Witch of Luck

Blog for rambling

[catboxcoffin]

On Furniture

(Apologies for discursive definition-talk..)

I believe the label of ‘furniture’ itself, like anything that isn’t given a complete answer, to host a catbox of meanings, so I’ll list some thoughts and categorize them by factual/thematic v.s. (meta-)fictional. I am separating these categories based on the word’s two ‘origins’: [1.] the ‘in-universe’ coinage; and [2.] the first usage within the episodic structure.

Regarding/defining categories:

Factual/Thematic:

The canon, chronological storyline [1.] underneath the story’s presentation tends to connect more to the Factual—I use this term to refer to the material events upon which everything else is built (‘Prime’) because Umineko likes to play with the word ‘Truth.’ Extra-gameboard events are as close to ‘factual’ as we can hope for, as they should occur outside of the Catbox. I willfully ignore the gestures pointing otherwise, as that would completely ruin the entire game’s truth-search, but I will concede differing ‘perspectives’ as a means of obscuring, and stories told by catbox pieces to be dubious. Literal and Thematic are not oppositional here; all metaphor/hyperbole/concepts in this category are rational extensions of the in-universe ‘reality’ because they remain as such—by this I mean that they are not visualized as chairs or rabbits, but instead concepts as intuitive as love and evil that exist among the world's inhabitants. Although these themes are delicately woven into the meta-fiction, they are born from ‘reality,’ not personified from a third source or a tool within the game.

2. (Meta-)Fictional:

The story’s presentation [2.] aligns more with the subjective, fantastical elements within the story. Considering the nature of an ‘endless witch’ and voyager witches in general, the Meta-World falls into this category as well (Also... take my usage of 'Meta' lightly—I am referring to fiction-within-fiction and the common term for the worlds, not asserting that Umineko is an effective work of MetaFiction). The gameboards in their entirety cannot logically exist without Meta interference, because their planes often (arbitrarily) merge. To simplify the discussion I’m treating the layers somewhat like this: —> (Note: it would take me ages to map out a consistent meta layer system for Umineko, so bear with the simplicity)

Prime - Umineko’s ‘real’ universe. The fragment of authored message bottles and (pardon my presumption) Ange/Eva’s survival. + What can reasonably be gleaned chronologically from the following layer (2) along with flashbacks.

Gameboards and the pieces within them. Were written with an intended purpose & elements of reality. In order of importance: 1, 2 > 3, 4 > Chiru

The Meta-World 1. Where Battler and Beatrice fight & the presentation/narration of the board. Seems to seep into every other layer somehow. Hypothetically contains Yasutrice as-author

The Meta-World 2. Whatever the hell was going on with Featherine and Ange reading about MW1. Arguably any extra-catbox people (voyager&endless witches of the future) contribute to this layer.

My Factual-thematic category focuses nearly entirely on layer 1, with extrapolation from persistent themes/discussions in 2. My (Meta-)fictional category encompasses layers 2 & 3. 4 can be relevant but I largely dislike using it for theories. In other words, category 2 is everything that is non-factual, meaning mostly presentation and interpretation.

I. Factual / Thematic

The in-universe coinage of ‘furniture’ is only disclosed in Reqiuem. I find this to be an interesting choice considering the inverted ‘answer sheet’ theme of EP7; Ryukishi is handing us a short, retrospectively logical explanation, but its brevity leaves much to be interpreted.

"This body that isn't even capable of love...!! / What's...what's the point in living like that?! / This isn't a Human's life...!! / It's like being furniture!! / That's right, I'm...furniture...!!"

The term is suddenly flipped on its head. Prior, furniture was presented as unable to love because it was furniture (implied to be status-based, seemingly just an effect of inferiority). However, it’s the other way around: one is furniture because it cannot love. The condition of the body precedes & defines worth. Unlike the dramatized, bodiless nature of Beato’s fantasies, this solution is grotesque and earthly. Being physically alienated from the universe of two makes one sub-human. Yasu-Shannon-Kannon’s—I’ll use ’YSK’—mutilated organs make ‘them’ (collective, not gender-neutral) unable to form a sexual union with any of their respective partners. Shannon cannot fulfill the marital duty of motherhood or even sex with George, Kanon is literally impotent, both physically and emotionally/volitionally in his pursuit of Jessica, and Yasu is so alienated from the feminine ideal that she cannot allow herself to ‘exist’ without performing through the former two (&Beatrice). None of them are sexually ‘complete.’

