Until now, they've set a wholesome conclusion to every alive character, but it makes me wonder if it isn't just the calm before the storm. After all, they promised us hell, but trial 2 felt more shocking and impactful than trial 3.
And even so, they are not shy at all to remind us that death for the reminding prisoners is still a possibility. It wouldn't be a surprise to me at this point if every prisoner would be asked something related to their death.
Honestly, Muu asking about this during her interrogation feels quite important, doesn't it? Although we know by now that not every detail should be given much thought, the narrative has always been pushed forward by timeline conversations, which alluded to different relationship dynamics and VDs which warned us time and time again of potential deaths.
Moreover, the fact that voting every prisoner innocent would result in hell, as stated in interviews, it makes me wonder if their fate is chosen based on how many guilty votes they've received in all thesetrials. After all, if everyone were voted innocent, Yuno and Kazui would be the only ones to survive, which would seem pretty devastating for many who grew attachment to these characters. And Muu with only one guilty vote questioning this pushes this idea forward.
Of course, this is just speculation, but it has been in my mind for a while, long before Muu's VD, and her actually questioning whether or not they will receive the death penalty rises more and more red flags. It’s like they’re setting us up with these nice, wholesome endings for each character, just to rip everything away at the last minute.
The text written on the boards shouldn't be taken literally as they are what Muu has heard or thought about herself and Rei.
The specific texts which allude to this are these three:
10 - Criminal
15 - The trash of society ❤️
16 - You should go to a reformatory
Being called a criminal, and enforcing the idea that Muu needs to go to a reformatory seems out of place if these were written before killing Rei.
A reformatory wouldn't be necessary if Muu had played the role of the bystander the whole time. Not participating, but silently encouraging it when she has the power to stop the bullying is just as bad. However, not having actual proof about her actions, because, once again, they are simply subtle incentives and nothing more, Muu wouldn't have been accused.
And they cannot be after the murder, because the reports and VD are not shy to give away unnecessary comprehensive information about what happened after they've committed their crimes.
Yuno: ...I remembered. My memories up until I got here.
I fell from the stairs, lost the life inside of me, and got hospitalized.
But a bit after getting hospitalized, I went back to school.
..My last memory was when I was discharged. I didn't think anything of it, did I? Even after losing the baby inside me.
He locks himself in his house and curls up with his head between his knees. From his phone that he threw on his bed, notifications will not stop ringing.
But when it comes to Muu, the final scene in all her MVs shows her stabbing Rei and witnessing her lifeless body, which stirs a mix of conflicting emotions inside her: anger, fear, anxiety, and even a sense of relief.
This memory issue is also heavily discussed during her first VD.
I know many would question whether Muu's words should be taken as the truth, especially since Milgram has repeatedly reminded us that the prisoners can lie at any moment.
However, because not even the report (here the prisoners themselves cannot actually alter any information), MVs or even VDs acknowledge what happened with Muu after her murder, I personally choose to trust her.
Es: You said you wanted to go back home, right? And, “suppose” we did let you… Even if you were to leave this place, you’ll then have a brush with the police, won’t you?
Mu: [surprised]
Es: I mean, you’ve killed someone anyway, so are the police not making a move in regards to that?
Mu: Well, I don’t know. As of now, I don’t have a clear memory of what happened after I did it. And then before I knew it, I was here.
Es: However, Mu… You clearly had malicious intent. So, it’s simple. According to your so-called penal code, under Article 199, your case would’ve been classified as murder. Right?
Mu: I don’t know. I… don’t know much about that kinda stuff.
Es: Just to let you know, I don’t know lots about it either. But, I just looked it up using the materials in the stack room for future reference—that’s all. Though what’s important here is the fact that according to the law which you lot use, you would’ve been condemned.
Mu: I-Isn’t there something called the Juvenile Law?
Es: There is. However, so long as you’re 16 or older, you’ll be tried under the general criminal law. And that’ll result in penal servitude for you. Seems like you’ll be able to escape the death penalty though… But, you won’t be able to live the decent life you hoped for there now will you?
Mu: Penal servitude? I don’t wanna do something like that!
Honestly, she would have nothing to gain from lying about what happened after her murder. If anything, it would gain more sympathy as it would give the impression that she had already received some kind of punishment.
Moreover, this conversation about the consequences she might face after the authorities find out about her crime, might cause her to have these negative thoughts, calling herself a criminal and contemplating whether or not she would go, in the best case scenario, to a reformatory.
Thus, the text on the board is simply a collection of every insult she's heard, written in different ways, with subtle patterns that distinguish her classmates’ handwriting. The most noticeable features are the messages followed by a heart and a drawing, as well as the large text in the center of the board.
The board with insults directed to Rei, although before the murder, is heavily personalised by Muu's own preferences and knowledge about the situation.
3 - (hanging) or (stabbed)?? Which will it be~
15 - Drew a picture of you❤️ (Rei's eyes are scrambled all over)
The first one is too accurate to Rei's fate. It literally tells us, the viewers, that Rei's destiny was always death by suicide or by murder. While I don't deny the fact the bullying was accompanied by death threats, it is just too specific for a classmate to assume that Rei would be stabbed. Thus, it is nothing but Muu's thoughts and feelings about the matter.
The second one is especially interesting because the drawing has Rei’s eyes completely scribbled out. It could be seen as a more subtle way of wishing for Rei’s downfall and death, but I want to emphasize this specific sentence from the report.
The girl, newly freed from the bullying, seemed to take absolutely no interest in Mu's predicament, only designing her a single glance.
In that instant, the anger that was lying dormant inside of Muu wells up - there can be no forgiveness for giving her that look.
This look which is shown time and time again in the MVs, right before the murder.
The drawing seems more likely to represent Muu's hatred. What truly angered her and pushed her to snap was Rei’s indifferent look, the way her pain was completely ignored and dismissed by that glance. Muu hated it so much that, in her memories, Rei's drawing on the board has her eyes covered.
Now, whether or not it was an international detail is up to interpretation. I have just thought it was worth mentioning!
The hourglass is truly such a beautiful metaphor for Muu and Rei’s relationship, as well as highlighting Muu’s urgency and desperation to escape her predicament.
When the hourglass is nearly empty, it symbolizes the breaking point for both girls, leading them to lash out as a way of coping with their overwhelming emotions. Rei attacks Muu with a chair, consumed by anger, as Muu, the reason Rei was bullied, taunts her, mocking her pain. This act disrupts the school's social hierarchy, flipping the roles: Rei becomes the bystander, and Muu, the one being bullied.
In essence, Rei turns the tables on Muu, and the hourglass begins a new cycle once again.
The endless turning of the hourglass also reflects Muu's mindset from earlier in the story. She believed that, because her relationships were so fragile and unstable, even if she managed to turn the situation in her favor, the cycle would simply repeat. This was because of the anomaly in her otherwise idealized view of the world, Rei was the "rotten apple" in her class, the one responsible for corrupting her friends. Muu felt that as long as Rei remained, her world would remain unstable, and she would never truly escape the cycle.
Mu: I did kill them. But, they’re to blame! They made it to the point where I had to kill them… I… I had such a tough time.
