I’m Charg3e or well, Charge. I like to play games and have fun while doing so.
Uh, I’m not really sure how intros go so this is just as reference. This is not a guide even if I drop builds and opinions, there will be occasional posts of guides from actual youtubers.
Well that’s that, if there’s anymore to add I will do it later cuz I’m lazy
Admittedly when I first watched It's MyGO and Ave Mujica 0th, I didn't really think much of Uika. She and Doloris are presented as such vastly different entities that my brain kind of glossed over her, because I don't tend to go crazy for characters who are presented to us as always being bright and warm. Even when the last episode aired and I saw her undergo the transformation from Uika into Doloris, it still hadn't fully set in for me (though perhaps this is simply because I was busy losing my mind in excitement about seeing Ave Mujica at all as well as the sequel announcement).
But reading the interviews that came out after the anime finished airing completely changed that. Uika is Tomori's opposite in every regard? She has a secret so intense it made her voice actress stand out of her chair and yell when she heard it? I need to know more! What on earth could this seemingly kind character be hiding?
I've been keeping a close eye on her content ever since, and it's slowly making me feel insane. So, in anticipation for the anime, as well as their 4th concert which will happen in December and thus give us even more Doloris lore, I wanted to compile a post on the both of them in which I will present my various thoughts and theories.
Doloris
Uika is, in the most literal sense, Doloris' actress. This could perhaps lend to many believing that Uika is not Doloris, or rather that Doloris is not Uika. At the same time, I want to pose a very simple question.
Who came first: Doloris or Uika?
Timeline-wise, Doloris came first. Can Uika even exist without Doloris? Can she be who she is without us immediately recognizing her as being Doloris? What came first was not "Doloris is a puppet persona Uika plays as on stage," but rather it was "Uika is Doloris from Ave Mujica." This was their intent; to introduce Doloris to us, and then to introduce this girl who has an identical design to her in the anime, who is seemingly her exact opposite. What weight could Uika's scenes hold, if not to tell us that she will later turn into the monster known as Doloris? On her own, without Doloris, what does Uika represent?
Doloris herself talks about wanting to be seen for her true self. Is Uika Doloris' true self, or is Doloris Uika's true self? Which is it that they want us to believe? Which one does "Uika" want us to believe? Which one is Sakiko, or perhaps Oblivionis, trying to convince us to believe? Who is "Uika"?
Our introduction to this character was not a Sumimi scene, or her consoling someone, or a frame of her smiling, or of her expressing her love for music. It was this.
This creepy, disturbing montage of Doloris, covered in blood, inviting someone into her cult. Inviting you into her cult. Inviting you to dig deeper.
Though if you want to go even further back, I would argue our first, true genuine introduction was Black Birthday itself.
You see, I don't believe there's any true and correct way to interpret Ave Mujica's songs. The songs are whatever you make of them. That's part of the insanity of Ave Mujica; of never having a proper answer, of always wanting to dig deeper. So I won't say this is that correct reading, but rather one of the infinite possibilities.
That said, after watching the intermissions from their concerts as we currently know them, I can't help but feel their first 6 songs perfectly tell the story of Doloris. It goes something like this:
Black Birthday: Doloris' rebirth into her true self. The dyeing of one's purity into corruption. Finally being able to see what was once unseeable (perhaps the light in the pitch black darkness, which she discusses a lot in their stage plays). It's a disturbing birthday party welcoming the new her.
The Two Moons ~Deep Into the Forest~: Now reborn, she finds herself lost in a forest. The play sequence in the last episode of It's MyGO feels reminiscent to this song; Doloris straying into a forest (Loft Moon), while Oblivionis ridicules her, and yet she's so beautiful she cannot take her eyes off her despite the pain of having her heart torn asunder. The song even has imagery describing candles lit on a table, which we can see in the anime rendition of this scene.
Choir 'S' Choir: She's slowly giving in to the insanity of Ave Mujica. This song reminds me a lot of Perdere Omnia; when she finally stops her denial and begins to understand why the others wish to destroy the world. She's letting herself become an esquire, a fallen angel if you will. She hears voices screaming at her, and she knows she's being hunted down, but she keeps dancing anyway. She's testing out her new abilities.
God, You're a Fool: This song represents her inner doubts. What exactly are they fighting for? For whose sake? Why do they have to be in this situation to begin with? If God wasn't a fool, surely everything would be fine... right?
Mas?uerade Rhapsody Re?uest: She's decided she no longer cares about anything. No longer cares how corrupted she becomes, no longer cares to hide her dark feelings. She's just going to fully embrace it all, she's going to let herself be taken by the shadowy jesters. The mask is a part of her now.
