clair’s different roles in ep7
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clair’s different roles in ep7
Once again I have Rosa Umineko on the brain. We know that the VN is just saying doing "self reflection through the other" all the way down, but I feel like Turn (aka Sayo's vent session) and the way she characterized Rosa is really reflective of her darkest thoughts. All the matriarchs represent being trapped in different cycles, self-inflicted or otherwise, but Rosa stands out to me among them for being the best representation of inevitability. Rosa's abuse of Maria is visceral, upsetting, and more importantly tied directly back to her own abuse at the hands of her siblings.
Rosa in Turn is a cog in the cycle of abuse, and probably the character portrayed as the least likely to actually escape from it. Maria is the witch of origins, creating something out of nothing, but Rosa is the witch of inevitability. Rosa has been abused to a degree that Sayo struggles to articulate, only to enact that same abuse-- almost identical as shown in the manga-- on her daughter. Rosa is (allegorically speaking) Sayo's worst outlook, the inevitability of passing on hurt to the people you care about.
As far as Turn is concerned, Rosa is destined to enact violence. She represents someone so beholden to their trauma that they are doomed to repeat it. Rosa is an exploration of Sayo's worst, most violent impulses. There is a reason that Turn is filled with gore and mistrustRosa, to Sayo, is an inescapable fate. Rosa is the person who couldn't move on from trauma, someone doomed to pass it on to everyone they love, a child in a woman's body who cannot be more than the violence inflicted on her.
When Sayo starts writing, she feels like Rosa-- and Rosa has never been someone that could have a happy ending. Sayo always tried to tell her stories through other people, to explore herself through their narratives and have everyone start to understand her through empathizing with the women she makes heroines. These narratives also serve as ways to understand herself, to reflect her own traumas and deepest feelings onto other people and learn how to feel about herself via proxy. That's why I always found it fascinating that Confession effectively confirms Turn to be one of the first things she writes.
Rosa is Sayo's capacity for violence, her hopelessness, the crying child she sees inside of herself. Rosa is a representation of a Sayo who can't heal-- who doesn't know HOW to. But this is one of the first people that Sayo tries to explore, to empathize with, to find herself in. Sayo has always been writing with the idea of a happy ending-- maybe they can solve the epitaph, maybe they survive. If Rosa can be happy, Sayo can be happy. But we know how Turn ends: she can't. Gold in hand, the person she loves most in her arms, she falls to the sea anyway.
Turn, to me, has always been the rawest feelings we've seen from Sayo. This is her writing her own pain, trying to find happiness in the person she sees as an inevitable monster. In the end though, she can't-- the wolf is doomed to kill by its own nature
Battler/Kinzo/Projection
if you don't mind, could you elaborate on what you mean about ep 7 tea party? (your blog is great btw, i've pretty much just finished umineko and i've been really enjoying reading it)
hi, thank you sm this is so nice! im guessing youre referring to the tag on the last post i rbed lol
the ep7 tea party is what is taken to be the #truth of what happened on rokkenjima by most people. and i agree that the actions that took place there are likely the same. but the way that events are presented + the bias of the narration are filtered thru eva's memory and experiences, which is something i havent seen a ton of people account for. bern says that the tea party has no game master but to me that just means theres no Game being played. theres no magical obfuscation taking place, and there's no room to hypothesize abt what really happened (ange and lion are chained to chairs in a theatre, not sitting in the tea room in purgatory) but there's still a biased narrator telling the story, just like every "theatergoing" event in ep7 is not the exact truth but instead filtered through each character and they can choose to omit information or present it in a different way (see: guts scene in the tea party). for instance i know tht at some point the narration just stops referring to kyrie by name and just calls her "the murderer" which to me reads as a very obviously Not impartial narrator being the one to tell the story. this is how eva, the sole survivor of rokkenjima and thus the one free to decorate her tale, sees kyrie. it's why evatrice says her Shinjaeba line right before it opens and why bern's red that "that this is all truth is not necessarily so" holds up
everyone's experience of reality is subjective, except for ushiromiya eva's, which is ontologically correct
in the ep2 tea party, the narrator (yasu) talks about how becoming an adult means being able to overcome your childhood trauma, and thus rosa couldn't become an adult. this assumption that becoming an adult = good tells us a lot about yasu's mindset!
child yasu was desperately lonely and felt like an incompetent and unlovable person. the only people who were kind to her were, you guessed it, adults (shannon, kumasawa, genji, nanjo, even kinzo). so all yasu had to comfort herself was "when i grow up and become just like shannon, then i will be lovable, and i'll also be capable of being kind to and loving others."
but, well, you get where i'm going here: yasu cannot physically go through puberty. she gets incredibly distressed when she realizes she's not developing into the adult that she so wanted to become, who'd be beautiful and loved, and could be gracious, kind, and love in return.
the only way she can become happy is through magic - by tricking people into believing the illusion that she's an adult - because to yasu, being an adult means you are capable of love (in this case sex. capable of sex. let's not be flowery as this is a massive part of her trauma.)
for her, she can never escape her childhood trauma of feeling unlovable both figuratively and literally, because she can never become an adult, or...let's phrase it in umineko terms, become a "Human."
for characters with human and witch forms, like eva, the human is the adult while the witch is a child. it's an ongoing theme in the series - also see: ep1 where they discuss how young girls create witchsonas, and it's an important part of childhood, but they grow out of it.
