#hit the image limit. lol

[whatwooshkai]

conflict deescalation

Part 2

(Transcript under cut)

*Been arguing for several hours*

HW: You- you- you drive me nuts, Chase!

CH: You-

CH: Wait. I don’t understand. “Nuts?”

HW: Oh. Um.

HW: Like. You drive me nuts, you drive me crazy. You’re frustrating

CH: Yes, you’ve made that part abundantly clear.

CH: I’m curious about the expression.

[hum--hallelujah]

[atopvisenyashill]

Well you built up a world of magic Because your real life was tragic

[doonalli]

The Dummies, Midori, The Banquet, and what it truly means to "be human"

And here we are at the finale. if you haven't seen my previous analyses on the Dummies I recommend you read them before reading this one since i am going in assuming you have. But if not here they are in order; Why Anzu is Important Hayasaka and how humans change Kurumada and trust in your allies Ranmaru: Doubts in Humanity, and Humanity in Doubts Mai and Humanity in Autonomy Hinako; Humanity in Affection and Connection

With that said, let's start talking about the Banquet, Midori and what that says about the dummies' humanity.

At first the Banquet seems like a strange choice for the finale of the chapter, after all, we just went through a whole chapter about proving the humanity of the dummies, yet here they are all killed of one after the other here for the sake of Gin, a human. It comes off as a bit jarring, even seeming like YTTD is going back on its message a bit.

But I’m here to argue that isn’t the case, that the Banquet not only doesn’t conflict with the messaging of the chapter and the game as a whole, but instead works to push it even further to culminate in a perfect ending.

And to start with that, let's talk about one of the key players in the banquet, Midori. In a way Midori is everything it means to not be human, and he himself revels in this inhumanity. Midori has thrown away his own humanity, and this is shown to us in so many different ways, but the main one is the way he treats his own body.

What's particularly interesting about Midori is how unclear the line between what's real and what's fake is when it comes to him, from his relationships with the participants during their pasts, to the constant lies and half truths the tells over the chapter, to his death itself, it's hard to get a grasp on the reality of the situation when it comes to him.

And this of course extends to Midori himself, as he is presented as a mystery ever since Alice told Keiji about his murder, and in the way we don’t quite know if he is human or not until the banquet itself, and even then we don’t know exactly how much of his body is human.

During the Banquet Midori reveals that he has slowly been replacing parts of his body with doll parts, 

And to Midori this is equal to no longer being human, this mentality can only be achieved if you equate humanity to what you physically are, and it's through this that Midori acts as the opposite of what the dummies all stand for,

Where the dummies stand for Humanity not being tied to the physical truth, Midori stands for the opposite notion, that the physical truth stands above all. In his eyes humanity is a weakness, and we see that in how he treats them and the traits that prove humanity.

And so Midori tries to escape it, to escape his own humanity, no need for allies or connections or doubts or fears, all those "human" traits when you can just stand above it all, as some unstoppable force.

Midori is the perfect example of this because he constantly rubs it in your face just how inhuman he is, he does so when he starts spinning his head and when he rocket punches Yabusame and literally asks

And he furthers this mentality with his actions too, because Midori is denying his own humanity, he denies his fear of death, he constantly berates and betrays his allies like Maple or Hinako, he denies others of their choices and autonomy, laughing at their despair and refusing to connect, and even his “affection” for Sou is a twisted, messed up version of what affection is. All of it to dehumanise himself and others.

It's honestly hard to call Midori human after it all, and that's just what Midori wants. That's why Maple’s last act of defiance near the end of the chapter was so important, because it shows us and to Midori that that's all it is, a facade.

Just one small moment where Midori wasn’t in control and that's all it took to show us that he isn’t invincible, and with that the image of a fearless unstoppable force is shattered, and it shows us that he isn’t as above humanity as he thinks he is.

It's important that this happens here because it allows the cast to fight back during the next section, both himself and his ideals.

Midori’s mentality of humanity being defined by what you physically are goes head to head with the Dummies in the banquet, and that's what it's about, it's a battle between Midori, and the Dummies, who are trying to prove their own humanity, with all the ups and downs that come with it.

The banquet itself plays into this too, the hint system draws a straight, clear cut answer on who is a doll and who is a human, using exclusively what they are physically.

And the cast isn’t exempt from doing this too, with many of the first discussions being centred around “who is human?”, whether it be figuring out what the lights mean, questioning whether Midori himself is human, or questioning who among the Dummies is a human.