Continuing the material interpretation, its application to Genji is obvious: He loyally serves Kinzo as a friend and confidant, possesses a flamboyant, flirtatious fictional counterpart, and remains unmarried with a certain sterility towards women... He is gay. Blatant subtext aside this answer also ties up some of my personal qualms with his characterization. His senseless, sociopathic dedication to the head and his successor, complete unwillingness to intervene regarding Kuwatrice, and legitimate desirelessness can at least partially be humanized by lolgayforkinzo… If anything, a possible envy of Beatrice(s) could have solidified their doom. This unrequited love makes Genji too ‘sexually incomplete.’ While not literally mutilated, there is metaphorical castration in being a sexual minority. Kinzo would never love him, and I doubt Genji even respected himself enough to wish for it. He is the other half-universe that complements YSK, and possibly the only one who could begin to understand them. Their dramatically fatalistic tendencies can be narratively justified by their banishment from (yet proximity to) the world of love. There is no purpose in ‘living’ without the single element of life.

On a simpler note, we can also reverse-engineer the label simply based on those excluded. On my first read, ‘furniture’ initially, obviously seemed to be a hyperbolic representation of servitude. Being barricaded from the rest of society by class would certainly render one ‘sub-human.’ This, however, is self-eliminating by exempting Gohda and Kumasawa from the label. My immediate conclusion then was that the basis was not physical status, but psychological servitude. KumaGoh always felt far more human to me, which I chalked up to abysmally poor writing of ShKaGenji—a belief I still hold to an extent, but have found ways to cope with. Kumasawa and Gohda are distinctly rebellious, obviously thinking little of their status as servants. They are petty, greedy individuals who fit in well with the Ushiromiyas despite their class differences. Kumasawa is a pathological slacker, and Gohda is a skirt of responsibilities, but this doesn’t make them 'bad' in any sense. They have a passion for and qualms with their employment because it is their job, not their identity. The same cannot be said for SKG, who literally embody their vocation. I could never take their little spats with Beatrice seriously because of how bizarrely complacent they were in the face of reality; to this day I get irritated with searching for satisfactory answers in EP2. Thus, ‘furniture’ can be taken to mean a lack of humanity constituted by a lack of will & individuation.

In a similar (& more personally satisfying) vein, ‘Furniture’ can represent a debt and unbreakable tie to Kinzo. ShKanon and Genji are closer than anyone to being his property, yet they obtain strange respect from him, bearing the One-winged eagle as both a brand and honor—prized possessions. The magical perspective refers to them as his ‘creations,’ which works literally with Yasu/Lion as his paternal creation and Genji-as-servant as a circumstantial creation. Genji owes Kinzo as his savior, his remaining existence eternally devoted to paying back the favor of being spared from death in the seizing of Taiwan. Serving for so long, and so absolutely, definitely degraded his sense of humanity and began to merge his identity with his master’s.

(GEN): ”......We must continue to return the favor we received from the Master...until our final moments."

YSK, on the other hand, are tied to Kinzo by blood. Even in their ignorance and physical distance, and much to their personal detriment, they cannot escape him. They merge with projections of Beatrice without even meeting him, they come to work in the mansion without knowledge of their ancestry, and they become treasured servants seemingly by coincidence. Both ShKanon and Genji have a sense of being Kinzo's above all else, to the point of being distrusted as servants by the rest of the family, an unfortunate state since neither has families of their own. I think of this as a semi-intended and enforced alienation by Kinzo, furthering their already lonely situations for the sake of dependence and loyalty (I do not find this entirely loveless, though…). This loneliness could explain the affective resignation felt by furniture, and their inability to ‘love.’ YSK’s case is cemented in youth due to special treatment both inciting bullying and cultivating a strange relationship between them and Kinzo—Kanon’s mention of shooting with Kinzo and participating in pranks tugs on a heartstring I can’t explain. I am particularly fond of this interpretation…

