise style that doesnt waste a word. A striking lead character who manages to be both traditional and original. A plot thats put together like a Swiss watch. Childs debut has all these things, but like all great crime novels it has the x-factor.

In the case of Killing Floor that factor is a righteous anger, rooted in personal experience, that makes the book shake in your hands. Its the story of a military policeman who loses his job and gets kicked to the kerb. Jack Reacher becomes a Clint Eastwood-style loner who rides into town and makes it his business to dish out justice and protect the underdog, but without the usual props of cynicism or alcohol. We can all identify with that anger and with that thirst for justice. We dont see much of the latter in real life. At least in Killing Floor we do.

Blood Daughter by Dreda Say Mitchell is published by Hodder.

The Long Goodbye by Raymond Chandler Benjamin Black (John Banville)

The Long Goodbye is not the most polished, and certainly not the most convincingly plotted, of Chandlers novels, but it is the most heartfelt. This may seem an odd epithet to apply to one of the great practitioners of hard-boiled crime fiction. The fact is, Chandler was not hard-boiled at all, but a late romantic artist exquisitely attuned to the bittersweet melancholy of post-Depression America. His closest literary cousin is F Scott Fitzgerald.

Philip Marlowes love and surely it is nothing less than love for the disreputable Terry Lennox is the core of the book, the rhapsodic theme that transcends and redeems the creaky storyline and the somewhat cliched characterisation. And if Lennox is a variant of Jay Gatsby, and Marlowe a stand in for Nick Carraway, Fitzgeralds self-effacing but ever-present narrator, then Roger Wade, the drink-soaked churner-out of potboilers that he despises, is an all too recognisable portrait of Chandler himself, and a vengefully caricatured one at that. However, be assured that any pot The Long Goodbye might boil is fashioned from hammered bronze.

Prague Nights by Benjamin Black is published by Viking.

Love in Amsterdam by Nicolas Freeling Ann Cleeves

Although Nicolas Freeling wrote in English he was a European by choice an itinerant chef who roamed between postwar France, Belgium and Holland, and who instilled in me a passion for crime set in foreign places. He detested the rules of the traditional British detective novel: stories in which plot seemed to be paramount. Love in Amsterdam (1962) is Freelings first novel and it breaks those rules both in terms of structure and of theme.

It is a tale of sexual obsession and much of the book is a conversation between the suspect, Martin, whos been accused of killing his former lover, and the cop. Van der Valk, Freelings detective, is a rule-breaker too, curious and compassionate, and although we see his investigative skills in later books, here his interrogation is almost that of a psychologist, teasing the truth from Martin, forcing him to confront his destructive relationship with the victim.

The Seagullby Ann Cleeves is published by Pan.

Laidlaw by William McIlvanney Chris Brookmyre

I first read Laidlaw in 1990, shortly after moving to London, when I was aching for something with the flavour of home, and what a gamey, pungent flavour McIlvanneys novel served up. A sense of place is crucial to crime fiction, and Laidlaw brought Glasgow to life more viscerally than any book I had read before: the good and the bad, the language and the humour, the violence and the drinking.

Laidlaws turf is a male hierarchy ruled by unwritten codes of honour, a milieu of pubs and hard men rendered so convincingly by McIlvanneys taut prose. His face looked like an argument you couldnt win, he writes of one character, encapsulating not only the mans appearance but his entire biography in a mere nine words.

This book made me realise that pacey, streetwise thrillers didnt have to be American: we had mean streets enough of our own. It emboldened me to write about the places I knew and in my own accent.

Lolita by Vladimir Nabokov Laura Lippman

Im going to claim Lolita for crime fiction, something I never used to do. But it has kidnapping, murder and its important to use this term rape. It also has multiple allusions to Edgar Allan Poe and even hides an important clue well, not exactly in plain sight, but in the text of, yes, a purloined letter. And now we know, thanks to the dogged scholarship of Sarah Weinman, that it was based on a real case in the United States. (Weinmans book, The Real Lolita, will be published later this year.)

Dorothy Parker meant well when she said Lolita was a book about love, but, no its about the rape of a child by a solipsistic paedophile who rationalises his actions, another crime that is too often hidden in plain sight. Some think that calling Lolita a crime novel cheapens it, but I think it elevates the book, reminds us of the pedestrian ugliness that is always there, thrumming beneath the beautiful language.

Sunburn by Laura Lippman is published by Faber.

The Moving Target by Ross Macdonald Donna Leon

Ross Macdonald, an American who wrote in the 60s and 70s, has enchanted me since then with the beauty of his writing and the decency of his protagonist, Lew Archer. I envy him his prose: easy, elegant, at times poetically beautiful. I also admire the absence of violence in the novels, for he usually follows Aristotles admonition that gore be kept out of the view of the audience. When Archer discovers the various wicked things one person has done to another, he does not linger in describing it but makes it clear how his protagonist mourns not only the loss of human life but also the loss of humanity that leads to it.

Macdonalds plotting is elegant: often, as Archer searches for the motive for todays crime, he unearths a past injustice that has returned to haunt the present and provoke its violence. His sympathy for the victims is endless, as is his empathy for some of the killers.

The Temptation of Forgiveness by Donna Leon is published by William Heinemann.

The Moonstone by Wilkie Collins Nicci French

http://www.theguardian.com/us

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