#the summoning choreo analysis

[maxe-murderer]

thoughts on the summoning choreo and the LiB's ages

aight so i watched the digital ticket last night and spent way too long analyzing the choreo for the summoning and a) want to ramble abt it cause its cool and b) wanna give my 2 cents for the Lords in Black ages theories (i don't think I've seen anyone mention this but im sure im not the first person to notice)

so the choreo for LiB do at the very beginning of the summoning is like a lot to take in all at once so i didn't take it in all at once and rewatched the same like 10 seconds over and over

so each of the LiB have their own little bit of choreo that's theirs, with Blinky and Nibbly's probably being the most obvious. But they all seem to do the same moves - with some little differences for a few of them - at completely different and seemingly random times. They do all start with "their" move. So breaking down each one, starting with:

Wiggly: The first move Wiggly does and the first one we see in the pro shot. Bent over at the hips, arms out to the side swinging in and out at the elbows. Reminiscent of his tentacles, yknow. One difference I can see with his choreo is he puts the majority of his weight on his right leg with the left out to the side and partially bent - he only does this the first time he does his move, and Tinky does similar but to a lesser extent.

Tinky: First thing he does, the bend down snap up repeat, arms back when down arms out in front when up. First time you see it in the pro shot is Nibbly doing it in the background behind Pokey (roughly 2:01:07). It doesn't make anything immediately jump to mind, other than like, goats fighting.

Nibbly: Since Nibbly has the lollypop prop it looks like licking the lollypop. For everyone else, it's just their right hand sorta sliding down in front of their face. The first time we see this is Wiggly doing it during the line "Wiggly wants his wrath".

Blinky: Bent at the hips, circle down and left to right and up. Blinky holds his hands in front of his to make that triangle/diamond over the one eye. Pokey holds his mask in front of his face for this, it looks like Wiggly does either the same hands as Blinky or basically the same but centered on his face, it's difficult to tell, Nibbly and Tinky just have their hands out in front of them.

Pokey: Swapping from facing right, right hand up in front of your face to facing left with the left hand up. Makes me think of Hamlet. Pokey looks at the mask while facing right and his hand when facing left. Everyone does the same with or without whatever prop they have. Tinky and Wiggly put their arms all the way up in a more of a presenting something type pose - Tinky's arms straight up and Wiggly's a bit bent. Nibbly does the move but faces forward instead of looking at his hands - he does this for every move, face is constantly directly toward the audience.

so I do wanna say first that while they do have all the same bits of choreography (just at different times) none of them do it exactly the same. There are small differences between all of them on the same moves (ex. Tinky: some people keep their head up when going down others have their face to the ground. Nibbly always keeping his face forward. Legs bent and feet flexed. Etc.)

Ok. So. The order that each of the LiB do each move is the same for all of them, but they each start at their own move and end on their own move.

The order goes: Wiggly, Tinky, Nibbly, Blinky, Pokey

Its a really fun way to keep the scene feeling cohesive but also super chaotic. It's pretty much impossible to notice a pattern if you aren't replaying the same part specifically looking for if there's a pattern.

As for their ages, I can't say that I actually have any strong opinions on the LiB's ages (I think any sort of hierarchy among each other they have is based on what I can best describe as their eldritch vibes) but this is fun to think about so like.

We all agree that Wiggly's the oldest so basically, the order Wiggly does the choreo as the ages of the LiB. And I think that when we look at it like this it has a sort of like, coming into being as the universe evolves to fill whatever cosmic need there is or smth like that. If you get what I'm getting at.

Wiggly's the oldest, he's clearly in charge and I think is also the most vague if we try to narrow down his "thing" if you know what i mean

Tinky would then be second oldest, I think it makes sense. He fucks with time itself, once you have a world you kind of need time for shit to happen in it

Nibbly next, middle child. He's hunger. As soon as you have life in the world that life will need to eat. And, he's the only one of the LiB who will consistently exist as a physical being outside of the Black and White (at least for a short while) and I think having the middle child be the one to have that sort of ability just sorta works

Blinky is the second youngest. His whole thing is sight. Not everything alive can see but a whole load of them can. Insert some sort of specific connection to the development of humanity. He's pretty satisfied with just having Watcher World seemingly. His brothers all have their domains and shticks already, so he'll just be happy in his corner torturing the shit out of whoever goes to Watcher World. No need to step on anyone's toes, y'know.