II. (Meta-)Fictional

There is a stupid amount of facets to furniture in the 'fictional' portion of the story, to the point where it’s difficult to speculate on a cohesive definition. 50 new characters now fall under the label, and they must be encompassed as well. Is the term simply an extension of its connotation in reality, or is it morphed by meta-context like many of the other themes? My vote? Entirely Meta.

As I did earlier, I will begin with the first usage—this time, the coinage within the episodic structure [2.]. Doing this, I found something interesting:

The first use of furniture is Self-Referential and used as a reason to not do something: Kanon not giving a real interactive greeting, or accepting sweets; Shannon not fighting off Battler’s assault. It actually takes a while for the term to be used by non-furniture, making it appear entirely self-imposed. The word is persistently used despite the discomfort and intervention by others. It’s not self-deprecation or knowledge of one’s place; it’s a rule—a rule seemingly ingrained into the fabric of their existence. This is what I assert in this section—it is.

Shannon, Kanon, and Genji to a lesser extent, are wholly pieces owned by Yasu as their author. Not in the sense that Piece-Maria or Piece-Eva are pieces—I mean literal fiction. SKG are Yasu’s characters. Their differentiation from ‘humans’ all hinges on what can be ascribed to their fictionality.

They have an unchangeable position in the world because they are born with a singular practical purpose: to facilitate the gameboards’ culprit. (The strife that appears down the line is due to the conflicting purpose of creation) They cannot obey promises, only orders. Furniture does nothing but rot with the passage of time (…due to the triumph of new truths, I presume). Furniture is a reliable ‘tool,’ aptly fitting for characters who exist to fit neatly into the logic of murders, allowed meta-sentience but not autonomy. Writing about Humans is inefficient; you must cater to their flaws and desires, bound by what they Would or Wouldn’t do. What they are shown to be like is what they are like; the room for duplicity is small in stories corroborated by the Truth of the outside world. To surpass this—to create the perfect culprit without constraints, morals, or ties to reality—one only must ensure they are embodied. Embodied, they must be, by someone who could feasibly be them, due to an intentional lack of information. The benefit of the ambiguous identity is the excusability of multiple identities and secret motives. Yasu, with the least history, is the default, practical culprit for such a scheme. It would be entirely possible for Yasu to have no motive against the family at all, and through a simple desire to write the most effective story possible, just happened to write herself as the villain (though I obviously do not believe this, based on… well… everything).

Genji is not quite ‘fictional’ in the way that I’m claiming ShKanon are, but his nature makes him the perfect culprit-tool. Little can be known regarding prime-Genji aside from his undying loyalty to Kinzo and his successor (and how this makes him starkly morally bereft). Without family or distinct loyalties aside from the aforementioned, he too becomes a motive-mystery, and can be written to feasibly facilitate and assist almost any act if dictated by the ‘Master.’ The role of Master is pretty significant regarding Genji’s utility, considering that if the boards are chronologically honest (which they must be), Kinzo is dead and Yasu is ‘the Master.’ This aggressively recontextualizes most of Genji’s references to being furniture:

(GEN): ".......I believe everything has proceeded as the Master has hoped and arranged for. ...To distrust that would exceed my role as furniture in service to the Master.”

(KAN): "...............I wonder if this means the Master's ceremony has already begun." / (GEN): "...Probably. However, that has nothing to do with furniture like us.”