And it's only when Mai’s hands are revealed to be Midori’s human hands, that the lines start to blur. 

Does Mai having human hands make her "more human"? What if they aren't even hers? Plenty of people use body parts from others in real life too right? It gets you thinking about the line between human and doll and just how fragile and unclear it can be.

And sure we designate Midori as the human here, but later we find out we were wrong, because trying to designate a human through physical traits is wrong. But before that…

After picking a coffin and killing either Hayasaka or Kurumada the next hint reveals a human, Sara tells Midori that he must be afraid as hypothetically there is a 50% chance he dies, but Midori denies he is afraid of dying and picks the coffin anyways, revealing it to be Hinako

This just blurs the lines even more, since up to this point we thought all the dummies were dolls, yet a human was able to sneak in there entirely undetected. Can you really say they're that different if you didn't even realise it at first?

And importantly, as we discuss who Hinako really was, we confirm her humanity, but not through any physical traits like many people tried to do during the banquet, but through a painting and the connection between Alice and the real Hinako.

During the next section we figure out the truth about Midori, and about how he has more doll parts than human, spinning his head all the way around to prove it. Obviously this isn’t something that any human could do, but more importantly it shows us Midori’s inhumanity in an undeniable way, it's so flashy, bold and in your face, that you’d be hard pressed to call him human.

When Sara then stands firm and states that this proves Midori is a doll and Gin is a human she is agreeing to the line that Midori drew and separates Humans and Dolls even further. This goes as far as to picking a red coffin, picking a doll, just to keep Gin the human safe, Midori even calls Sara out on it if she is really alright with picking one of the dummies, and notably Sara’s internal monologue doesn’t question that fact, but instead wondering why Midori is so confident, and why he doesn’t seem to be scared.

Sara is being pushed even further into believing Midori isn’t really human anymore at this point, Questioning if their logic was even correct. Until…

The surviving dummies inspire Sara through their words, and with that, prove their own humanities in their own separate ways, showing Sara and the player that their lives have purpose, have value, and that they are truly human.

On the surface it seems like Sara is simply making a choice to sacrifice the dolls for the sake of a human, and the tragedy of that is the fact these scenes show the truest form of their humanity. There is a reason these scenes are such a focal point in my analysis of each of those characters (Mai, Kurumada, and Hayasaka) and it's because it shows that they are able to make their own choices, for the sake of their allies, despite their contradictory emotions, and that's something that's inherently human. 

We see this when characters like Mishima, Kai, and Kanna all do something similar, and it all just works to prove that fact the dummies aren’t separate from the humans.

So why does this happen? Well to me it shows that despite their efforts, Sara still couldn’t shake her bias, playing right into what the Banquet and Midori want, by dehumanising the dummies.

But it isn’t over and the dummies still have a chance to show their humanity.

Tragically, Sara misses, not knowing at this point that Midori isn’t even in one of the glowing coffins, and Midori now has a free shot that's basically guaranteed to hit Gin, but Midori gives her a chance to talk to Gin, and that confidence ends up being his undoing.

While talking to Gin he mentions Keiji, reminding Sara of her wish she got from signing the consent form. She demands Midori to change it, and after some arguing, he does. Only he picks the #2 coffin, killing Anzu, and it's here where we reach our lowest point, where Sara herself admits that she undeniably sacrificed a doll for the sake of a human.

However it's always darkest before the dawn, and that's true here too, this is the Dummies’ last chance to prove themselves, and they won’t go down without a fight.

Through a discussion the cast figures out that Hinako swapped coffins with Midori before the banquet even began, meaning he is actually in a non-glowing coffin, and through this they are given an actual chance to fight back, because, as Sara rightfully called out, this proves Midori is afraid of death.

Despite his claims otherwise, Midori is scared of death, and because of that he swapped coffins with Hinako out of a fear he’d die outwise.

Midori claims that this doesn’t matter though as no matter what all 3 of the non glowing coffins have dolls inside, meaning the hit will be red no matter what. 

Regardless Sara presses the hint and it ends up blue, meaning that there is a human inside, much to everyone’s surprise.

The fact that Midori believed so strongly that the coffins would end up red only for it to be blue just blurs the lines between these two options even more. The fact that the contents in this coffin are unknown is just the first step in this counterattack.

Before that however, Ranmaru’s coffin is picked, sending Sara to give up, but Q-taro tells her that it's not what she thinks, as Midori is revealed to be struggling with his next choice.