a lot of rereading umineko is translating fantasy language into reality, so you can read "furniture" as yasu, in mystery terms, describing an eternal childhood without any hope of becoming an adult. yasu, in fantasy terms, might call that being the "endless witch."
just like how rosa talks about how she feels like she's been pretending to be an adult her whole life because that's what she has to be, so does yasu know she can't become an "adult", mentally, by overcoming her childhood trauma, or physically, by going through puberty.
but she still has to keep up the illusion that she is human/an adult in order to be allowed to exist in society (conformity and hammering out any rebellion or undesirable bits is also a marker of adulthood, like how eva admits she got over her dream of being a female head when she grew up.)
an interesting point about shannon and kanon is they're both supposed to be 16, however, shannon isn't referred to as a kid, but kanon constantly is.
and well, we know it's because shannon has gigantic boobs, marking her as an Adult Woman, while kanon is a frail boy who doesn't have any muscle at all...so he's just a boy. in ep2, shannon even gets the marriage subplot, because that's a TANGIBLE marker of adulthood, right? to get married? meanwhile, kanon gets to...go to the high school's school festival.
way to show the contrast for Mature Adult Shannon (who is only seen that way because yasu uses magic and pads her chest) versus Small Immature Child Kanon (where yasu DOESN'T use magic to change her body and perception of her "adulthood")
shannon's subplot with george is all about their future and devotion to each other (let's ignore any trauma about being furniture that'd prevent that here! power of magic!) meanwhile, kanon's subplot with jessica is A L L about his trauma of being furniture.
also, in a cruel twist of irony, when shannon calls herself furniture using magic, george doesn't take it seriously. but letting that get to you would be childish/furniture-like so shannon acts like she doesn't care. while jessica insists kanon is Human, and kanon flips because he's allowed to be childish and touchy about his trauma about being furniture and he CAN'T BECOME HUMAN BECAUSE HE'S NEVER BECOMING AN ADULT, STOP RUBBING IT IN HIS FACE.
so, talking about shannon/george vs kanon/jessica
shannon/george is the expected pairing for yasu. shannon's an Adult Human Woman who's socially acceptable in her femininity and doesn't show her childhood trauma.
while kanon wasn't meant to be lovable - he's the boy who barely had any time to live! he's her furniture self who has accepted he can never grow up into an Adult Human. he's her child self who will always retain her childhood traumas: being incompetent, unlovable, unable TO love.
so, jessica upending all of yasu's expectations by showing interest in him is like...she cracked the glass of yasu's small, confined world. jessica couldn't break the glass, but even that little bit was enough for yasu to do something she usually tried to avoid: take HUGE risks by starting to pursue a relationship with jessica as kanon.
love between furniture and humans is forbidden: in yasu-speak it's like a relationship between an adult and a child. it's that level of forbidden. not just forbidden, in fact, but reprehensible. so of course human-furniture romance is doomed to fail.
according to yasu, any normal human would, and SHOULD, on a moral level, reject furniture if they know the truth, and it's wrong for furniture to lie to humans while knowing the truth that's why beatrice the evil witch has to tempt shannon into using magic and lying so that she could pursue love.
zepar and furfur…save me zepar and furfur
umineko project / witch hunt / steam release translations of the red text at the end of episode 4
bern is great at making her lies seem believable but the lies themselves suck. like i wish she was better at it bc it wld really have been awesome to believe the same exact thing wld have played out in lion’s world in the ep 7 teaparty but her dumb story is too filled with holes so now i know she’s just a hater beyond all haters
blonde sayo is a lie made up so as to keep her from reaching her full potential as a crazy brunette
OH, LION IS WHERE THE BLONDE SAYO THING COMES FROM. I THOUGHT A CHUNK OF THE FANDOM JUST WENT INSANE!
But yes she’s a brunette, I am willing to fight on this.
very much agree…i think for a lot of ppl it comes from the ep 7 manga wherein the scene right before the play when will says “this is the culprit” has sayo depicted with long blonde hair
+ during her “yasu” period
personally i believe the long blonde haired design is really just there for the audiences sake to solidify the connection to lion (and separation from shannon). within the context of clair being the one telling the story it feels even more obvious that this is another obfuscation of the truth…the biggest indication of this within the text itself wld be that when bern’s “ripping out the guts” in the ep 7 tea party
and sayo is notably not depicted with the long blonde hair for the first time in the entire text so far
blonde sayo is a lie made up so as to keep her from reaching her full potential as a crazy brunette
so sad lion + battler cousin shenanigans were never shown in ep 7…
why did battler fall into the logic error if he knew the truth?
like ep 5s end. he wanted an explanation w/o revealing who beato was
he did it on purpose so beato wld remember and come save him
[RED] he’s just that incompetent [/RED]
secret 4th thing
see results
ik every time someone denies beatrice’s existence and maria gets upset and insisting she does exist sayo smiles to herself like Yes fight for my honor my psionic warrior
my #truth:
ep 1 = ep 7 (beatriceless)
ep 2 = ep 6 (furniture)
ep 3 = ep 5 (tools)
ep 4 = ep 8 (ange focus)
sorry just thinking about how sayo is all of umineko
“is the culprit the head, one of the siblings, one of the cousins, or one of the servants?” well yes!