Obviously, we could read this as commentary on Yasu literally carrying out the murders, but the passivity and strange sentience regarding the ceremony leads me to believe this comes from a character aware of his narrative function. He was Yasu’s original ‘piece’ in reality, remaining her greatest asset in fiction as well. His loyalty was not just feasible, but real. Like ShKanon, he functions as a limitless Queen. Unlike SK, though, he does little to ever interfere or reject his status. Although, there is that scene of him knifing the butterfly…

Before I discuss the other(s)’ fictionality, I have to preface: I will not suspend my disbelief—I do not think ShKanon was a ‘thing’ in prime. I don’t doubt the mental manifestation of Kanon as an ideal, and am even open to a Kanon ‘alter,’ but I cannot accept that YasuShannon regularly dressed up as him or that anyone knew of a Kanon (besides maybe Genji, and even that’s tenuous). I honestly don’t mind the impracticality of performing Kanon, more so the meaninglessness. Within a gameboard ruleset where absurdities being ‘technically possible’ warrants its writing as truth, why would Kanon be real? Wouldn’t that be stripping Yasu of her hilarious authorial tricks? His existence as “extra person without extra body” is the perfect tool for a game, but totally worthless in reality. It’s not unreasonable that he ‘existed’ at Jessica’s school festival as a favor, but I wouldn’t push further than that. Besides, he was 90% covered and still considered strikingly young and androgynous, which only confirms the difficulty of genderswapping in reality. Plus, most of the ‘confirmation’ of PrimeKanon exists among swaths of half-truths (i.e. Requiem stating that a whole separate kid is being summoned out of thin air and Yasu is doing magic). Don’t take this as discrediting his significance, though; Beatrice also isn’t ‘real,’ and she’s more interesting for it.

As for Shannon, she is also largely fake. Yes, the servant named ‘Shannon’ exists in Prime. That is Yasu (or, well, what was left after the Clair-trice fragmentation [Ironically enough, I do actually take this absurd plot point at face value. Because it’s interesting]). However, I truly believe that Gameboard Shannon (GS) is a fictional entity born to serve (exempting murders) the desire for conformity and traditional femininity as much as Kanon was born from loneliness and repression. Again, these facets and desires absolutely existed in reality, I just don’t see them as being sustainable, performed identities. The fact that Battler’s memories of his first love aren’t remotely jogged by GS, and the fact that such memories would make the culprit obvious, insists upon the idea that GS is an intentional construction for the sake of the story. Battler isn’t an idiot, his androgynous intellectual gf just morphed into a moeblob tradwife over 6 years…

I feel like there’s a sticking conception that either: 1. Shannon is literally mentally Beatrice le evil culprit mastermind and is just inhabiting a servant body; or 2. Shannon is completely disconnected and the evil witch is hidden in her head as a separate consciousness and possesses her and seriously fights her alternate personas. I find these neither compelling nor reasonable. As for the first, I really do not feel like labeling a character’s entire real-world existence as a facade, no matter how boring they may be. Besides, it would be quite difficult to earnestly repress your true self enough to love not one, but two other people on the side. As for the second, a split personality is meaningless and nigh impossible when within the board’s logic you can literally kill, resurrect, and swap identities at will. They’re all fiction. That’s it. They’re all Yasu’s characters. Granted, they each contain large, separate amounts of herself, but none are uniquely her. As Zepar and Furfur said, “Their soul is less than a single person.” Existent, in a sense, but not fully ensouled.

It should go without saying that I reject Prime!JessiKanon or and ShaGeorge (for the most part). I think their inclusion in the story is a mechanic to solidify just how disconnected Yasu’s desires and ‘selves’ are, and to provide ample commentary on Love. It’s entirely likely that Yasu fantasized a romantic pursuit of George to distract herself from Battler, but I have a hard time reconciling her character with that sort of activity unless, again, Shannon was a literal split identity. Besides, the love square serves to soften the absolute disingenuousness of ShKanon for being what they are—tools.

However, Shannon does have an undeniable centrality, a ‘Heart’ that the others are not afforded, including Beatrice. My answer for this is that she is the only one truly Embodied outside of the board, pushing her into a strange half-furniture, half-human category. Kinzo is said to have made her by hand without a demon and to have given her a heart. This alludes to her being a child born from flesh, not contrived by circumstance. As always, Kinzo is paralleled by Yasu, who has a similar (meta-)relationship to Shannon.