This goes into the war of words against Midori, and the thing about this one is that compared to the other war of words our goal here is to confuse Midori as much as possible. First we refute his claim that Keiji isn’t in the coffin, despite it being blue. Then when he brings up the victim videos we tell him that the Hinako in the video isn’t even the Hinako of the dummies. He reasons out Maple must have told Keiji about the Banquet, and reveals that the coffins designate between human and doll through the collars, as both dolls and humans would be ashes after being cremated.

All these contradictions are designed to blur the lines between red and blue, real and fake, human and doll.

The way Midori doubts a human is in the blue coffin, or the way we bring up how not all the dummies are dolls of people who died, or how he admits that the coffins don’t even tell the content apart by physical traits but instead by the collar put on them.

And by the end we’ve blurred the lines so much that Midori thinks the coffin contains his collar, despite his own claim that he himself would be counted as a doll. All due to Q-taro's trick.

As if Hinako being a Human among the dolls wasn't enough, there has been a doll among the humans the whole time, and no one could tell, not even Midori, who dies before he ever learns the truth.

The fact that a doll of someone could so easily fit in just shows how vague the lines really are. We see just how much a doll can seem like a human, how they can feel and learn and grow like any human, how they laugh and cry and shout like any human. And at that point... was there ever really even a line at all? And this all culminates in the final act of the Banquet, Midori and Sara’s last choices. Midori is now doubting himself,

struggling between the 2 options he has to target, struggling with his conflicting feelings,

 and Sara thinks to herself that Midori has no allies to rely on now,

because he denied that connection, and killed them all himself.

She tells him to choose, to make his own choices now,

and he does, he picks the non glowing coffin… Missing Gin and ultimately dooming himself.

Sara ends up making her choice, choosing Midori’s coffin, and as the drill goes through Midori, he realises just how scared of death he is, but it's too late for him.

We prove his mentality of humanity being decided by physical traits is wrong in this moment, because here, in his final moments, Midori is undeniably human, and even he can’t run away from that.

"I'm a human. Which is why I don't wanna die..."

Unlike somebody such as Rio, who also spent his last moments as a human, Midori doesn’t deserve any sympathy, because he did that to himself. Just like how he denied that connection to his allies like Hinako, and killed them, Midori essentially killed his humanity, or at least tried to, so when he’s backed into a corner he doesn’t get to rely on his allies, and while we’ve proven that his mentality of humanity isn’t right, Midori himself he only realises this right as he is about to die, when it's far too late to go back now.

Through the Banquet and its final choice we prove to not only Midori, but to the cast and ourselves that humanity can’t be defined with just the physical truth, and that's what victory means for the dummies, because if someone who actively threw away his own humanity, with all his rocket punches and spinning head can still struggle with contradictory feelings, can try to rely on his allies, can still be forced to make his own choice, and can truly fear death, then humanity  just can’t be defined by something as simple as how much of your body is a doll, and the lines that seemed to divide that, ceases to exist at all.

================================================================================================ Afterword: So that's it. This set of analyses is finally done. Some of you all might have noticed that this is being released exactly one year after my first Anzu analysis, and I just wanted to thank everyone for reading this with me, the fact that there are people who like and agree with what I have to say is still unbelieveable.

I started this series because I thought the dummies were an underappreciated part of YTTD and 3-1 was underappreciated in general. To me this chapter is just incredible, my favourite bit of fiction ever, and I just wanted to put it into words why I love it so much, and as I wrote this series I only grew to love it more!

I hope I was able to share that love to whoever took the time to read any of my posts, its been an incredible time, thank you so much! and i hope you're able to love it a bit more too.

Sorry this one took so long to come out, I've been working on a few projects that i'll hopefully be able to drop soon, and if you're a fan of the dummies I think you'll like what I have in store.

Lastly I want to thank Crazy Sunshine for being such an incredible friend and for helping me so much with the latter half of these analyses, they were improved so much with their help!!!!

And I'll try to be more consistent with these posts but uhh i said that before and that hasn't exactly worked out, regardless this isn't the end, i have a few asks to catch up on still and i am not even remotely close to saying all there is to say about this incredible chapter, so I hope you'll be there when it drops. I hope you've enjoyed this era of my blog and moreso I hope you look forward to the future.

Thank you for reading!!! I hope you enjoyed! and I hope I got you thinking about this incredible chapter even just a little bit more.