Ave Mujica: With her mask as her skin, it's her turn to lure others in. She's going to corrupt you. She reassures you that those with masks will fulfill your any wish, and that even though this is a place of no return, don't worry, there's nothing to be scared of.
It's interesting, because while the songs can apply to anyone (the other dolls for one, and perhaps even the listeners themselves), I can't ignore the parallels between the story these songs are telling, and the story of Doloris as we've seen in the concert intermissions. (Regarding the Utopia single and the ELEMENTS series, those songs were written more to fit a specific narrative, and I don't think they apply to the dolls themselves as directly. That's just my own personal take on them though and is why I won't be analyzing them here)
As for the intermissions themselves, there's a lot going on in them and much of Doloris' dialogue isn't about herself, but I want to go over some general observations:
Doloris uses 僕 (boku). This is significant because she's the only one who has a personal pronoun that differs from her actress; Uika uses 私(watashi). Ave Mujica songs use 私 (watashi) as well, though I don't think this means much in the context of Uika or Doloris because it's just for formality (if anything, it's interesting because it's an inverse of Uika's narrative opposite, Tomori; who uses 私 (watashi) in her daily speech but 僕 (boku) in her songs). That said, in Quaerere Lumina, there's a segment where "Doloris" switches to 私 (watashi), which many found haunting because it almost felt as if those words came from Uika herself, and that she switched back to Doloris after speaking vulnerable words from her heart.
She uses 君 (kimi; "you") in an interesting way. In Perdere Omnia, this referred to Oblivionis. In Veritas, however, she uses this repeatedly in the context of "someone" who she wants to be reborn with. It's someone who extended a hand to her, and who took her mask off her. It's someone she wants to be with for the rest of her life, just the two of them. And at the end, she uses it in reference to you, the audience, who will surely attend their next concert. Who is it that removed her mask? Oblivionis, or us? (Like many things in Ave Mujica, my own interpretation on this is that it's probably Oblivionis, because at its core, this is a yuri band, and Oblivionis is in fact someone who we've seen accept Doloris for who she is)
Each doll has a specific thing they focus on: Oblivionis stands her ground despite everything but also talks about finding things pitiful, Timoris is logical and an observer who wants to be acknowledged, Amoris talks about her lost love and boredom, Mortis talks about peace and quiet as well as the beauty in death. For Doloris, the thing she highlights that the others don't is us watching her slowly spiral into insanity, and particularly as of Veritas, her sense of her own body (as well as this attachment to someone else, as mentioned above). She sees herself as an empty shell, which is true for the others as well, but on top of this she has a fixation on her mask and the relationship it has with her body. It's her skin, and simultaneously, if you remove it, below that you'll find her true, perhaps ugly self. It means a lot to her that someone could love the her that exists without the mask. (Is this intended to be foreshadowing for the relationship between Doloris and Uika, and which of the two of them is her truest self?)
Doloris is an embodiment of insecurity, and simultaneously, she's a ferocious monster when she performs. Rico Sasaki herself claims that she feels like Doloris possesses her when they hold concerts. Her voice is cold, bitter and pained; it's a far cry from Uika's speaking voice, which is so warm and comforting. She is plagued with sorrow, of which she would rather die and be reborn than have to deal with. Her ideal world is simply one of being together with the one who accepts her in all of her ugliness.
Uika
There's a sort of trend to Uika's scenes: when she's around someone else, she waits for them to talk or express emotion before she matches their energy, and when she's alone, she drops the happy idol facade. The very first time we ever see her, she's doing just this.
This is also apparent in two other (coincidentally Sumimi) scenes, where the same thing happens in each: Uika is matching the energy of who she's talking to, but the second she's separated from them by a door, she has an almost empty expression on her face.
(The fact this has happened for both Sumimi scenes, when Uika has so little screentime so every second we see of her is supposed to be precious, has me really wondering just how much she likes her "dream job." Also, I wonder if this is a coincidence: immediately after both of these shots, she looks at her phone and sees Sakiko on her screen which cheers her up (the first is an old text, the second is a phone call))
It's something that on its own feels a bit deliberate, but when you take a certain intermission from their concerts into consideration, it really does become something you can't ignore.
This is the one part of the concert intermissions in which Doloris uses 私 (watashi). This is what many interpret to be Uika's words.
To put this simply, she feels as if she's an empty shell who has to match the energy of the people around her. When nobody is there to give her something to react to, she reverts to that husk. This is exactly the vibe I get from a lot of her scenes in the anime.