Gameboard-Shannon does not ‘exist,’ but she surely contains the most real rudiments of Prime-’Shannon.’ Though less than human, she is Named and privileged with a body the others could never have. Her higher existence can also be explained by her being the simplest to potentially ‘exist’ (no gender-bend, no blonde witch). The conflict between her narrative role as Yasu’s piece and the narrative constraints of her ties to reality affords her a special rebelliousness, manifesting as a stronger Heart. Shannon’s bindings to Prime are a hindrance from an authorial perspective, narrowing culpability, but a privilege to the piece herself, who may circumvent fate with her ‘humanity.’ This is why she always precedes Kanon, and why she wins the love duel (Yes, I think the duel was identity>love). I also believe that Yasu envied the conceptual GS (The Beatrice/Shannon clash is enough to evidence this) and that Shannon’s internal strife is a consequence of Yasu’s teetering consideration of embodying her completely—hence the “heart that can know love.” By abandoning her Self and personifying this ideal, she could pursue a love beyond Battler, but it would be a charade. Thus the ‘Shannon’ character was trapped in a dream she wasn’t allowed, with a new purpose outgrowing the old, fighting her own authorship.

“…Burning with infatuation and worried by love, being tempted constantly and eternally with a way out was truly a cruel trial.”

This could easily be read as Yasu’s conception of Shannon—her last way “out.” However, her piece is not allowed to transgress its role, or the catbox games would shatter.

Though I have agonized over it, I don’t think my thoughts here ignore the heart. To understand the nature of furniture, one must deconstruct each character and what makes them human. Metaphors & representation are crucial to Umineko and, by extension, Yasu. The motive compelling one to author iterative ‘selves’ containing neuroses invisible in reality yet contained in one body for the sake of their nature being solved is far more bittersweet than reverse-engineering a split personality because it’s the only way to make the Logick Work. Applying the sentiment of Eva-trice and the black witch, internal conflict may be made comfortable through literal bifurcation, but the mind in reality is painfully united. The possession of multitudes can justify the inability to understand or accept yourself; to love yourself. Many but one.

I consider the Golden Land’s ‘liberation’ of furniture into love & bodies of their own to be the opposite of what it seems—instead of external fabrication, the identities unite cohesively within the single mind, thus allowing them ‘each’ a body and the capacity to love.

TLDR; Furniture in the meta-perspective is the role of a character & narrative tool. Furniture in ‘reality’ is a physical, psychological, and relational condition.

[catboxcoffin]

Battler/Kinzo/Projection

Battler’s narrative assault & sexualization is pretty interesting to me as an inversion of sexed roles, so I’ve decided to refine and paste some of my thoughts on it, beginning with Yasu-trice. Battler repeatedly has Kinzo’s (amatory) role projected onto him, both by Piece-Beatrice directly and Yasu’s authorial insinuations. (I won’t incorporate Meta-Beatrice into this analysis for a few reasons, the main being that I don’t think she is Yasu in the same sense as the others; secondarily that she is so gratuitous in her assaults and references that it would be nonsensical to lend any nuance to it. Plus, her indiscriminate performance in the earlier episodes is what sets up such a divergence later on)

I. Episode 4

Gameboard events are a requisite to understanding the skeleton of the stories that we’re actually being shown. Given the nebulous nature of the Meta and what it represents, a tale created and decorated in-universe in an attempt to communicate is generally more useful in viewing its subjects. On that note, the end of Episode 4 is a scarce instance where we are given a physical interaction between Piece-Beatrice and Battler. As Battler stands before the balcony denying her riddles and threatening her, Beatrice doubles down on her stern insistence regarding ‘testing’ him as the Successor, yet engages in innuendo the second he attempts to physically approach her. This presents a noticeable incongruence between Beatrice’s projected mythos and Piece-Beatrice as played by Yasu. She is physically distant, reading as almost shy. She’s stepped down from being an active harasser, instead functioning passively and reactively, ungracefully shifting between goals for the conversation. She is clearly very alienated from an autonomous sense of eroticism, which is why she instead endeavors to lure it out of him (despite her performative disdain). Her drunken sexuality is framed in relation to what she thinks hides ‘within’ Battler; her musings are based on the assumptions regarding <The Head>. She arrogantly asserts that her superficial form is his type, making sure to paint it as a shallow preference she’s pinpointed. (However even this is something she already knows as a fact, erasing any chance of the ‘unpredictable roulette’ she seems to exalt. She has little real confidence in her desirability, and even less in her ability to make him remember his sin)