Pokey is the youngest and steps on everyone's toes. He both has a pretty nailed-down theme of control but is sorta, messy about it? his two main appearances have his existence in the physical world be directly connected to the meteor to the point of him getting kinda fucked over by it in Yellow Jacket. He's "The Singular Voice", he wants everything to be him, if it's not his voice he wants it dead. He's also the only one who we've seen get scolded by Wiggly. So like, the annoying and loud little brother.

anyway that's it. idk if you have any thoughts tell me. working boys budget breakdown soon to come

[plasticflowering]

A Unifying Theory of Loreography (Lore + Choreography)

(2/3/21) HELLO to all new folks finding this post! It is also now a YouTube Video, and I’m pretty happy with it so if you’d rather get your lore analysis visually please check it out! 

Preface: I don’t think it’s just coincidence that we got full choreography for an intro called “Devil is in the detail”, and I’ve made it my mission since 반박불가 dropped to pull apart the threads that might link everything, lore-wise. This morning I believe I had an epiphany about it, so here are my thoughts.

If this flops I will feel my soul exiting my body so please validate me.

Notes: In forming this theory I mostly considered the events of the storyline MVs and teasers as well as the choreography, but a very important part of my epiphanies came when considering the post-MV stingers for TBONTB and 반박불가. It’s using these stingers that I feel like I can better understand the thesis statements in the choreo. 

Part One: Now then, where were we? 

At the end of TBONTB, the monarchs are approaching monumental, pitch-black gates made of skulls and desperate, reaching hands. 

I can’t not interpret this as the gates of Tartarus, considering the Greek mythology in the canon lore already. Tartarus, however, is at the lowest depths of the underworld, and so my interpretation is that, while they reclaimed their souls from the necklace, they awoke physically in a realm beyond the underworld, and now have to make their way out of this psychological nightmare to breathe free the air, as it were. Through Tartarus, through Hell, this is not because I played 80 hours of Hades in the last three months but it might have a little to do with that. Stay with me. (Though if anyone is wondering, YES Leedo would be Zagreus, but that’s not why we’re here today)

Part Two: Devil is in the Detail 

What an opening formation. The imagery is not 100% clear to me, but I feel as if this entire opening formation sequence is dual-wielding imagery of a crown (much like the killing part of TBONTB), but also the gates of Tartarus. 

Look at this transition once Hwanwoong ascends to the top of the formation, and how the hands all come out, similar to the gates above. I’ll be damned if this is supposed to invoke anything else.

Rewinding a bit, this framing of Seoho being resuscitated and borne by their hands is stunning. Seoho’s journey in the TBONTB choreography merits its own post entirely, because there are a lot of moments that seem to be telling a story for him particularly, and this is just a continuation of that. 

Ravn and Leedo being separated for the rap line part seems like an obvious utilitarian choice, and I agree that it is. However, before we prepare to dismiss all “pairings” as serving the progression of the song itself, I have another theory that ties together a lot of the inciting moments of choreo. I promise you this is going to sound like A Reach, but that’s just how my mind works and if you enjoy it I’m glad.

Leedo, Hwanwoong, and Xion are the monarchs who have absolved themselves by the events of 반박불가, and fully reclaimed their souls as well as their conscience. Seoho and Ravn, not so much. They have a lot of work to do to free their conscience - especially Seoho. Oh, lord, especially Seoho. Keonhee is an extremely interesting case, as he seems to have a foot firmly in both sides, More on that later. 

For further paranoid conspiracy theorist proof of this, please note that their outfits in the choreography videos symbolically reflect this:

Light, Light, Light/Dark, Dark, Dark/Lightish, Light

If you need more convincing, may I point out that Leedo, Hwanwoong, and Xion are the only members who got those wonderful “all clothed in white” shots in the back half of the 반박불가 MV? I tried to make a gif, and I did make a gif, but Tumblr doesn’t want to post it in this text post.

(you rn)

The most interesting moments of loreography in DiitD are the following: 

1. These lotus hands. Again, the imagery, I die!! Keonhee is coming into his own, his character is blooming, expanding his consciousness, going sicko mode with the realization that he has power in the underworld. 

2. Directly following this, Seoho offers a hand to Keonhee and literally drags him down (again, the light/dark dichotomy of Keonhee), while the two good good boys Hwanwoong and Xion are back there just trying to maintain balance so they can get through this Hell/Tartarus thing. 

3. Good ol’ ONEUS Summoning Circle, but wait this time I think it’s actually meaningful beyond the imagery. Seoho is at the center because he has the vocal line, yeah obviously, but he stays there much longer than is objectively necessary without a formation change. This isn’t common in ONEUS choreography. As much as they love their Summoning Circles, they tend to move on to other formations quickly. This one has meat on its bones, and I think what’s happening here, loreography wise, are the other monarchs banding together in an attempt to save Seoho from the darkness. But Seoho is powerfully dark, y’all, even going so far as to overpower them in the moment above. 