(I talked in depth about these two scenes in my Taki&Uika writeup so please do check that out for my thoughts on them, but to recap for this context: it's interesting to me how she looks so "empty" until she reads Sakiko's message (and feels seen by her, thus breaking her out of that state; I also want to mention she never messaged Sakiko first despite having her phone number, which to me is such an explicit example of her feeling like she doesn't exist unless someone else contacts her first that you may as well have a bright red arrow pointing at it), and on the right we can see her matching Sakiko's energy)
And actually, she almost implies as much to Mana directly.
"It's easy for me to sing when I'm with you, Mana-chan." On the surface, this just seems like something she's saying to make her excitable partner happy, to show agreement even though she's exhausted and not nearly as excited as she is. Mana reacts, calling it a compliment. But is it really? Her wording here is deliberate: she can only sing well because she's with her. Because she's being seen by someone else.
Watching all of their scenes, I can't shake the feeling that Uika would not "shine" as an idol without Mana by her side. Immediately before this, Mana's happily waving and thanking the filming crew while Uika gives them a more heartless nod. Uika's appeal as an idol is that she's "cool" (this is written on her character bio), so it's not that I would expect her to match Mana's energy in that sense (who's appeal is her energy)... but I do wonder what she would be like in this context without Mana, given she already seems rather tense even with her. (Here's an easily missable clip of her sighing the second she's alone)
What about her comforting Tomori? Surely that was the one scene where she was acting of her own emotions? And what about when she talked to her in the final episode? It's not as if she was matching Tomori's energy 1:1! She reached out to her on her own!
And maybe that's true. However, consider this: that happened after she got Sakiko back in her life. Is an empty husk still just a shell if the one who's there to look at her―and bring her to life―is by her side now?
Let's take a closer look at these scenes though, shall we?
The planetarium. Uika was there to look at the stars, which are reflective of her childhood memories with Sakiko. Then, she finds Tomori, who she recognizes as being from Crychic (because she attended their concert a year ago). I could believe it if she sat next to her because Tomori looked upset; Tomori has subtle facial expressions yes, but it's pretty obvious when she's hurt. She decides to sit next to her, but her seat won't recline (I've seen people point out that she's been there before, so she surely would have known how to put the seat down; I think this is very funny and could be true, though I do want to point out Tomori said "this seat works like this" and Uika was sitting in a different seat than we saw in episode 8 anyway). Tomori helps her and they make indescribable eye contact briefly before they go back to watching the stars.
Then she kept an eye on her when they left and caught her on the stairs. Pretty standard stuff. From the get-go though, she was matching Tomori's energy. This is really subtle and more obvious in motion, but when she's asking if Tomori's okay, Tomori's head dips down twice, and each time Tomori's head dips, Uika's dips down a second or two later to match her.
If it was just once, I wouldn't think anything of it, but twice? Why is she studying her reaction this closely to the point of replicating it?
Then this happens, and I'll just leave my commentary from a year ago because it still applies:
Uika stares at Tomori and the Crychic photo that she saw on their social media comes to mind. She focuses in on Sakiko and Tomori... but moreso Sakiko. This kind of goes under the radar as it comes across as her bringing up stars because she knows it's something Tomori clearly likes and thus could be a bridge of conversation between them, so to speak, but I can't shake the fact that thinking about Sakiko was what prompted her to start talking about the stars she can see in Tokyo. Sakiko, who she was separated from for so long and who she was only able to reunite with in Tokyo.
(As a side note before I continue, this conversation makes me wonder how familiar she is with Tokyo. I'm not well-versed in Japan's geography nor do we really know anything about Uika's personal life, but I do know she lived on an island as a kid because she says Sakiko visited her island. It's also her chat icon)
Another easily missable detail, but when she picks up Tomori's notes, she waits a second for Tomori to give "consent" (via eye contact) before she continues talking. I'll also just mention here that I do think Uika meant what she said about singing being something that conveys someone's heart, and I feel like this was the most honest she was in the entire show.
Moving on to the episode 13 confrontation. I'll be honest, this whole interaction is very weird and as I'm typing up this post I'm still not sure what to make of a lot of it.
Once again, Uika is in the planetarium, this time in the same seat she was in for episode 8 before she met up with Sakiko (starting to see a theme here). Then she spots Tomori and grabs her shoulder, calling her Tomori-chan. Tomori seems confused so she checks that it really is "Tomori" and says they met there before. She does the same thing she did in episode 10 where when Tomori shifts her head, she shifts hers too while she's talking to her.
I like this shot because it feels like she instantly goes into "handsome" mode when she realizes this girl is a fan of "Sumimi's Uika."