Es: So, it was an “act of retaliation” as you’d call it…
Mu: Sure, I might’ve killed them, but… If I didn’t, I wouldn’t have been able to escape. The cruel things they did to me were far worse!
Es: Hm… Continue.
Mu: If you’re gonna say that I shouldn’t have killed them, then… Are you saying that I should’ve continued suffering forever?
As time passes and the hourglass nears its end, the final blow comes from Rei’s cold indifference toward Muu’s suffering. This mirrors the gesture that set everything in motion, creating a symmetry that ties together the beginning and the end of their conflict.
When Muu finally lashes out in frustration, the scene is brutal. If the other side of the hourglass is shattered, there is no way for her side to ever be filled again. She completely breaks down, convinced that she has finally escaped this endless cycle.
Yuno's birthday is on September 2, so I really hope for an interaction between her and Amane. I understand that they don't want to reveal any info about Shidou's death as they want to keep us interested. And that they don't want to reveal how Amane truly feels about the recent events, but it is so frustrating that not even Yuno's VD addressed the situation.
Amane and Yuno had a good relationship in trial 1. Minigrams (although their canonicity is still questionable) keep pushing the idea that they have a familial dynamic and Yuno behaves around Amane the same way she does with her little brother. Not to mention that timeline where Yuno says to Amane "I'm glad you were born safely".
Like?? They have their share of interactions which are so interesting that I'm a bit upset that their dynamic is not popular at all... (But, at the same time, considering how rare we get interactions between prisoners, I'm surprised we managed to care about so many other dynamics. )
For the sake of the old times, for what friendship they had at one point, it feels off for Yuno to not talk to Amane at all. And if it's not now, we will have to wait until Amane's birthday... Almost a year.
Or never... Since I think that by then Amane's MV would be realised.
The only exception that I tolerate, If it happens, will be for Yuno to interact with Muu. Considering that they are both grieving and Haruka was mentioned quite a lot in the VD (everything but the elephant in the room), I can expect Yuno to console Muu and say that it wasn't her fault and admit that she should have looked out for Haruka more.
Of course, however, I still hope for Yuno and Amane's interaction.
It has the same content as the last post, but the Tumblr format. I haven't realised how much this app is going to lower the quality of the photos, so it is really annoying to read the slides.
The analysis is quite long and it has two parts: the MV analysis itself and the character analysis.
MV analysis
The MV opens up with Fuuta scrolling mindlessly through his Twitter feed. Interestingly, there is a lack of notifications and DMs, suggesting the fact that he was already on the course of finding a new potential hit.
The screen displays his battery percentage (100%), thus it hadn't been long since he opened the app. It showcases the lack of effort and desire to find actual controversies, latching on to the first post that might enhance his internet experience.
11:25 is the hour shown on his phone. While it should be almost midday, throughout the MV, the lack of any sunlight is noticeable, with Fuuta being bathed in darkness. There is nothing pure or innocent about his intentions. His judgement is clouded by his craving for those small amounts of dopamine that could fuel his ego. Nonetheless, he has convinced himself that he acted on the noble cause of “justice.”
"In Buddhism, the 'absence of sun' symbolizes a lack of wisdom and clarity, hindering individuals from distinguishing between virtuous and non-virtuous actions. This concept emphasizes the importance of enlightenment to gain insight and understanding.”
With a new target found, the battle is starting.
The intro, which is referencing Purge March, has distinguished elements from the original. The trumpets, specifically, are louder, signaling to the troops (his followers) that a battle is yet to come. Or, in this case, a new controversy. Fuuta found another “bad guy” that has to face judgement.
“The sound of the trumpet often precedes divine intervention, signaling both judgment and deliverance. In the New Testament, this symbolism is carried forward in eschatological contexts, where trumpets announce the return of Christ and the final judgment.”
Behind him, on the wall, a red spotlight appears. Fuuta is bathed in red and sadistically smiles at his screen. The MV, or rather his newfound perspective of his past self, properly paints him as the villain of the story.
In old comics and movies alike, white spotlights are directed onto heroes, dramatically announcing their presence before coming in aid.
However:
"Using the color that is most associated with death is common for horror films. Red reminds the audience of blood, fire, and hell. It also symbolizes danger. Oftentimes, you'll see villains appear in red lighting to alert your brain that they are bad or that something scary is about to happen. This symbolism works in the lighting effects of a film to add to the suspense and horror."
In analytical psychology, one’s shadow is the assembly of the hidden, unconscious aspects of the personality containing socially unacceptable or repressed traits, desires, and instincts that the conscious ego rejects.
Fuuta is a very insecure person (height, appearance, attitude, intelligence). These are aspects that he tries to hide (but ultimately fails), creating idealistic versions of himself in order to feed his already tarnished ego. The shadow’s appearance in this specific scene emphasizes the idea that his actions are a product of his inner conflict. There is nothing righteous, whether at that moment he realizes it or not, in what he is about to do.
In the spotlight, his worst self is showcased for the world to see.
The ravens, the personification of his Twitter followers, are flying towards him to grant him power and support.
Fuuta is wearing a fictional logo in which is written
“Colossal ravens/baseball team”
Therefore, it is best to assume that the birds depicted in the MV are ravens, not crows.
Note: in Japanese the term “karasu” is used for both ravens and crows.
The raven is commonly associated with death, due to its diet. As scavengers, they feast on decaying bodies. They are also known for collaborating with bigger predators (usually wolves) by leading them to the potential prey. The reason for it is very simple. For ravens, wolves are good food providers, killing the prey and tearing it apart. Due to the fact that ravens are sometimes unable to rip the cadaver into pieces, wolves prove to be really reliable.
"Ravens will often circle the sky above injured, young, or sick animals like elk and deer, and wolves have been observed taking this behavior as a cue for a hunt. It’s believed that sometimes wolves will even follow ravens’ calls, as they make loud excited noises when they find a carcass. Ravens have even been observed leading wolves to carcasses that they cannot tear into on their own. Wolves, despite what most may think, are not very good hunters—usually only making a kill once every ten tries—so they’ll often prey on weak animals. When a wolf pack makes a kill, ravens are often first on the scene. The average number of ravens present after a wolf hunt is usually upwards of 30 at a time! These birds will carry away chunks of carcass to store for later, even while the wolves are feasting right there."
In the context of the MV, the ravens, or his Twitter followers, are continuously seen guiding Fuuta in his search for the victim's whereabouts. In the tweets depicted in the MV, ideas of how to find her personal information are provided by his followers. Fuuta is simply following their suggestion. Essentially, this proves to be a symbiotic relationship: Fuuta (“the wolf”), the one with a higher ground and power due to his bigger influence online, does the direct damage to the victim, achieving more support and dopamine-inflicted happiness, whereas the followers (the ravens) guide Fuuta on the victim's whereabouts and are given entertainment.
There is also a discrepancy in how ravens are portrayed in different cultures. The duality of the bird’s symbolism between divine messenger and harbinger of bad news is represented in Greek mythology.