[ixtab]

Ekuoto montly shitposting because i can't stop making this

[endlesslytired]

shout out to the time Thelema made window's firewall freak out

and have HI3 text post edits for it lmao

an explanation for the thelque here and what I found out

so like I was complaining to my gf about the lack of HI32 (I shorten part 2 to that and occasionally call it hi thirty two in my head) stuff on Tumblr and I was curious if twitter had anything.

OKAY THEN HOYO.

I only searched Songque's name as well.

like I got vibes from it and did point it out once when I completed the story and was ranting about it. but like. if they insist then I'm in for this crazy toxic yuri.

I don't use twitter often at all but ayo maybe if I'm struggling on something again I'll get another insane drop of knowledge.

[butchgambit]

Love your romy talking about how Rogue and Gambit aren’t officially together and Rogues anxiety’s etc

but I noticed you mention Gambitys self esteem issues and though I agree with you I’m curious what brought you to that conclusion. What makes it seem like Gambit has them cause I think the cartoons and comics or even fandom don’t go out of their way to point it out often

Gambit has been shown to have an incredibly low sense of self for himself for his past actions & how he struggles with it, ultimately believing that he's not good enough especially for Rogue since he sees her as a true good soul who always strikes for what's right. He knows his past isn't a smooth road & he's done things he regrets, some he may not as much as the others. All of that combined with what happened with Belladonna, with his upbringing as the son of the thieves guild leader, growing up on the street being labeled a white devil, makes him believe he's not worth redemption.

All of that said, he wants to believe he can be and is good. Rogue as of right now in the show isn't aware of everything Gambit has done or been through so seeing how she believes that Magneto should be given the chance at redemption with everything he's done, it bothers him and cuts him deep. The scene in episode 3 where he saw Rogue with Magneto showcases his insecurities that he isn't worthy enough for redemption, that Rogue won't give him the same compassion she's given to Magneto and ultimately he's exactly how he thinks of himself.

I'll add a few panels i think highlight his self deprecation below as examples for you! I really love the complexities Gambit has towards himself and how that represents him as a character because he's so much more than what many people choose to show him as.

[lazywriter-artist]

Well, who doesn’t like a little day trip I suppose?

(Previously on Big E chronicles 🥰)

Master post || next / previous || start

[starryeyed-seer]

Grietje spent most of her childhood as a street urchin, which always surprises people

The gang was THE CRAB-BADGERS. A small gang which had territory along the river, and a hideout beneath Hood's Bridge. "Hideout" is a strong word— behind a section of crumbling wall, they've built a den in an old section of London underworks. The wall can be "sealed" behind them to hide from the constables. Their hideout has three "rooms", and the kids sleep in a big pile in the largest, huddling for warmth.

They're called the Crab-Badgers because FIRST CRAB you as you cross the bridge (harass you for money, food, and surround you until your back is to the railing). If you don't give them anything, they BADGER you (throw you over the bridge into the river, at which point other members steal from you while dragging you out)

Crab-badgers also enjoy mudlarking, and tend to develop surprisingly robust immune systems.

[dailybuglebunny]

invincible (2021) (s1e7) / rayden (eternal life) - the immortals / invincible #7 (2003) / runback city - zaid tabani / invincible #11 (2003) / planetary (GO!) - my chemical romance / invincible #25 (2003) / centuries - fall out boy

[atopvisenyashill]

While my friends were getting high and chasing girls down parkway lines I was losing my mind Because the love, the love, the love, the love, the love that I gave Was wasted on a nice face

[gomzdrawfr]

Hello I am here with pretty photos I took as a distraction and a question, what's your favorite natural feature? You can tell I love rugged cliffs but the 6th photo shows a dolmen in an area called the Burren which is my favorite. It's flat limestone slabs for miles and just the sound of the wind.

The last photo is from this Jan/Feb when we got really bad snow and the country shut down for a week. This doesn't look like much but in Ireland we don't get much snow and where I'm from in the west we get even less. I couldn't leave the house for a week and right outside our house people had to leave their cars behind because it was completely black ice. I did get to finally have a snowball fight though 😂

Oh my god I had to sit here and admire these view holy shit!! Good photos and very pretty places wahhhhh

Fav nature features…uhhmmm I’m not sure if I know the terms but I really like these shots with the ocean? Like an overhanging sea cliff (so I absolutely loved your 2nd, 4th and 5th shots). I also love it when a bit of the sea cuts through the cliffs

Which kinda brings me to the next point, I like rivers, granted I have not seen much of them (cuz I’m again, surrounded by skyscrapers and such and rarely visit nature-y places). The ones with a lot of rocks + the ones that are running (like the water keeps flowing??)