This is where this interaction gets weird, because Tomori says she doesn't know who Uika is, and Uika responds with... "I'm glad she doesn't." Huh? Even Anon herself says "Huh?" out loud here. I could not possibly give you an explanation for why Uika would be "glad" that Tomori doesn't know who she is. Why is she trying to get close with her if she doesn't care that Tomori doesn't know her?
Then she asks if Tomori's song worked and Tomori says yes. It still feels like she's trying to gauge her feelings (but for what?). Then she claims she doesn't know Tomori, they just "met at the planetarium before." Anon seems pretty weirded out still. Then she changes the subject and asks if the two of them are in a band. When Anon shows her her phone, which has all the band members listed, she stares at it for a second before asking if she can follow.
(Anon's face being cut off here is interesting to me given this is from Uika's point of view, and really what could be so interesting in that photo?)
The length in which she stares at it makes me think this is likely how she learned MyGO exists, though I can't really piece together what she gets out of this aside from knowing what band Tomori is in. Then she asks if she can follow them and leaves. The whole interaction feels so pointless yet so deliberate: we didn't get closure on Taki's character arc in this episode, but we got this scene of Uika following MyGO's social media account? I'll be interested in seeing how this is relevant later on.
Oh, and the most important part of this scene: Tomori never told Uika her name. Anon is visibly weirded out by this. Of course, this scene is also followed by another shot of Uika not having to match anyone's energy, looking stern as she seems to whenever she's by herself. (She's looking at Crychic's social media page and commenting on how Tomori is from Sakiko's old band, by the way; how did she pull that up so fast? She just sat down?)
Uika and Tomori are narrative opposites. The director for the anime stated that Uika is her polar opposite in every regard. Ricochi also pointed out that while Tomori's songs turn her human, Uika's turn her into a monster. Their episode 10 confrontation was intended to be them meeting before the Ave Mujica ball gets rolling, so to speak, in order to allow them to contrast greater when the sequel comes out.
In general, what I make of Uika's cheerfulness is it's reflective of something Ricochi said in regards to Ave Mujica as a whole: like the moon, she can't shine on her own, but when others look at her, a light glistens from her. It almost makes me wonder if she wanted to become an idol in order to, like she said in her introduction clip with Mana, "make others feel better too" with her songs, at an attempt to mask the fact she can't shine when she's alone herself.
Those are the biggest points I wanted to articulate, so below I'll drop some other observations.
Regarding the flashback scene of Uika and Sakiko as kids... Uika is blushing here when Sakiko is not.
Normally I wouldn't think anything of this, because that's just how the models are (for instance, Sakiko's casual clothes model seems to always have the blush regardless of her mood, while Oblivionis of course doesn't; Uika's model also doesn't have a constant blush), but this scene was hand drawn. It's more deliberate. I don't want to insinuate that this implies Uika cares more about Sakiko than Sakiko cares about Uika because I don't think that's what they meant here at all, just that these specific memories may hold different meaning to Uika than they do for Sakiko.
Perhaps more importantly though (and even less obvious) is that Uika's hair looks longer in the shot of them looking at the stars than it was for their meeting and the bug catching. It makes you wonder how much time may have passed between those two memories. (I do recognize this may have just been a continuity error of sorts, but she is wearing a different outfit too)
In Sakiko's conversation to Nyamu, she hints that she got Uika for her band because of Sumimi's popularity. This is interesting to me because in episode 8, she absolutely... glares? at the Sumimi music video.
...Which makes you wonder how she really felt looking at it. In any case, I don't think it was just for the fame because you don't exactly call somebody and tell them to help you forget everything if it's just for the money. That's a pretty intimate thing to ask somebody, and especially for Sakiko who up until then had been actively avoiding speaking anything from her heart. We also know that Uika does the lyrics for Ave Mujica, so we can truly only make guesses as to what transpired between their talk and the final episode...
Oh, also, when Sakiko calls Uika, she blushes. Which feels pretty notable to me when seconds beforehand she was in "cool, kind of broody idol" mode.
As for the last episode...
When Nyamu asks if she can go to Uika's place, she says yes! It makes you wonder how close she is with everyone by this point, and also what her home life looks like.
This one is sold on the voice work, but she sounds super happy to get to see Sakiko.
This also happens at the end of the episode, when she asks if she can ride the train home with Sakiko despite the fact she got there in a cab. I wrote my thoughts about this here, but it is interesting to me how it implies she might not know about Sakiko's home life at this point.