In Greek mythology, ravens are associated with Apollo, the god of prophecy. They are said to be a symbol of bad luck and were the gods’ messengers in the mortal world. According to the mythological narration, Apollo sent a white raven, or crow in some versions, to spy on his lover, Coronis. When the raven brought back the news that Coronis had been unfaithful to him, Apollo scorched the raven in his fury, turning the bird's feathers black.
I think it's best for this section to be dedicated to the inanimate objects in the imaginary world created by Fuuta's mind.
The leafless trees are commonly associated with honesty and sincerity. As the trees shed their “clothes” and, thus, remain naked, they are left without any coverage or protection. The lack of leaves on a tree symbolizes that the person is open and unable to hide their lies anymore. In this MV, Fuuta is honest with his actions, no longer seeking justifications and trying to portray himself in a more innocent light.
In Buddhism, the barren tree/leafless tree symbolizes the religious life devoid of worldly desires and highlights the importance of abandoning unworthy relationships to pursue more meaningful opportunities.
It's quite ironic since those ravens find safety in these exact trees. Furthermore, it highlights Fuuta's desire to improve and his acceptance of joining Amane's cult in order to repent by abandoning his past self, who selfishly found solace in ill-intentioned people without any good moral values.
The moon—Mahou's Twitter icon is a purple moon. When you invert the moon’s color from the imaginary space, you get this:
The moon itself has pure and gentle connotations. Associated with feminine energy, it also symbolizes insight, illumination, and guidance through difficult times. However, as sweet as it sounds in theory, in the MV there is an omniscient presence that adds to this “creepy” atmosphere. Its unnatural color, green, emphasizes this idea, transforming this seemingly harmless motif into a corrupted element.
The moon is Mahou, an innocent and whimsical soul harbored by negative emotions, leading to a disastrous transition.
This imaginary space solely exists for the purpose of hunting her down, as she is at the center of this world.
The background is also interesting, consisting of the sayagata pattern. This pattern possesses protective qualities, symbolizing balance and harmony, as well as continuity and infinity. Colored in purple (Mahou's color), it gives the impression that it tries to separate the telluric place from the cosmic one. It acts as a barrier between the moon and Fuuta, protecting it the best it can.
The ukiyo-e clouds (ukiyo-e = pictures of the floating world) seemingly place the action from the imaginary world in Edo-period Japan, as this was the time when this type of art truly flourished.
In Ukiyo-e, clouds symbolize movement and the fleeting, transient beauty of life and nature. It reflects the Buddhist concept of impermanence and the spiritual connection between the earthly and divine realms. The clouds in the MV, although beautifully drawn, look dangerous due to their dark shade of blue in which they are colored. If they were believed to act as a spiritual connection between the telluric and the cosmic place, then the message received from Fuuta to the moon is surely not a good one.
Now that all the elements are explained, let's continue with the narrative.
Fuuta found a new victim in order to provide his followers with proper entertainment.
In Japan, the copyright laws are recognized as being notorious compared to the rest of the world. A host of shops have signs that prohibit customers from taking photos with items exposed there. They do this in order to prevent design imitation and protect unique products.
Because Mahou's tweet indicated the fact that she hadn't brought it, as she complains that the hat is too expensive, Fuuta jumps at this opportunity.
In Bring It On, Mahou actually responds that she got permission from the store owner and was able to replicate it for personal use.
Storm Pazuzu （＝Futa）
Should we destroy her?＾＾Just because you’re a middle school girl doesn’t mean you can act like this lmaooooo don’t go easy on her just because she’s cute
QRT Miss Magic （＝KILLCHEROY）
I got permission from the store owner, it’s allowed as long as I’m only replicating it for personal use.
Storm Pazuzu （＝Futa）
Yeah, yeah, thanks for the late excuses
However, this falls on deaf ears, and Fuuta, too entranced by being in the spotlight again, continues to harass Mahou.
As I’ve mentioned before, the ravens are providing him information about the girl’s whereabouts. This action is illustrated by the falling feathers of the ravens that surround Fuuta.
This tweet is the one that gives him information about the shop location.
It seems that it is fictional. At least I wasn't able to find a shop like that. Makes sense considering the copyright laws and the fact that they’ve only included well-known landmarks in the MVs.
But the shop's name, “Moon Flight,” is truly reminiscent of Mahou's Twitter icon…
From here, things start to escalate pretty quickly.
Fuuta invites his followers/ravens to a new hunt. The lyrics emphasize the idea that they are on the moral high ground; “with pure, unsullied body and soul,” they are weapons of justice who will erase evil from this world.
This community will attack anyone who doesn't adhere to their ideas, classifying them as “blasphemers and fools.”
The scene that follows suggests that Fuuta acquires more power directly from the moon, the spotlight being the same color as the satellite. Mahou's precarious situation gives Fuuta more clout, people being more and more entertained.
Mahou decides to go private because, at this point, many people started to act aggressively and harass her. The statement that she made
QRT Miss Magic (＝KILLCHEROY)
I got permission from the store owner; it’s allowed as long as I’m only replicating it for personal use.
It is seen as an excuse for her actions and not an apology. So the punishment has to continue…
The followers are entertained but still wish for more. A user asks for screenshots of her account before going private.
Fuuta is again granted information by his followers as he reaches for another feather.
Therefore, I don't think Fuuta was the one that made screenshots of her account or saved the photos that Mahou posted.
Regardless, this new information is the one that sets up Fuuta's future crime.
The lyrics “Tis ordained, thou shall stay thine course, then perish” and the scene that follows where Fuuta laughs maniacally (giving the impression of the typical villain from comics) are alluding to the downfall of both parties.
Here, Fuuta looks awfully close to the moon, which was once so out of reach. As I’ve mentioned earlier, the sayagata pattern acts as a protective barrier between the telluric and the cosmic place. Now, however, it does nothing against Fuuta, who becomes more and more powerful.
After more research, he finds Sora’s (Mahou's colleague and friend) reply in which she tries to console her friend. I think at this moment Mahou’s mental health has already deteriorated.
“That’s not true! It's ok! Everyone is waiting for you!”
Sora also seems to have matching profiles with Mahou, her icon resembling a star. Stars symbolize hope, guidance, truth, and protection, aspects that Sora tries desperately to convey to Mahou.
However, Fuuta notices the school linked on her profile, which directly translates as (三ツ矢中学校) Mitsuya Middle School, and posts a photo of it.
The followers have different opinions, but most of them are too hyped up and don't bother to think that things are going too far. They even express a desire to go to that school, and considering the fact that Mahou's face was already shown… the potential danger is already too much to bear.
Fuuta doesn't stop, using a picture (provided by his followers since Mahou's account is still private) to find more information about her.
In the photo, Mahou is proudly showing her omurice (probably the first time she perfected the dish, if this moment was captured).
"Omurice was born from the development of Western food culture during the Meiji and Taisho periods, combined with Japanese eating habits.
Unlike the recent fluffy and melty styles, traditional omurice has the charm of "nostalgia" and "deliciousness that comes from simplicity."
It is the kind of food that throws you back into your childhood. Made with chicken and ketchup fried rice wrapped in an omelette, the nostalgia of these flavors together engenders sentimentality."