She continues her attempt at testing his resolve, presenting herself for her ‘new master’ to own her flesh and soul as furniture, victimize her into surrender, and, crucially, remind her of Kinzo. Because that’s what Battler is to her: a reincarnation of Kinzo, carrying his spirit and blood most strongly. And how could he be anything else? Yasu is ‘Beatrice’ incarnate, her predecessors being both swept away and brutally betrayed by Kinzo, and by virtue of Battler’s failed promise, he has done the same. Her conflict arises here: her love for Battler meshing with her repulsion towards Kinzo, and her inability to reconcile them as full people. The same assumptions about Kinzo’s relationship to preceding Beatrices that traumatize her into hatred are simultaneously twisted into a romanticized ideal, and she is continually unable to conceive of her relationships without paralleling these identities and dynamics she’s latched onto. She is an ancestral fatalist, resigning not only autonomy within her own life but puppeting her relatives’ souls as her own. They cannot sleep peacefully as themselves, and neither can an unadulterated Battler. Beatrice indirectly castigates Battler (or her idea of him blurred into Kinzo) through her earlier ramblings on the nature of love-as-lust and the cage of flesh, but later turns around and flirts with the ideas, even going as far as writing her piece to romance Kinzo directly, despite knowing she’s caricaturing her own mother’s harrowing circumstances.

II. Message-Bottle Furniture

Lovelessly—or, perhaps, in a twisted abundance of love—Yasu’s message bottles distort Battler’s entire character into something alien in his six-year absence. This is what it means for new truths to triumph over old truths. Battler, the boy who left his own family due to his indignation over infidelity and who sought the heart in every story, is suddenly a perverted beast. He is a vapid womanizer like his father and an exploiter of status and naïveté like his grandfather. Beyond his will, parodied projections of his profanity are exposed within the message bottles, existing to cement his sin as irredeemable. I believe this is both a semi-conscious self-justification on Yasu’s part (cutting out the moral ambiguity of him simply forgetting) and a way to cope with her own undesirability (by manufacturing a more ‘active’ sin, one that would require Battler to care in the first place).

(…Side Note: I like how the attempted grope of Shannon in EP1 encompasses both this hostile projection and a dance around the desire to be discovered… [Fake breasts]. It adds another layer of selfish assumption to her narrative: he was always a piece. He doesn’t solve the epitaph and he doesn’t remember her because he never had the chance.)

To reiterate, his character is degraded and he is manipulated as a plot device within the message bottles. The narrative hinges on his existence, yet he has little room to move—In fact, his actual presence is hardly necessary. He committed a sin that permanently scarred someone, and he cannot apologize. The victim no longer exists. Battler, as a concept, constitutes a motive for murder. In his absence, he is a myth.

Remind you of anyone else?

III. Kuwatrice-Kinzo / Chick Beatrice-BATTLER

This parallel creates an interesting issue. The line of descendant/reincarnation is blurred and there’s an explicitly incestuous tone, but it quickly becomes more of a foil than a mirror. Kinzo’s idea of reincarnation is pure delusion, Battler rejects it despite it being true; Kinzo is affectionately dominating, Battler is cold; Kinzo rejects his status as a father, Battler grows to accept it.

So, Kinzo’s role is subverted. This should be a good thing, right?

It isn’t. At least, not to the judge of sin.