For this line, it's not lost on me how similar this dialogue is in reflection to what Doloris says in their stage play immediately after; with Oblivionis talking about them being dolls, and Doloris questioning her every word. It's as if she'd turned into Doloris the second she put her mask on...
Tying it all together
What's striking to me is that in all the trailers for the Ave Mujica anime―which by all means will be where we learn more about Uika―we've only seen one shot of her.
The rest have been Doloris. From this we can presume that the doll lore from their concerts will be relevant to the actresses, we just don't know to what extent.
It's scary really, because... seriously, even if Uika does feel like an empty shell, there's more to it than just that. And despite all of my analysis up until this point, I have not a single clue what her actual deal could be. Even after I post this, I'll continue to watch her scenes over and over, trying to piece things together with what little we have right now.
I'll be very interested to see both Doloris and Uika in the upcoming anime, and in what ways the lines between them are blurred.
While I believe you could compile endless comparisons between any two members of MyGO and Ave Mujica, something that's been on my mind a lot recently are the similarities found between Taki and Uika. Tomori and Sakiko are the ones who pull the story along, but I think Taki and Uika both hold a similar position within the contexts of their relationships with them that warrants a closer look.
This isn't a "complete" and cohesive analysis, so much as a collection of observations I've made as I've been combing through Uika's scenes again lately.
Small disclaimer, but given that Uika as we know her exists in approximately 10 minutes of It's MyGO footage, a lot of this will be my own interpretation of her few existing scenes. Your mileage may vary!
I analyze Uika a bit more than Taki here, but this is simply because I honestly feel as if Taki's writing is more blunt and explicit―to "analyze" her almost feels more like a summary of the events and dialogue, whereas with Uika, all we can do is piece together the small crumbs that we have.
To start, I want to talk a little bit about their positions in their respective bands. In ways, they feel similar, but in many more ways, they feel completely different.
Uika is not the "leader" of Ave Mujica in any sense of the word. Sakiko is―Uika is figuratively and literally a puppet Sakiko is playing with. However, she is the "protagonist" of Ave Mujica's stage plays. This is an important distinction to make because while Uika is not the one pulling the strings as we've seen proven in the anime, it's not entirely unfounded for anyone to claim that she may have a special position within the context of the band (even ignoring the fact that vocalists tend to be the "face" of the band which many misconstrue to mean they are the leader).
Taki is an interesting case because she's not the front and center of her band, nor does she have "protagonist" traits, nor does she have something that draws people to her―but nonetheless, through her hard work alone, she has become the primary force that keeps MyGO held together (even if it, at times, feels like duct tape).
I like this distinction between them. Uika gets her special little place just by being popular and having had past connections with Sakiko, while Taki affirms hers by working harder than any one person would have to in order to keep a band together. One of them gets what they want with sheer luck alone, while the other must cling to this band as if it's the last thing she'll ever get the grace of doing.
Though, just what do Tomori and Sakiko mean to Taki and Uika?
Tomori's words save Taki and let her breathe, while if we're to interpret the Ave Mujica doll lore shown in their concerts as applying to their actresses, Doloris repeatedly talks about having a special somebody who accepts her for who she really is deep down, and how she wants to stay alone with them for an eternity―perhaps this is a hint as to how Uika views Sakiko (which has some support in the anime, as I think Sakiko's message to Uika has more to it than meets the eye).
I think there's something to be said about how Taki and Uika seem unhappy with their circumstances (Taki lives her life compared to her sister, while one of Uika's only solo scenes being her dropping the happy idol facade is telling to me), but it's Tomori and Sakiko's words that save them. For Taki, this is Tomori's songs (specifically Haruhikage), for Uika, this takes form in rereading Sakiko's consoling message from her idol debut over and over.
Notably with Taki, this is the happiest we ever see her! Tomori and Sakiko's words save them, and it's absolutely written all over their faces. It's not subtle at all.
Also, how we're (formally) introduced to both characters is in the context of their respective separation with Tomori and Sakiko: Taki is yelling at Anon for scaring Tomori away (after she finally found her again) while this text message scene is Uika's.
Now, separation is of course a huge theme with these bands in general, so what makes their examples special?
Where I think they differ from the others is in the way they approach these separations. Here's the thing: in a way, Taki feels as if her life purpose hinges on being around Tomori, but despite this, she never tracked her down in her absence. Uika always pulls out Sakiko's comforting message to her, so much to the point that she can recite it word for word on the fly, and yet despite having her phone number, she never messaged her. We can see the last message sent between Uika and Sakiko was that conversation from a year ago, and this has to be deliberate.