With these in mind, the implications of what had become of this picture are truly upsetting. An innocent moment turned into a potential weapon.
Moreover, this yellowish hue that persists on Mahou's pictures gives this impression of nostalgia, a reminder that those moments will never come back.
Because of the reflection in Mahou's eye, Fuuta identifies where she lives. The screen shutters, implying that this was the decisive act that led to Mahou’s death.
In the imaginary world, the ravens are no longer following Fuuta, their only traces of existence being the feathers (or tweets irl).
Fuuta is completely alone, although still caught in that adrenaline-induced happiness. He doesn't even realize their absence as he prepares to take a photo of Mahou's house. This part is foreshadowing Mahou's death and the pithole Fuuta has fallen into.
Surprisingly, in the real world, Fuuta's reflection is still stylized. He has truly become a villain, and the fantasies are no longer simple fiction anymore. His actions hold great weight, and they can't be judged as mere mistakes.
He watches with terror the consequences of his actions.
In Japan, white flowers are associated with death and are often used in funerals and other memorial services. The most popular white flowers used in these circumstances are the white rose, white chrysanthemum, white lily, and white orchid. The white rose is a symbol of purity and innocence.
Note: Because of the similarities between her uniform and Mahou's, I will assume that this is Sora.
Fuuta watches with horror as Sora walks past him crying. He follows her with his gaze as she moves, expecting the worst. But nothing comes. After all, his face wasn't plastered everywhere on the internet, so he is still safe and anonymous. (Side note: despite saying all this, I really doubt people will not put it together and find out where he lives. He gave away too many indications and proudly claimed that Mahou lives close to him.
His relief is short-lived as Mahou's funeral haunts him, stripping him away from any source of comfort.
His weapon falls, the screen shatters, and Fuuta starts to run away from his sin. This is reminiscent of Fuuta's deep guilt and denial that follows him throughout the first two trials.
He only stops running when the first rays of sunrise are illuminating his path.
The sunrise symbolizes new beginnings, hope, renewal, and overcoming darkness. It represents the opportunity to start fresh, let go of the past, and embrace the future with optimism and new plans. Across cultures and religions, sunrise also symbolizes the triumph of light over darkness, the beginning of a new day, and in some traditions, divine mercy and faithfulness.
The flags are empty, poor attempts at imitation. Their essence is forgotten as the emblems of Amane's religion are destroyed. The confetti is devoid of color (because every color was representative of the mascots in Amane's MVs).
Fuuta looks at the sunrise with a newfoundconfidence, using the flag as a standing support. Amane (not her religion) is the one who successfully gave him hope. No longer running away from his crime, he is prepared to face other trials and days to repent.
The moon that once dominated the world is now replaced with the rising sun.
(I think it's something really beautiful in considering Mahou as the moon and Amane as the sun. It really feels like Fuuta tries to repent, staying close to Amane and asking Es to properly listen to her, because he had seen that childish innocence that is hidden deep down inside her. If Mahou's innocence and purity were stripped by him, Fuuta at least tries to maintain Amane's as much as possible.)
He steps on his horrid past (the comic), prepared to start anew.
Short character analysis
The lack of any family-related information in comparison with Haruka’s and Yuno’s reports highlights the absence of it in Fuuta's life.
Born in Osaka, but had to move to Tokyo for university. At a distance of roughly 500 km from home, he lives on his own.
It's not uncommon for college students to fend on their own or have their own place so they can attend courses. But for somebody whose main motif is a communication device, questions keep arising as to how not even once a phone call has been received. Moreover, it's not like Milgram is shy about it. Mikoto, Mahiru, and Shidou received calls on their second MVs, and they are (theoretically) older than Fuuta.
The interrogation questions confirm that Fuuta doesn't view his father or older sister as a source of comfort. When asked about who he wants to see at his most vulnerable state, he clings to the childhood memories of his mother, who, even though she abandoned him, still remains as a loving presence.
It's clear that his family is emotionally absent. Although his father provided for him financially (however, it's possible that Fuuta is currently fending on his own thanks to student loans…), he never emotionally bonded with his son. It also doesn't help that his old-fashioned views seemed to have an impact on Fuuta’s perception of the society.
Fuuta's misogynistic comments are an example:
But this one answer really stands out:
It's not unreasonable to think that his crime stemmed from this perception. Attacking Mahou, a girl who had anything somebody would wish for: friends, a loving family, and beauty.
Fuuta, however, is a lonely person who seemingly lost contact with his family, with a lack of friends and many insecurities regarding his appearance. (baggy clothes, mask)
“Because she was just so beautiful,” because she had it easier… Why would she get off scot-free for a crime as petty and insignificant as it is?
Fuuta also doesn't have a sense of purpose or something that he wants to achieve and dedicate himself to. He considers that trying hard is useless because the efforts will not be rewarded. That dreams are childish, and therefore there is no worth in believing in them. So if you don't have goals or thoughts about the future… what are you left with? Boredom.
Boredom is a catalyst for change and an opportunity for reflection. Therefore, the feeling may arise during a task that isn’t challenging or is extremely repetitive. It can emerge due to a lack of self-awareness about what we find fulfilling. Personality traits also play a role—those prone to sensation seeking, extraversion, and novelty may be more likely to experience boredom.
Some therapists who treat patients that constantly struggle with boredom believe that boredom may be due to masking emotional pain, such as a childhood trauma, which renders the person unaware of their true wants and needs. The person may also be under-stimulated or navigating procrastination and anxiety.
Still, the way he answers the interrogation questions gives away the impression of someone who actually tried at one point but gave up. To reach your potential, you need encouragement and praise in order to foster your abilities. It boosts your confidence and gives you motivation to pursue your goals. If we take into account the dysfunctional relationship between Fuuta and his family, it would not be too far-fetched to think that he wasn't praised for his efforts or passions growing up.
So he found another source of validation: social media. He found a purpose by chance.
Fuuta was finally praised for his actions, and thus the motivation to keep his account viral rose.
The self-determination theory tells us how important it is to be motivated from within ourselves. It means that we have a natural desire to do things just because we enjoy them. This theory also says that we need to feel like we have control over what we do, that we are good at it, and that we have connections with others in order to stay motivated.
Extrinsic motivation is when you participate in something to receive rewards from outside sources or to steer clear of consequences. This kind of motivation stems from external factors like money, compliments, acknowledgment, or social acceptance.
But we already know how it ended. This kind of motivation or goal in life to keep others entertained was always bound to end one way or another. It's just not sustainable for the long run, and it would have never filled the void left behind in the absence of real human affection.
Because he was deprived of meaningful connections, it's no wonder he is so emotionally immature.
Children who grow up in environments lacking emotional support, consistency, or security may struggle to develop healthy coping mechanisms and emotional regulation skills.
Emotionally immature people may not have a good sense of the future or how to plan for it. Refusing to take on significant responsibilities like committed relationships, careers, or investments like homeownership are signs of avoiding responsibility.
Emotionally immature adults haven’t learned to curb their impulses. They act in unpredictable or antisocial ways.