MOSS. I love mossy landscapes. Mossy hills mossy walls GIMME. LET ME BE ONE WITH EM—

Oddly specific, but I absolutely love when concrete floors or any kind of man-made floors have small grass and flowers peeking through, like these, this and this

Hell yeah snowball fights

[scalpel-mom-mori]

Wuwa's launch 4*s ! These are the CHS Versions from Bilibili, but there are also JP, KR, and EN versions available through the official Twitter accounts :D

5*s are next, and then I'll post the horizontal posters

[yazzydream]

"more than words" ED4 Shibuya locations

Many thanks to the hardworking Jujutsu Kaisen fans who find these places. Credit to @/M79_yy on twitter. They've got better photos so check them out. Also, the JJK Google Earth project. I just wanted to link to Google Street View so you can really immerse yourself. Lol

Stairs by Rockaholic.

Bicycle garage.

Windows

Cerulean Tower

Graffitied fans by the stairs.

Cosmic Slope. Crates in front of this restaurant. Can't get a Street View from inside the alleyway.

Same alleyway. It has the Spanish restaurant behind Megumi but it's not on Google Street View yet.

Near the beginning(?) of Cosmic Slope. You can see the red bench across the street of the rails. It's near the alleyway.

Across the street from Shibuya Labor & Welfare building.

The telephone booth that was across the street.

Down the street to in front of PARCO.

Hachiko Memorial statue.

Shibuya 109 (Couldn't resist adding the Halloween 360 view.)

[goodbye-aliens]

The Untold Origin's Angel Play analysis and why Natsume is Fyodor's Judas (or something like that)

I don't know how much sense this will make, but the play always made me curious and I've been wondering if it might have a connection to future and past events, so here are some ideas. Also, please ignore my wonderful screenshots's quality.

Credit to my friend @keygalley because it was from her that I got the theory that Natsume is "that man".

The play opens with twelve fallen angels (one of them already dead) speculating that they are about to be killed by true angels from heaven. They also speculate that the killer might not be an angel, but one of them.

The middle chair is covered in blood. You could say that a murder has already occurred and it's the one that started this whole discussion of the angels from heaven coming after them in the first place.

The fallen angel who is their leader believes that the punishment is because they fell for adoring humanity, and so they must be purged.

The leader refers to the angels from heven as "gifted," another way of referring to ability users. Fukuzawa himself later calls Rampo this way.

The fallen angels are now mere humans. They dream, they love, they seek fulfillment because their existence is limited. Here I feel this could relate to Fyodor, not because he shares these characteristics, but because he lacks them because here he would represent an angel. For him nothing exists but his mission, that is why he is capable of the greatest atrocities.

Also, in this speech it is said "And we do not regret that decision. To choose one's own way of being is the truest form of the soul". Several theories have already been seen about characters being nothing more than that: characters in a work of fiction struggling against a predetermined destiny. Later it will be seen that there is a similar view on this subject.

Rampo saying "Why doesn't anyone get upset at being forced to sit through a show with such an obvious ending" could have double meaning as the author questioning why we, his audience, are watching BSD in the first place. Basically metafiction, something that is a constant in this play.

If Ranpo points to a random fallen angel as the murderer it is because it is true; that man was the one who committed the first murder that triggers the whole conversation. It is later revealed that the murders were committed among the fallen angels themselves.

“Angels cannot have the fulfillment which is the realm of humanity, and humans are incapable of the supremacy of angels. Those who control humans from the outside and those who enjoy fulfillment on the inside are like an author and their character: never shall they intertwine”. Funny thing to say, because angels and humans do end up intertwining. There are humans who possess angels' powers, in other words, the abilities as we will see later with the phrase: "There are those who, despite being human, have some fragment of angels’ forbidden supremacy". So, if such a comparison is given later in the next paragraph… don't the author and the characters end up intertwining as well? Metafiction, again.

Remember that scene where Nikolai gives his speech about freedom and there is someone writing down his words (maybe in The Book)?