She probably wants nothing more than to see Sakiko again (when Sakiko calls her in episode 7, she literally blushes and shifts her hair in excitement about it, and I will also mention the director implied the reason she goes to the planetarium is because it reminds her of the stargazing she did on the island with Sakiko), and yet she respects Sakiko to be the one to take that step in contacting her first.
This is also something prevalent with Taki: Soyo exists as proof that if she really wanted to, she could have stalked or harassed Tomori into getting her back in her life, but instead she was patient. She valued Tomori needing space. She put Tomori's feelings above and before her own.
There's just this level of yearning behind their words and actions―of wanting someone in your life so badly, of thinking about them every single day, of looking back at all of your memories together and hoping and praying for the day they will reach out to you once more but not taking that first step yourself out of modesty for your own feelings―that I think separates them from the others. (Ironically, the closest that comes to this is actually Tomori herself but in regards to Sakiko.)
Another big theme they share is that they're rather open with their affection for Tomori/Sakiko, but the way they convey those feelings isn't always interpreted the way they intended for it to be.
(One could perhaps interpret Sakiko's reaction here as embarrassment, and I do think this is a part of it, but given this is the one interaction she's had this series that isn't someone trying to dox her or begging her to be with them, I think she'd be well within her rights to be confused at why Uika's also so obsessively fixated on her.)
Taki falls more under the "awkward" umbrella than Uika (so I'm not about to insinuate I think this will be as common with Uika and Sakiko going forward as it has been for Taki and Tomori), but they both share this trait of "I want to express how much you mean to me" and it being met with confusion.
The way they respond to said rejection is similar as well.
(This anime is very good at expression via a character's eyes alone, and I think this is conveyed really well with both Taki and Uika.)
And of course, because their intent was never to hurt and rather was the opposite (to cherish), they're not afraid to apologize, no matter how "insignificant" their offense may have been.
(The framing on these shots fascinates me, as if the camera needs to zoom out to capture the recipient of the apology in the frame in order for it to land.)
Everything is with Tomori/Sakiko's best interest in mind, but sometimes, just your thoughts and feelings isn't enough. You need to convey those feelings appropriately to the person you're saying them to, and Tomori/Sakiko are of course not the world's easiest people to get through to.
I think on the surface, Uika is presented to us as a character who Taki could aspire to be like. She's calm, collected, and she's able to get through to Tomori as a fellow vocalist. What was that planetarium scene for if not to point out that Uika could present herself as a threat to Taki? But on the other hand, we've seen Sakiko shut Uika down twice already; it's not like her one moment with Tomori makes her better than Taki at communicating with the one she cherishes most, even if she seems more sociable. Tomori is even a bit weirded out that Uika called her by name despite her never telling it to her. When you get down to it and look past their exteriors, they have the same struggles at hand.
Speaking of Sakiko's rejection of Uika, this brings me to what I believe is the most striking parallel between their scenes.
The last episode is fascinating because one of the two examples of Sakiko shutting down Uika is when Uika asks if she can go home with her on the train. We know this is something Taki does with Tomori as well, but that's not what I want to point out here (though that's also noteworthy in its own way):
Earlier in that same episode, Taki was also rejected when she wanted to walk Tomori home! The reasons of course differ (Soyo wanted to talk with Tomori so it's not as if Tomori herself rejected Taki, while I get the impression that at this point Uika still doesn't know of Sakiko's home situation which seems to be the real reason Sakiko said no fun side note though: a Sumimi commercial is very much on screen in the following frame of Sakiko on the train), but the framing of both scenes is very similar, and I honestly find this hard to ignore. The Taki one of course makes sense as it's a well-established thing between her and Tomori to ride the train home together, but Uika had no reason to ask to go home with Sakiko on the train. She got to the venue in a cab just fine! It feels very deliberate to me to have both of these happen in the same episode and to also put narrative weight on both moments as well. When I saw the Taki scene, I thought "Huh, so we're just not getting Taki closure?" and while the Uika scene was too late in the episode for me to really expect an actual scene even had Sakiko said yes, they're similar in that both of these scenes work to set up future developments in the sequel. We're still owed the closure Soyo pulling Tomori away from Taki robbed us from, and we're owed seeing Uika learn about Sakiko's home life.