Vulnerability is an essential aspect of emotional maturity, as it involves the willingness to open oneself up to the possibility of pain or rejection. However, for individuals with emotional immaturity, the idea of being vulnerable can be terrifying. Fear of vulnerability may stem from past experiences of hurt or rejection, leading individuals to build emotional walls as a means of self-protection.
However, no matter what family dynamic he had, these are not excuses for his actions. I really like that Milgram doesn't have to directly show information about the backstory of the characters, as they already give you hints about it. The report didn't need to include these types of details. This boredom and emptiness that Fuuta mentioned are enough to explain his actions. There is no excuse, and he knows it, so writing-wise I think it was the best decision in order to emphasize that Fuuta’s regrets and wish to repent are sincere.
Moreover, I want to end the analysis with the fact that despite Fuuta having a host of instances where he gets annoyed at being perceived as a child, he still ended up finding comfort in Amane. A girl who dreams for everyone to be happy and live happily.
Additional notes
Sora is said to be a middle blocker (MG) in volleyball. Fuuta, despite commonly being associated with football or soccer, this time on his hoodie it's clearly written "baseball." I don't have many thoughts about this, as I’m not that knowledgeable about either of these two sports… but surely they must have a meaning. It feels too purposely included to not be intentional.
Why is Fuuta the only one who has changed his clothes between trials (trial 1 and trial 3 more exactly)? Is the trial 3 MV just not real…?
There are many inconsistencies when it comes to the report. My biggest issue is that the report claims that Fuuta doxxed her home first, and after that, Mahou responded to Fuuta’s comment and locked her account. Really weird.
His clothes are a combination of modern and traditional styles. Fuuta's outfit seems to resemble shinobi’s and samurai’s clothes as he gathers information and also “attacks”.
I've realised that Yuno is the only character whose hairstyle changes so much, so I decided to briefly compile some info about the symbolism behind it and the changes it brought to Yuno in the narrative.
(the main photo will lose quality so I sectioned it in three parts)
Beforehand I would like to state the fact that the purpose of this analysis is to outline some elements from Yuno’s third trial MV and her view about her past actions. As her story has already been comprehensively reported, I would not touch too much on that particular subject.
The MV starts with Yuno sleeping peacefully in a princess size bed with a host of pillows. The image has a plethora of shades of pink, however it is easy to notice that her characteristic colour is nowhere to be found. While her past MVs had colder shades of pink, this one tends to have warmer hues, which alludes to the fact that Yuno as a character has suffered many transitions.
The bed is specifically coloured in coral pink, a shade formed by combining orange and pink, which is a subtle reference to the influence Mahiru had on Yuno’s newfound perspective of life. The colour itself symbolises protection, good luck, warmth, vitality and positivity, aspects that are usually desired during a pregnancy.
What comes to attention is the disparity between her current self and past self in terms of clothing. In her second MV, her clothes were very revealing, intrepid, playful and eye-catching, whereas now her body is fully covered, highlighting a mature and elegant outlook. Moreover, the dress itself seems to resemble a bit the clothes that medieval princesses usually wore. The corset also alludes to this statement and enforces the idea of restriction and flawlessness.
During medieval times, women and princesses alike were expected to be virgin before marriage. Therefore, they couldn't partake in sexual activities beforehand. Thus, while in the second cover art the medieval door entrance was likely integrated in a mocking manner as Yuno is content with her sexual life, it is evident that in the third MV it isn't the case anymore. Instead, Yuno subconsciously needs to claim such a domestic and obliging behaviour as she feels guilty about aborting the fetus.
Now, before analysing the second frame, I want to state that I thoroughly believe that Yuno not only represents her current self, but also the fetus. In the frames that take place in this imaginary room she portrays the fetus, whereas in the real word it is prominently her present self.
The dress has straps that resemble the umbilical cord and Yuno as the fetus is laying on the placenta, the bed.
The room is the assembly of the elements that form the reproductive system.
Moreover, I want you to look at the empty bottles as they also hold significant symbolism.
The dead bottles, therefore, can signify Yuno’s contemplative nature and the outcome of deciding against partaking in compensate dating anymore.
Considering that Yuno begins her MV with a short message in which she expresses her desire to share her story with us as a final farewell, the bottles are a great addition in order to capture this message.
The next sequence is admittedly quite uneventful. Yuno wakes up from the imaginary space in a clinic, where she most likely found out that she was pregnant. The lyrics that accompany this part share Yuno’s feelings about her sexual life, justifying the fact that she deemed it necessary on account of disliking being alone during the night. Ultimately it became an addiction, an endless cycle from where she hardly could escape.
Her current self is silently following past Yuno with a worried expression. Such kinds of visuals usually symbolize a reflection on past experiences, decisions and behaviours. With hindsight, and a more mature perspective, Yuno takes on the role of a “guardian angel” as she saves her past self in a few circumstances (metaphorically).
“But honestly it was all fun, him and him, all of them kind
The only thing annoying was the occasional, I love you’s”
As Yuno arrives at the metro station, in the lyrics that follow, it is expressed her admittance that she genuinely enjoyed and believed that compensating dating helped her escape from loneliness due to the fact they provided her with commodities and kindness. Nonetheless, she realised that her relationship with her clients wasn't love, but pure lust. While love is a form of commitment and it lasts a long period of time, lust is a fleeting feeling and therefore a short-lived method in which Yuno was granted warmth. She knew the discrepancy between these two notions and was disgusted when her clients told her ilys as they came off as meaningless.
Suddenly, Yuno becomes sick and vomits in the bathroom’s sink. This is usually an early pregnancy sign, but it also serves as another reminder for Yuno that this is what her reality had become. She inquires herself if this is a punishment for her carelessness, for succumbing to these frivolous desires as she isn't even aware of who is the fetus’ father.
In the mirror, she is hunted by this new addition to her body, behind her being the uterus where the fetus is slowly developing. The way it pulses as it is breathing, it not only creates a grotesque visual, but also emphasizes the horrifying emotions Yuno is experiencing.
Since this moment, Yuno's mental condition gradually deteriorates. Moreover, this is where the suicidal ideation penetrates her mind. In a brief moment of dissociation, her inner intentions are portrayed as she considers jumping in front of the metro to escape from taking accountability as she is genuinely afraid of her future.
Yuno hugs her past self as she saves her from meeting a tremendous demise.
The lyrics that follow are a direct criticism not only to our judgement, but also to her life in general. There were never warning signs to stop, before it was already too late and her fate was sealed.
"LIFE, it can’t be ok that I’m the one who survived
LIFE, I thought only of me, and aborted you, so why
“Indecent” and “careless”, but still you judge “innocent” with a shrug?
I have much more that needs fixing, so why
LIFE, I wanted you to care enough to scold me and tell me I was wrong"
It doesn't help the fact that her guilt actively consumes her, especially taking into consideration the fact that Mahiru, the person with whom she was closest to desired what Yuno had easily discarded.
We are once again in the imaginary room, the personification of the place where the fetus was developing. Present Yuno symbolises the fetus and as she is embracing past Yuno, the scale of justice is slowly moving. Each scale represents the fetus and Yuno's life respectively, being an allegory for the importance of these two. For her, both lives should be equally important and she expresses the desire to have met the same outcome as the fetus.