Chick-Beatrice is not a new creation; this is a glimpse of the Beatrice that first adopted Shannon’s bud of love for Battler six years prior. At this point, ‘Beatrice’ was still individuated. She wasn’t yet mutated by the legend of the witch, the solving of the epitaph, or, arguably, her Battler-desirability complex. This, I assert, is the closest we see to a pure ‘Yasu’ in later years, as the remainder of her true self that resided in Shannon had already been compartmentalized by that point. This is why Dawn is so tragic. Battler has allegedly solved her heart, yet even in his ‘enlightenment’ he is dismissive of her. To the first-time viewer, this rejection is bittersweet: he is waiting for the ‘real’ her to return. Issue is, that is the real her. This is the ‘Shannon’ he knew, before she was twisted into a sadistic amalgam of escapist fantasies dressed up with his desires. By all rights, Chick should align much more with the ‘Shannon’ that loved Battler. The dutiful “blindness of a girl in love,” willing to wait a century to be noticed. But he doesn’t understand that, bemoaning being too late while literally being thrusted another chance to do it right. Of course this chance doesn’t apply to reality, but it never did. He was already facing a postmortem trial for his failure in life, and the end of Meta-Beatrice marks his failure in death.

Battler is fated to only ever have a paternalistic, sympathetic affection towards Chick. Even after learning the truth, it will always be Beatrice that he loves. As much is clear in his Twilight gameboard. He recognizes Yasu as a vessel, but she’s virtually indistinguishable from Piece-Beato, an actor serving as the means for the illusion and providing a sympathetic backstory. Ange was right—there’s no point in having someone love in your place.

Regardless, Battler is himself. If he’d only inherited enough of Kinzo’s blood, maybe he could have loved all ‘iterations’ passionately and indiscriminately. Kinzo fabricated connections out of nothing, he ‘understood’ the reincarnated soul, and he was willing to die before he let her escape. His overbearing, cloying affection had a certainty that I believe Yasu envied, in a way. To be kidnapped and caged forever would be morbidly romantic, to her at least. How tragically ironic that the fatalist who desired to be carried away ended up having to orchestrate the game of love&communication herself…

IV. The Head

Aside from what I’ve mentioned, Yasu has a final, strikingly obvious reason to project Kinzo onto Battler: deflection.

Yasu is a disastrous parallel to Kinzo. They share the disturbing quality of willpower exceeding their body, a flippancy regarding life and death, living in spite of frailty. They are born with and die with nothing. She too dances with the magic of the roulette, staking fate on a miracle. She too ‘met’ Beatrice as an attempt at severing her regrets in life; she too summoned the Golden Witch and received a fortune at the cost of her soul; she too felt blessed and mocked by the myth of Beatrice, after wandering half-dead in a life that was not her own. A life in which she had been suddenly given power as a prank of fate, with the included (mis)fortune of polydactyly. They were each forced to endure Endlessness, awaiting the revival of love that may never come, desperately discarding their dignity for the sake of resurrection. The epitaph chooses both Kinzo’s and Beatrice’s successor. To ‘see’ is to answer the riddle. Just as Kinzo did to ‘Beatrice,’ Yasu has sewn the Ushiromiyas’ souls onto the island with magic, allowing them neither power nor form. Both are vulnerable kings protected by their own castles, refusing to speak the truth. Their massive wealth will be distributed, but the secret tales die with them.

Yasu was afforded unbelievable power by solving the epitaph, but it ended up destroying her with knowledge she did not want. She was given the reasoning that kills love. Upon the horrific discovery that her romantic feelings not only couldn’t be consummated but were incestuous as well, it is almost certain that she would feel the same repulsion towards herself as Kinzo. From that moment, she too was lying about the true nature of her relationships with the ones she loved. She too could not curb her affection or fear in time to tell the truth. There is no path she can make for herself, as she cannot live independently of projected roles. Incapable of individuating herself from Kinzo with self-identity, the logical conclusion is to invert the roles and make herself Beatrice, and more importantly, Battler Kinzo. Then, she must pray for the miracle that someone would come and solve the epitaph, taking back the role she was so haunted by and carrying her to a better life…