Something else that I think about often is how Taki and Uika are involved in the songwriting process for their respective bands:
Taki and Sakiko are composers while Tomori and Uika are lyricists
Sakiko and Uika both read Tomori's poetry/ventings in her notebook and attribute it to being lyrical. (Taki does as well but this isn't a discovery she makes through having a one-to-one with Tomori)
Sakiko and Taki both feel inspired by Tomori's writing and do whatever they can to make compositions fitting for her words
While we don't know much about the Ave Mujica songwriting process as of yet, one of the interviews confirms that Uika does the lyrics for Ave Mujica songs. This leaves a lot to be considered regarding 1. why Sakiko wanted her for her band 2. what Sakiko would see in her writing and if it's comparable to how she feels reading Tomori's writing (as a note here: Tomori's writing makes her human, while Uika's writing turns her into a monster), and 3. Uika writes to other people's ideas, but she still feels as though singing is something that conveys her heart to others
Those are some general observations I have regarding this. To both Taki and Uika, they want to see out Tomori/Sakiko's musical ambitions, and they pour their heart into what they do. Of course all the band members are doing this (by playing their respective instruments, and Raana does contribute to MyGO songs in her own ways), but these two go above and beyond in their motivations.
As a much more subtle thing, I want to point out something interesting It's MyGO did: the various Sumimi shills throughout the series that happen during major scenes where characters are trying to communicate how they want to reconcile moving forward. Honestly this is a topic so fascinating I'd love to make its own post dedicated to it, but I want to talk about it here briefly as well because it does relate to Taki. Notably, I want to talk about the example of this in episode 5, because the framing of it felt the most deliberate there.
To set the scene, Tomori just expressed that she doesn't want to hold a concert because that'll end their band, which leaves Taki and Soyo hanging as they're unsure how to move forward from there if Tomori doesn't want to. The scene changes to Taki and Soyo, with Taki overlooking Sumimi's music video.
(The way the shots are composed makes it seem like Taki is staring at the music video, complete with the light of the scenes reflecting on her face, but when we get this zoomed out shot with Soyo in frame, it looks more like she's looking off to the side.)
As Soyo's talking about how unsure Tomori feels and how she's still thinking about CRYCHIC, Here the World is playing in the background. We can hear it pretty clearly; even more clearly than we heard it in the literal karaoke scene! The song continues until it fades out at this line:
The sudden silence almost feels deafening. Taki starts talking about how Tomori's words saved her, and how they made her feel seen. The MV is still playing in the background, we just can't see or hear it. But it comes back on screen to be a backdrop to these lines:
(Interesting how they chose this specific angle that captures the Sumimi MV in the backdrop, when they could have done a different one or turned the video off entirely since the song isn't even playing anymore. Also for the last line, Uika and Mana's silhouettes are no longer on the screen.)
What is the purpose of this? Is it to foreshadow that Sakiko would invite Uika to her band a few episodes later? Do Taki's words apply to Uika as well?
Soyo then continues on and says in order to avoid having things go south again, they need to communicate with one another. Then she says Taki needs to tell Tomori how she feels.
I think the most compelling shot in this scene is this one though.
Because 2 episodes later, this exact shot in the MV is what Sakiko scrunches her face at post-Haruhikage.
(Well, even if Taki's feelings didn't get through to Tomori, Uika did finally get through to Sakiko given she calls her immediately after this. Interesting.)
Taki is trying to express how much Tomori means to her and Sakiko is trying to get over MyGO playing Haruhikage, and there's Uika; happy, smiling, sparkling, and getting everything handed to her. It almost feels as if the MV is there to mock these characters, who are struggling so much to even keep a band together. She's an outsider who doesn't even know that Crychic has disbanded.
It's just one of those things that feels so meaningless, and yet at the same time, the Sumimi MV would not be playing during these scenes unless the writers wanted it to, for whatever reason that may be.
To wrap this post up, I want to mention that I find it very amusing how the director mentioned that Uika was actually not originally intended to be shown in a school setting (like Nyamu is), but when they were thinking about what school to put her in, they put her in the same classroom as Taki because of potential interactions between them. I am very eager to see those interactions in future content, and how Taki will react once she realizes that Uika (and Umiri) are in a band with Sakiko. It'll be interesting to see whether or not these two become proper foils to each other, as I see a lot of potential here given both of their respective relationships with our protagonists. Going back to what I said about Uika being presented to us as something Taki could aspire to be like, I actually hope it turns out to be the opposite: I hope that Taki sees Uika's relationship with Sakiko and learns what not to do with Tomori. This may just me being hopeful though (as in the Ave Mujica concerts, Oblivionis takes advantage of Doloris' dedication to her and turns her into a monster―I want to see something akin to this happen with Sakiko and Uika). We'll truly just have to see!
Spoilers for chapter 4 of Reverse:1999 just a lil bit
I am unable to contain my sheer sadness for Schneider AND my pride for Sonetto's growth. By chapter 2 we are all aware of Schneider's rejection from the Foundation, leading her to join Manus Vindictae to protect her family.