In the real world again, Yuno admits enjoying another detrimental pleasure, smoking. Although not actively partaking in it, she still consumes the hazardous aspect of cigarettes and even comments on the fact that the smoke serves as a menthol, refreshing her mind. It is quite interesting that the lyrics play in the moment when Yuno is in a state of delirium and indecisiveness, overtaked by suicidal ideation.
She continues this journey with dull and empty eyes.
If you missed it before, right when Yuno reached the metro station, there was a clock which showed that the time was 2:35 pm. In the current frame, her wrist clock shows approximately 2:52 pm.
Clocks, beyond their function of timekeeping, symbolize various aspects of human existence, including the passage of time, mortality, and the cyclical nature of life. They can also represent new beginnings, opportunities, and the structure of daily routines. In art and literature, clocks often highlight themes of transience, the inevitability of time's passage, and the potential for loss or regret.
This part of the analysis is based more on a simple guess, but if we consider the time when Yuno uncounsciously attempted suicide was 3 pm, interesting results arise.
For Yuno this was the moment when she successfully changed her fate, but unfortunately also the reason for her current predicament. This scene foreshadows the death of the fetus, the whist watch being a smaller replica of the mirror in the metro station. Moreover, it marks the moment of Yuno's deepest regret and sorrows, a glimpse of reflection.
Stairs appear once more, but this time we are aware that they are the method in which Yuno successfully aborted the fetus.
However, it is intrinsic to acknowledge that they are an intricate symbol in this story.
This is usually the symbolism that is commonly associated with stairs. Nonetheless, considering our context it feels like it’s mocking Yuno's situation. Her unconscious intention wasn't to get out of this alive. She was in a vulnerable state and was desperately trying to search for a means of finding some solace, a method to solve her problems. Somehow, the outcome proved to mark a new beginning in her life, albeit in a preposterous prison where she didn't deserve to be locked in.
A better meaning for what stairs can symbolise is this:
Bottom: Yuno's personification of the fetus
The top of the staircase: the place where Yuno was presumably to meet her demise. While she never died, the prophecy still happened and another life was lost.
Before reaching the climax, let's take a look at the lyrics.
“WARNING, do not mix”, let’s keep love and lust separate, ok?
Feelings like love, they always felt ick
Cuz the moment you have it, it changes on you, no?”
As I have expressed at the start, Yuno acknowledges the discrepancy between love and lust. She doesn't want these rudimentary relationships to be described with the word love. They are nothing but frivolous attempts at seeking some sort of pleasure and warmth. Lust is a fleeting feeling, while love means commitment and responsibility. Aspects that Yuno never desired and actively tried to flee from. And a great example for this is Yuno's desperate attempt to escape from the unfortunate situation and not take responsibility for her actions, the reason why she became pregnant.
“Dawn’s coming, the dream’s cooling”
I think this line perfectly captures the huge contrast between present Yuno and past Yuno. Present Yuno has warmer colours and, such, the dawn, while past Yuno has colder colours and such, the dream’s cooling. Dawn is associated with new beginning and hope, whereas dreams can reflect unconscious desires, anxieties, and unresolved emotions and,thus, the enormous emotional distress Yuno has faced in the moment when she unconsciously threw herself over the stairs.
Present Yuno tries desperately to catch her past self in a futile attempt to prevent the tragedy which brought her into Milgram and which she now deeply regrets. Of course, however, the past can not be changed and the damage is already done.
Present Yuno, now being placed again in the role of the fetus, is the one that fully embraces the explosion. This symbolises how only the fetus had died, “cushioning” Yuno's fall and her being the sole survivor of the incident. The real uterus explodes and therefore its personification also suffers collateral damage.
The lyrics that accompany these scenes highlight Yuno's survivor guilt. Not only her closest friend had died, but Yuno is also responsible for discarding what Mahiru had desired the most but was unable to achieve.
“Don’t forgive me don’t forgive me don’t forgive me don’t forgive me
Think about those who should have lived instead of me, so why”
The MV ends with a final farewell, Yuno conveying a message to Mahiru in which she expresses her apologies for being unable to save her, followed up by her deepest wishes to meet up in the future, maybe in another life.
"Dear Mahiru, I’m sorry for all the pain, for all the upset
I couldn’t do anything to help, I’m sorry
If one day, by accident or chance we meet again
Let’s catch up, and let me meet your lovely boyfriend too"
YouTube version: (please watch it, if you have the time, I worked a lot to make it)
It's been a while since I updated this fic, but I finally did it! I couldn't pass the opportunity to write about them during trial 3!
As always, you can also read it on ao3
Ever since that night, everything had gone downhill.
A heretic’s cough brought Yuno back to her senses. She stirred uncomfortably, carefully opening her eyes, only to see Mahiru, her face contorted in pain and breathing heavily.
"What's wrong now, Mahiru…?"
Yuno glanced at the monitor; the machine displayed too many waves for her liking.
"I'll go get Shidou…!"
With that, she stormed out the door, heading to the first place she could think of. Yuno grasped the handle of his cell, but something felt wrong. It was warm, as if someone had touched it recently for an extended period of time. It felt unnatural, to say the least. Who grasps a door handle for so long? Suddenly, Yuno felt scared—scared because she didn’t have an answer, scared that she might not arrive in time to help Mahiru, but most of all, scared of what might be hiding behind the door.
After she recomposed herself with a heavy sigh, she carefully opened it. At first, it was too dark to see anything, not even the light from the panopticon helped much.
“Shidou… I know I said I would keep watch of Mahiru tonight, so you could rest. However, her condition isn’t great right now, so both of us need your help.”
No response.
“If you're too tired, it's fine, just… Can you please give me some instructions…?” She hated how vulnerable she felt right now. Seeing that she wouldn’t get any response anytime soon, Yuno took a few steps closer to what she assumed was his bed.
“W-what’s that smell…?” She quickly left his cell to grab her reading lamp. What happened next would be one of Yuno's worst moments in her life. The dim blue light revealed a tired man with a small smile on his face. His eyes were dull and unfocused. Blood was slowly dripping from his mouth onto the floor, and his abdomen was stained with blood.
Yuno couldn’t help but scream.
Since that night, Mahiru had also never been the same. No matter what Yuno tried, it felt pointless. Mahiru’s condition worsened with each passing day, to the point where Mahiru was unable to use the wheelchair like she once did—back when Shidou was alive. She was bedridden most of the time, unable to eat, unable to go to the bathroom without help, and some days, she couldn’t even speak due to the intense pain. Yuno wanted to cry every time she saw her. She had failed her. She had failed her friend.
And then it happened. Mahiru died, just like Shidou. And once again, Yuno was the first to find her lifeless body.
...
The medical supplies were of no use anymore, so they were stored in Shidou's cell. It hadn’t gone unnoticed by the other prisoners how a certain girl would avoid going near the cells of her former friends at all costs.
Everything changed for the worse. Yuno felt so alone, so tired, and miserable—losing one of her only friends who could truly make her smile and be herself with. But her suffering seemed ignored by the others…
...
"Ahh… It hurts..."