4. This is flame imagery. Seoho has been engulfed in flames despite everyone’s best efforts. 

5. At the last minute, he gets yeeted via backflip back into Hell/Tartarus

6. Keonhee takes the initiative in going back for him...

7. We’re back in Hell, that’s just great. Thanks, Seoho. You’re lucky we love you and your extremely disturbed conscience. 

With this in mind, you can probably get way ahead of me, here. 

Part Three: 반박불가 

Perhaps not remarkably, the title track doesn’t have nearly as many loreography beats as DiitD. However, we know it’s part of the lore, and this was made abundantly clear simply with that opening move...

This is where we left off TBONTB, but not exactly. There is a slightly different formation of dancers here, which suggests it’s not picking up exactly where TBONTB left off, but rather that this is a cue to let casual fans know, explicitly: yes, this is a continuation of the TBONTB story. 

Some moments don’t have choreography allusions, but they are loud in the MV, such as:

- “Youngjo, would you stop playing with flowers, our lead vocalist is going to Hell.” Ravn, who barely scraped out of Hell last time, ostensibly with Leedo’s help according to the rap line break in the choreography, has a rough time of it in the 반박불가 MV, but Hwanwoong isn’t going to let him fall back into toxic behaviors and lose himself to that psychological prison again. Hwanwoong drags Ravn back out of Hell, but not before Ravn successfully makes contact with Seoho. Obviously, Ravn would be the one to make contact, because Ravn’s still a little on edge about his own conscience and can easily backslide if he wants to. Who does he find down there? Seoho.

- Keonhee, who led the charge to return to Hell, is staying on task but seems to be the chief of operations to Hwanwoong’s chief of intelligence here, exercising his newfound sicko mode. Those two are certainly working hardest at keeping the servants of darkness in check down in the depths so they can make a quick break for it. 

- Leedo’s actually having a grand time fighting his own demons - or rather, smirking at them and realizing that nah, he’s good. He can use his guilt and regret to motivate him towrd good things now. 

- Xion is literally just above all of this and can move between Hell and Earth with ease, so he’s just waiting to see if he has to pull any Fallen God-Prince cards here to save his friends. 

Now, for the key loregraphy moments. It’s obvious that 1Million was choreographing for a new direction in the ONEUS style, here, so it’s nearly bereft of the usual lyricism and formations, but they’re definitely there. Unsurprisingly they almost all deal with Seoho. 

1. God, this moment whips. They’re all working to free Seoho and lock the gates behind them, with Keonhee giving Seoho one final push. That’s not a normal choreography move. That is storytelling and it sticks out like a beautiful sore thumb with an entire sonnet written on it. 

2. With Seoho on lock, now Ravn may break out. He does so rather easily, but it’s not without Hwanwoong’s help. Please notice that Keonhee and Seoho are the two BEHIND him, and what that symbolizes. 

3. This fucking bridge. It’s amazing with the loreography. First of all we have Keonhee, and the Summoning Circle is using the same imagery/texture that was formerly used to represent engulfing fire. Uh-oh.

4. Keonhee reaches out...

... but gets dragged under.

5. (excited football commentator voice) but who’s that on the outside making it to the surface, literally with the support of the other monarchs? IT’S SEOHO (cheers)!!

And Seoho finishes things out in the center, as well he should because he got us into this mess.

Part Four: What just happened to Keonhee

I’m so angry at this post-MV stinger. It took me forever to wrap my brain around what is being suggested here, because I thought “hey wait, the red lighting represents darkness/hell, doesn’t it?? DOESN’T IT?? RBW???? I thought we just GOT OUT OF HELL????

So I leave the final interpretation in everyone's individual hands, but the thought that occurred to me today was: 

What if this entire scenario was a test of resolve and camaraderie, an illusion, a trick by the Devil (or that donger Helios, whatever). What if Keonhee was the only one who saw through this, and the only one who genuinely made it to Earth at the moment he appeared to have been dragged back to Hell? Because, as we know, Keonhee is a tactical genius, a monarch among the monarchs, and all his visual imagery in the MV suggested a sort of power cabal. 

What if he realized that they weren’t all strong enough to face the challenge of breaking this cycle, so he schemed to leave them behind, but leave them safe in the illusion, while he struck out with the power of God and anime on his side.

I... I think Keonhee is about to go kill and dethrone a God, y’all.