All she wished for was to live just a little longer, to keep her family safe, to live through the "Storm" and grasp the future. But no.
Prepare yourself for the shit you bout to see
I don't think I've been this fucking angry over a video game ever since Wilbur in counter:side. This made me go, "ARE YOU SHITTING ME!?!" Like damn Sonetto had self control here the debate duel must have let her relieve some aggression cuz I would have murked that bitch.
SCHNEIDER APPRECIATION POST! contains SPOILERS UP TO CHAPTER 3!!
The whole point of this is for me to gush about how much I love Schneider because she just hits me right in the feels so let's dig in to what there is appreciate about our 亡妻 and yeah don't translate that
FIRST!
Simply put she probably places her family above everything else and in my mind that already makes her number one but in this scene
She has her priorities in order, and survival is her number one goal and completing the tasks successfully is definitely placed above once we see the next scene ya
This is probably a recruitment form,even though I originally thought it to be an execution form,could be both I'm no lore master after all.
Her name being crossed could mean her sentence was decided, or that she has officially joined Manus Vindictae since with hindsight we know that Druvis has yet to join Manus and Sotheby has not even met them.
We have no clue how long Marian has been kidnapped at this point in time as well. It's probably been a while, probably days.
She's already found out, or maybe FMN let it slip on purpose so that they would have a reason to let go of Schneider
The hurried footsteps that sounded before this scene really made me feel the rush. Because now she's realised her entire family may be in danger. So this could be a form of damage control and further in chapter 3, we find FMN's statement to be a lie. FMN I mean, perhaps he did believe her to be an arcanist and wanted to fully win her over.
She was human. The adoption thing was definitely a lie, maybe as a form of intimidation since people hated Arcanists.
11 years old and getting that bag for her whole fam.
Also let's not forget how badass she is go Queen slay I don't care that she's using a gun or whatever she is forever a winner in my heart
Yeah she's angry as hell and rightfully so, St Pavlov ain't a saint it's more of a propaganda mill(?) Child soldier smth smth whatchamacallit.
With hindsight everything she says makes my stomach turn even more. She wants to live, she wants her family to live. She's exhausted her options against an inevitable fate and is ultimately accepting it.
She knows everyone will die, she knows she herself is human and will die with them. Probably.
So may as well die at home, or something now this is just my brain going haywire.
And also she can cast arcane skills I have no idea what's up anymore
What type of skill is this? As a biological human what happened? Was it her gun, her bullets, or her sheer will?
Conclusion! I absolutely love Schneider that despite all the insanity cultivated she's still super sweet. Like Orange. Haha. This long list is only about her with her Family which is a very very VERY important part so everyone let's look at how cool she is too, and also maybe insane.
Storage comparison between my newest account Frejik2 and first account Charg3e
This is not spoiler free sorry
This should be the first day for this account since ya boi got a new phone today WHOOO
So we have Fenrir squad (pre main 10) and a few things from the new missions so not much at all
I gotta say this background is actually gorgeous I think imma keep it this way
Now here is my 648 day account
The lobby is Rita and Dash because I love them very much. (It used to be the nanahara twins) Horizon Finance made me fall for this game even more like- they brought lore to the people we fought in the first chapter like
THE FIRST!
And also this collection of goods is simply because I keep thinking oh I'll need some of this one day and I am always right because 10 apt and s-apt is real nice to have in stock especially with the Rearm function
The supply box was back when you had to log in both morning and night to get it so I only have a couple. They give credits and info.
I would also like to mention I am fully F2P because I'm too scared that SEA is gonna Eos and also I'm poor (I'm adding this cuz a friend told me I was cheating because of my credit count I have never felt more proud and affronted at the same time)
Anyway also call a cunt a cunt Wilbur is easily the most hated bitch in the entire game for good reason we even have a homie who printed his ass out so we could burn his disgusting fuckass in real life anyway rant over hate Wilbur gang rise
Counterside Wilbur by the way very important distinction and this hate is super important to me I will hate his ass forever
Look reochi may not voice a playable character but vice president is very important to me her vibes are different from what Im used to and oh my god I jumpscared myself
Also they are twins, besties, they love one another they come in a package do not separate ty (also they are 12)
LOOK AT THE HALF ANNI OH MY GOD LOOOOOOOOKKKKKKK THEY ARE SOOOOOO
I cant take this anymore
10cm height diff is very very nice
They dont hold back
Also watch MYGO! Bang dream ep 9 then 10 and rejoice