Yuno had just finished eating when she heard a muffled noise coming from her neighbor's cell. She had started avoiding him since that night, so she really couldn’t remember the last time they’d shared a genuine conversation. Her feelings about him were all over the place. She didn’t know what to think of him. She resented him, but at the same time, she couldn’t dismiss his acts of care and gentleness…
After some contemplation, Yuno gave in and opened his door. Fuuta was sitting on his bed, his hand covering his right eye. Yuno wondered where the silly fabric he usually wore had gone.
"Hello, Fuuta. It’s been a while."
But he was too stuck in his own world to notice her. He was breathing heavily and sporadically. His body trembled, and his uncovered eye was wide open, the pupil dilated. Undeniably, he was experiencing a panic attack.
"Fuuta, calm down...!" Yuno desperately started to shake him, but her weak attempts were futile.
"Hey… What’s wrong?! Why…?!"
His hand had probably shifted slightly when she shook him, because from his right eye, blood started to pour onto the floor.
Just like then, there was blood. Just like in that cursed, awful night, Yuno had to witness somebody suffering.
But this time, she could make a change. This time, she knew she could help. Without wasting any more time, she hurried to Shidou’s cell and took the medical supplies she needed. When she returned to Fuuta’s cell, he was still sitting in the same position.
"Fuuta, look at me, okay?"
No response.
"I’ll help you. I’ll stop the bleeding. So calm down."
No response.
"Please... Just!"
With trembling hands, out of impulse, she moved closer to him and hugged him tightly.
"Please, Fuuta..."
He stirred a little, but his heartbeat was still very fast. In response, Yuno started to comb his hair with one of her hands. It was really soft, meaning it couldn’t have been more than a day since he washed it. She could get used to this feeling... of being so close to somebody...
But nonetheless, everything had to come to an end. Once she was satisfied enough with his heartbeat rate, she broke the hug and began to take a fabric embedded with cold water.
She gently removed his hand from covering his eye. The sight was definitely not beautiful. His cornea was full of blood, and his once-grey iris had started to dissipate. She carefully began to clear the blood, only for a hand to abruptly stop her.
"What are you doing?!"
Fuuta’s expression… was unreadable. Anger, fear, and embarrassment were all somehow displayed on his face.
"Helping you!"
"I don’t need it! I can’t... That person, if she sees me like this...!"
"Shut up! Shut up for once and let me help you!"
"No, I told you I can’t accept your help. If you want to help me, we can pray together! I’m sure that..."
"You, idiot!" As her palm almost made contact with his face, Fuuta flinched out of reflex. This gesture made her stop, feeling guilty for what she was about to do. After all, it hadn’t been long since this man was beaten up by Kotoko, without a single regret.
"Look... I’m sorry... I’m just worried about you. That eye is not fine at all. Can’t you just, for once, make an exception? Amane wouldn’t have to find out."
"She wouldn’t, but God would."
Yuno looked at him in surprise. How much had he changed...? Where was the old Fuuta, the one who showed concern for her, who made her tea when she was sick and insisted Shidou check up on her? She wanted the old Fuuta back.
"Sigh... Listen, I know you want to help me, but I’m fine, really."
"Can’t you... at least let me clean the blood from your eye?"
"I guess... That would be fine."
Yuno quickly began to clean his wound as gently as she could, before Fuuta could regret his decision. However, this time, she felt uncomfortable in his presence. He felt unfamiliar. From somebody she had grown to care about, to a person she no longer recognized.
As soon as she finished, Yuno grabbed the medical supplies and the bloodied cloth. The moment she reached the door handle, a hand stopped her.
"My offer is still open! We can always pray together, if you want. I’m sure that person would be glad to hear that you join us too."
Yuno wished him goodbye and returned to her cell. Cold tears started to wet her pale cheeks.
I've realized it has been a while since I last posted about Milgram. So, until we wait for the third trial, I've decided to write a fanfic about Yuno and Fuuta. This is supposed to be chapter 1. If I would write another chapter it really depends on how well this one does and how much time I have.
You can also read it here.
Body so cold that it could have been mistaken for a cadaver. Voices swarming in her head, loud and irritating. The emptiness of the cell, once a source of comfort and bliss, now became an endless punishment.
Looking at her pink polished nails, she couldn't help but crave at least a single gentle touch, a simple whisper to remind her that she is in fact alive and not just a doll for decoration. A mere toy whose only purpose was to give great satisfaction and entertainment for those who seek her attention, no matter how short-lived it may be. And even though, once again, in a blink of an eye, she would have been discarded, her body being deemed no more delightful, her heart will still ache for some gentleness, warmth to fuel her very cold being.
A curse, a tiresome cycle, from which she has been searching endlessly in hopes of putting it to an end. Her efforts, however, were nothing but futile. The cage she is currently trapped in serves as a reminder of her pitiful attempts. Not that it truly mattered… It didn't feel any different from the outside world.
Her soulless gaze at the monotone walls was soon interrupted by a cough. And another… A sharp pain struck into her already tightened chest, heavy with dark emotions. She felt like she was choking. Had she been more attentive to her health, she wouldn't have become sick. But a small smile plastered on her pale face at the thought that maybe, just maybe, it will arise into an opportunity for everything to end. As twisted as it sounded, her heart was beating with anticipation.
But of course, nothing has ever gone her way, the cough stopping, leaving her throat dry and awfully itchy. She needed water.
With a heavy sigh, the girl slowly got up from the messy bedsheets and opened the door that divided her cell from the rest of the occupants. She didn't know if that was because of the cold or the lingering darkness, but she grew to know that her eyes were rather unfocused, and as a result, she felt dizzy. With a hand sliding through icy walls serving as a guide, she finally arrived in front of the kitchen door. As she attempted to grasp the door handle, a muffled voice resonated through the room in front of her. Although the girl failed to understand what was being said, she didn't need to think twice about who it belonged to. From what she could hear, it was no doubt that this person was in pain, maybe even crying.
Suddenly, the water was not needed anymore. So, she left.
The next day, she felt worse. Her chest was hurting, and no one was to blame but the coughs that kept on mocking her dry throat.
Once again, she left her cell, the other prisoners, now awake, swarming through the corridors. Some "good mornings" were addressed to her, but no one noticed her frail body, too preoccupied with their daily tasks. Or rather with their weak attempts at regaining some sort of normality. If something like this even existed in this place.
She found herself for the second time in front of the kitchen, desperately in need of a sip of water. However, this time, the door was already open, the same young man from the night before no longer crying but sitting on one of the chairs. Her fate had been sealed, and she knew that fleeing was no longer an option.
So she stepped in with a smile that drained her energy even more.
"Good morning, Fuuta!"
"... Morning."
Neither continued the conversation, both too focused on their own thoughts to even care how awkward the atmosphere truly was. The girl started to look for her mug in the cabinets while the other watched her sluggish movements.
"Your face is red."
"Haha, you know, Fuuta, this isn't really how you charm a girl."
"I didn't mean it that way, and you are aware of this too. You are sick, aren’t you?"
"Hmm? What do you mean? It's just make-up! It has been a while since I applied, so I thought, why not? After all, Muu does it every day!"