To go against the destiny written by the author, who is your God, is not to be conscious of it and therefore to have these two separate realities intermingle? Is it not, in its very essence, a rebellion against God like that of the fallen angels? Which reminds me of Fyodor's quote about Nikolai:

That the angels then say "And yet... And yet?" seems like a joke.

“Why is everyone watching this play without complaining?” again, metafiction (I'm tired of saying this).

Now, the Leader asks a specific angel to appear before the humans. The Leader knows what this angel wants, so it seems that the angel might have something specific against him.

It could be interpreted that of the 12 initial angels, only one remains: the leader, who was condemned to see how his friends eliminate each other thanks to their new quality of being human.

What does the leader wish to expose about the angel? What sins did this angel commit? Before he could say more, the leader dies.

After all this interpretation, what do Natsume and Fyodor have to do with all this? Their roles in BSD could be represented in the play:

The angel is Fyodor. The murders that occur are between the same fallen angels who betray each other (hello? arc of cannibalism?). This could be one of Fyodor's many strategies to accomplish his goal: to purge the fallen angels who betrayed God. But he tortures the leader in a special way and forces him to watch his friends kill each other, as if he has some special resentment towards the leader, that is, towards Natsume.

The leader is Natsume, for whom this whole work was written. And he might know Fyodor's secrets that could be considered his sins.

Fyodor has talked about only "that man" being able to hurt him, besides now Dazai, and Natsume is referred to as "that man" to my knowledge for two times: in this image and multiple times by Oda in Dark Era.

Rampo says that angels do exist. That angels exist and it is the audience could again be metafiction. In anime it is metafiction, but it could go further as the audience is on a higher plane to the characters, but below God, the author.

This is a reversal story is something that confuses me because it could apply to both the play and the murder. In the murder the roles are reversed because Murakami is not the victim, he is the murderer, and Natsume is not the murderer, he is the victim. Is it just because of this that it is a reversal play or is there more to it? My possible theories about other inversions that the play could represent:

In the past Fyodor lost to Natsume. In the play the angel, Fyodor, kills the only fallen angel left to punish, Natsume.

At the end of the play, the roles are reversed: the angel ceases to be Fyodor to be Natsume and the leader ceases to be Natsume to be Fyodor. In the play, the leader dies, but fakes his own death as Fyodor might do in the future (copium). Also at the end, the leader is referred to as a fallen one, could Fyodor be nothing more than a fallen angel trying to redeem himself by hunting down other traitors to punish them? Something like "crime and punishment are two sides of the same coin".

Now, what Murakami says at the end, could it be Fyodor's realization about his mistakes in a future? As if all his killing really wasn't justified, wasn't for ridding the world of sin, but for selfish motives. And if in the end he looks at everything he has done and looks at the audience, at us, he will discover that in the story his role was not one of a savior, but one of a villain.

And my most bizarre opinion: the characters are an angel who is mentioned and twelve fallen angels. The angel seems to have something against one of the angels in specific: the leader. The angel is Fyodor and the leader is Natsume. Fyodor has been compared to Jesus, the twelve fallen angels are his apostles and the last fallen angel is the man with whom he has a special grudge: Natsume, his Judas.

Now there's only one thing left… what's up with the crucified man at the beginning? Something to note is that while everyone is speculating about the murders, the leader who represents Natsume is observing the crucified man which doesn't necessarily mean that Fyodor was once crucified... but could mean that Natsume is the one to blame for Fyodor's "crucifixion" and that's why Fyodor is resentful with Natsume. Could this be related to exposing the alleged sins of the angel?

Natsume betraying Fyodor in some way could explain why he doesn't trust anyone.

Cat and mouse

I could imagine this whole play as a message from Fyodor to Natsume.

Edit because I added more things to think about:

We don't know why "V" wanted to kidnap Natsume, but we do know they used this play to do so. If we assume that Fyodor belongs to this organization (or used them), then it could mean that he wanted to kidnap Natsume. Also, Murakami said: "The gentleman in the suit rarely appears in public. Apparently, capturing him was one of the objectives." Why did Natsume risk himself to watch this play? Was there something in the plot that caught his attention? Perhaps the plot in this play was known to both Fyodor and him because it was their story.

I never mentioned the play's title because I don't know what to say about it. The name is "The Day is a Dream, the Night is Real". It's the play's name therefore it has to be important but... why? Yes, like in the play, a crime that was only fiction became a reality, but... that's all?

[not-so-daily-rtgame-miitopia]

day 38

the team's journey is taking a real mental toll on mr bean!