"I've heard you coughing. So stop hiding it."
"Why..."
"Huh?"
"Why do you care?... Look... I'm here just to drink some water, not to be scolded."
"Hah, just water? Do you have a death wish or something?"
"Again, what does it matter to you…"
"You're right. What you do, it doesn’t concern me at all. But I'm tired of seeing you like this. It's annoying, really. You were forgiven, but you still choose to act like this."
Her mind was filled with sweet temptations, each one more convincing than the other to borrow one of Kotoko's weapons. However, she knew better than to succumb to these thoughts, choosing to remain silent seeing that the man's lips parted again.
"Listen… If you continue like this, you will end up even more miserable."
"Thank you for the compliment!"
"You!"
She heard him mumble something until he decided to speak again.
"If that brat decided to forgive you... then maybe you don't deserve all this. That’s why… just… take better care of you."
His voice was soft and quite tender. Even though Fuuta lost his spark since Kotoko's attacks, she has never seen him so soft. She almost forgot his last remark. Almost…
She still remained silent, unable to respond, while the man stood up with a heavy sigh. The girl couldn't help but notice him grimace, placing a hand on his chest. After more heavy breathing, he finally distanced himself from the chair and began approaching her.
Then, he started his search in the kitchen cabinets.
"... You should sit."
"Huh?"
"You have a fever; otherwise, your face wouldn't be so unnaturally red. So, it's better if you would sit."
"Shouldn't I be the one who says it? You are in a worse condition than me."
"Ahh… Just shut up!... "
As he raised his voice, Fuuta grimaced again, clenching his chest with a tired face.
"I told you…"
After he regained his composure, he continued his unknown task. In the meantime, she decided to comply with his request, fearing that the man would hurt himself more than it is necessarily with his angry shouts. However, curiosity took the best of her, and as she wanted to ask him what he was preparing, the girl was met with a question.
"Peppermint or chamomile?"
"Hmm?"
"I'm going to prepare tea for you. There aren’t many options here at the moment, so you would have to manage with these two. So? Which one?"
Ahh, so this is what he was doing… Now that she looks at the table, on it, her mug is already waiting to be used.
"Chamomile..."
With it, the two prisoners stayed in silence, the only sound being the water boiling and, occasionally, Fuuta's quiet noises of pain. Somehow, the eerie atmosphere dissipated as she watched with slight anticipation the man's attempts at preparing a tea.
"Here."
Fuuta placed the filled mug a tad bit too forcefully for her liking, this gesture then followed by an oppressive silence. His eye loomed over her figure, and, for the first time since coming to this prison, she felt intimidated. An intense feeling of guilt clenched her chest, and she couldn't help but wonder if he knew.
"Yuno…"
But he wasn't able to finish his sentence, as another person stepped into the kitchen.
"Good morning."
"Good morning!~ Shidou, are you here to check Fuuta's wounds?"
Yuno didn't recall when was the last time she felt so glad to see this man. After all, everything worked as a distraction from that uncomfortable situation… Nonetheless, that intense gaze still penetrated her entire being.
"Yes. I apologize if I have interrupted anything."
"It's fine! We have just finished here anyway!"
"Actually… I'm not the only one who needs some treatment. Yuno needs something for her cold."
Now she really wanted to borrow one of Kotoko's weapons.
"Is that so? Don't worry, I can take a look at you once I finish with Kajiyama."
As soon as he said that, he began his departure to his cell. Fuuta started to walk away too, but before leaving for good, he awkwardly glanced at her.
"Take care."
And with that he stormed out of the kitchen.
A few more uncomfortable moments passed until she finally decided to take a sip from the mug. Its contents spread an addictive warmth in her body, her heart racing with delight. But this happiness couldn't be described as anything but short-lived, as well as every moment in her tedious life. A tear dropped into the mug, followed by another.
A small, sad smile crept into her face. Yuno was truly a selfish girl.
I find it interesting how many people believed that Diana is the mastermind, when the prologue released, and still believe that she is hiding something, especially since we see the events from Damon's perspective. And for me it's really odd, because I feel like Diana doesn't act with other ill-mannered intentions in mind, but out of consideration for others. So much so that I think that she has become a people pleaser.
Starting with her animal motif, the chameleon, everyone knows it for its ability to change its appearance as a form of protection, in order to survive. Many people tied the chameleon with her ultimate talent, because as the ultimate cosmetologist she can change others and her appearance with make-up. But I think it goes further than this. Her personality is rather unpredictable. Of course, she is usually bubbly, and very talkative, however, it seems she cares a lot about what others think of her.
At the end of chapter 1, after the trial, the conversation she has with Eva, highlights some interesting details about her character as a whole. She wanted to make both Wolfgang and Eva happy. However, these two had contrasting beliefs, two sides of the same coin. She was forced to choose between two different points of views… But she wasn't able to. So she tried to support both of them, the best she could.
In the end, this choice led Eva to not trust Diana's kindness at all, because she knew Diana was never fully on her side. She would still agree to what Wolfgang said, which implied going against her. What comes next is more concerning, however. And I’m not talking about the fact that Diana might become the antagonist in the future chapter, but strictly about what it will become of her character. To throw away your sense of self so easily and to state that you will live to fulfill somebody else's wish, that she will change to become more like Wolfgang and continue on his footsteps…
And then, I've completed her two fte's and realised that her decision to continue Wolfgang's legacy makes sense. Damon, in the second fte, asks her why she never told anything about herself, but insisted for him to open up more. From Damon's perspective, of course he finds her behavior suspicious, because considering the context and the fact that they are in a killing game, Diana is at advantage, not sharing information about herself.
So I've decided to look again at Diana's first fte and this part was truly interesting.
She asks if Damon wants her to become his follower. The report card summarizes the conversation by stating that Diana asked Damon what he wanted her to be.
Considering all these aspects, I have reached the conclusion that Diana doesn't really have a "sense of self". She is always seen changing the way she behaves in order to please the person she has a conversation with or is seen asking how she can improve in order to meet the expectations. The reason why she even went to the boiler room was also because she didn't want to disappoint Wolfgang. Diana's always thinking about how others perceive her, so much so that, with time, it seems she has lost her sense of self.
That’s why, the moment when Damon wants Diana to talk about herself, she is restless. Diana has no idea what to say. The only thing we learn about her is the fact that her family is nice and supportive and she never had to worry about money. But she didn't continue on with the conversation, because she felt like she was bragging.
Moreover, she always seems to see the good in people, but is harsher on herself.
Despite Eva being the culprit, Diana considers that it is solely her fault for not saving both her and Wolfgang. Even after the way Eva treated her, she can't see her as a bad person. Diana acknowledges that nothing will ever be the same, but is still standing strong, wishing that her actions will give hope to others. She hasn't just covered the wound that she received from Wolfgang, but, indirectly, also her trauma and her negative thoughts about herself by stating that she will change, in order for others to not suffer anymore.
Maybe I'm just biased, but I can't see Diana having any bad intentions. She is just a 17 year old, who experienced something very traumatic, and is trying her best to help the people around her by putting her own needs aside, changing the way she behaves so the others can feel comfortable around her.
